The first triptychs (from Greek τρί-πτυχος meaning “folded three times”) — three-part compositions consisting of a central image and two additional ones — originated in the first millennium and depicted only religious plots until the mid-19th century. They were made up of painted icons, stained glass compositions, statues, and carved bas-reliefs; they depicted the Savior and the Mother of God, saints, prophets and heavenly powers. It was customary to place these structures in the altar or above the altar part of the church.

Triptychs appeared in Byzantium and quickly spread in European countries, and later in Russia. In the Middle Ages, triptychs were very popular and varied. Small triptychs were brought along on trips, as they could easily survive the journey.

Church triptychs brilliantly presented the Holy Scripture in images. The horizontal arrangement suggested the sequence of plot development or visually separated the main and secondary images. The triptych was opened only in special cases; however, additional subjects were placed on the reverse side and could always be seen.

The presented icon painted by the hereditary icon painter from Borisovka, Mikhail Ivanovich Khvostenko, was also part of a triptych. This is a full-length image of the Mother of God with the Baby Jesus in her arms.

The images of the Most Pure Virgin and the Infant Jesus in the icon, conforming to the canon, are distinguished by liveliness and emotionality. The face of the Virgin is thoughtful and sad; she is focused on the future sufferings of her Son.

Describing the Virgin, Church historians noted her even and pleasant voice, speech devoid of any anger and indignation, hands with long fingers, a slightly elongated face with an elongated nose and red lips, and dark eyes, shining with humility and constant contemplation about God. The whole appearance of Mary speaks of her as a living Temple, which contains the Lord. The Christ Child is painted with His arms spread wide, in a childish way. Unlike the canonical image, He does not bless those who approach the icon, but opens His arms to meet them, stretches out His hands to save the human soul.