The diptych, named from the Greek di-ptyche, or “two-fold,” is an artistic presentational form found throughout art history and religious symbolism, in many cultures worldwide. Early examples of diptychs were carved and painted onto wooden panels and stone tablets, and often hinged together like the covers of an ancient book. Frequently used in the context of a religious ceremony or alter, these dual tablets were referred to during the Byzantine era as “traveling icons,” as their small size allowed them to be carried for personal prayer services. Religious painting during the Renaissance saw a rise in the use of multiple-panels, …
The diptych, named from the Greek di-ptyche, or “two-fold,” is an artistic presentational form found throughout art history and religious symbolism, in many cultures worldwide. Early examples of diptychs were carved and painted onto wooden panels and stone tablets, and often hinged together like the covers of an ancient book. Frequently used in the context of a religious ceremony or alter, these dual tablets were referred to during the Byzantine era as “traveling icons,” as their small size allowed them to be carried for personal prayer services. Religious painting during the Renaissance saw a rise in the use of multiple-panels, particularly as a means of storytelling—depicting scenes from the Bible, Torah and other religious texts. Flemish painters such as Jan van Eyck and Hans Memling often used triptychs and diptychs to join several elements in a representational composition, exemplified in van Eyck’s work Crucifixion and Last Judgement (1420-25). Use of the diptych has appeared in many movements since, in particular as a photographic tool—displaying multiple perspectives at one time. Modern examples include Pop artist Andy Warhol’s Marilyn (1962) and Elvis (1963) prints and Tracey Emin’s self portrait pair, The Last Thing I Said To You Is Don't Leave Me Here (2000.)
