Piesă de formă dreptunghiulară, înfățișând imaginea a doi sfinți și Nașterea lui Iisus Christos. Scena este împărțită în trei registre: stânga sus - Sfântul Atanasie; dreapta sus - Sfântul Dumitru (cele două registre sunt despărțite de o ghirlandă); registrul inferior - în colțul din stânga sus al acestui registru se află un păstor cu oi, în stânga jos cei trei magi, în dreapta Iosif și Maria, iar central se află Pruncul Iisus. Deasupra capetelor Mariei și Iosif este scris cu litere chirilice - Nașterea lui Isus Hristos. Culori folosite: verde, negru, roșu, galben.

The drawing employs flat, unmodulated areas of color with minimal shading, characteristic of folk or ecclesiastical illustration traditions. Lines are clear and deliberate, defining figures and spatial zones without perspective. The use of Cyrillic script for the inscription suggests a local liturgical context. The limited palette—green, black, red, and yellow—reflects material constraints and symbolic conventions, where red signifies divinity, green life, and black solemnity.

The artist and date of creation remain undocumented. Its survival in the collection of the Museum of Ethnography indicates it was likely used in a domestic or parish setting rather than a formal church. Such works were often produced by itinerant painters or local artisans for private devotion. Its preservation suggests it held cultural or religious significance to its original owners, possibly as part of a larger set of religious images.

This image belongs to a broader tradition of Orthodox Christian iconography in Eastern Europe, where narrative scenes were simplified for accessibility and devotional use. The inclusion of local saints alongside the Nativity reflects regional piety, blending universal Christian themes with venerated figures from the Eastern Church. Its format and style align with 18th- to 19th-century folk religious art, where literacy and liturgical knowledge were often conveyed visually.

Though unsigned and undated, the drawing contributes to the understanding of vernacular religious expression in the region. It exemplifies how theological narratives were adapted for everyday spiritual life, outside formal ecclesiastical institutions. Its presence in an ethnographic museum underscores its value as a cultural artifact, preserving the visual language of faith among communities with limited access to formal religious art.