The term image is used to insinuate a respectful picture. It is regularly painted on a level wooden board, though in Ethiopia, as unconcerned traditions, materials, for instance, metal or stone could in like manner be used to convey this sort of picture. The most reliable known Ethiopian images have been dated to the fifteenth century and are overall painted with gum-put together paint with respect to Esso arranged wooden sheets. Ethiopian images from this period ordinarily portray the Virgin and Child, the Apostles, and Saint George.
The piece showed up here, which can be dated likely to the second half of the fifteenth century, incorporates unequivocally such a mix of subjects. On the left load up, the Child contacts his Mother’s facial structure, a proposal of delicacy which appears all the more regularly in works from this period onwards. The central pair is flanked by two angels with unsheathed cutting edges who go probably as their magnificent guardian.
The right board is planned with photos of the Apostles who turn their look in adoration towards the Virgin and Child. In the base right corner is a depiction of Saint George riding a pony. The names of a couple of the figures on the right board have been made on the lines that segment the scene into registers. Very likely, etchings recognizing the upper line of Apostles and the Virgin and Child were at first present on the upper edge of the two sheets. Images, for instance, were more then likely made to enable responsibility towards the Virgin Mary according to the longings of the Ethiopian sovereign Zara Ya Bob (who directed from 1434 to 68) and would have been used in spots of love and in exacting motorcades.