Triptych

Triptych, work of art made of three sections or panels, often used to tell a narrative story or depict a complex scene. The triptych format traditionally has been seen in Christian artwork, specifically altarpieces. Panels are often hinged so that the two outer panels can be folded inside.

Origins

The term triptych derives from triptychos, Greek for “having three folds.” Triptychs originally described a type of waxed writing tablet used during the Roman Empire. These writing tablets were an adaptation of diptychs, incorporating a third tablet that protected the first and second tablets when shut. Triptych wax tablets were used for legal documents as well as for more informal writings.

Similar to the development of the triptych wax tablet, triptychs as works of art evolved from diptychs, artworks made of two sections or panels. In the Middle Ages (500–1500 ce) the triptych format became popular in Christian artwork, possibly because of the association of the number three with the Trinity from Christian doctrine—the Father, Son, and Holy Spirit. Triptychs have been painted or carved out of ivory or metal. The center panel is frequently the largest section, with hinged side panels that close to show simple exteriors, although some triptychs have panels of equal size.

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Examples

Triptychs are often seen as altarpieces in Christian churches. The interiors of the panels depict narratives from the life of Jesus Christ, saints, the Virgin Mary, or other scenes from the Bible. Some triptychs feature one large composition, whereas others combine separate scenes in each panel to reflect a common theme.

The hinged panels made triptychs easy to transport and contributed to the popularity of the format. Beyond churches, triptychs were regularly commissioned for private devotional purposes, such as prayer in one’s home. These more personal works also reflected the owner’s preferences in addition to religious themes, exemplified by the Annunciation Triptych (Merode Altarpiece) (c. 1427–32) by Robert Campin, which depicts a scene where the angel Gabriel is telling the Virgin Mary that she will be the mother of Jesus, possibly reinforcing the art patron’s hope for their own children.

Beyond Christianity

Although generally associated with altarpieces, triptychs grew beyond religious settings. During the Renaissance, artists—including Hiëronymus Bosch, well-known for his triptychs, especially The Garden of Earthly Delights (1490–1500)—expanded on the use of the triptych format. Although Bosch incorporated religious iconography, his triptychs also featured secular themes, focusing on aspects of human existence and failings.

Use of the triptych spread globally and was adopted by other religions, including Islam, to portray the qualities of Muhammad. The three-panel format was also used in East Asian Buddhist art, as seen in Shakyamuni Triad: Buddha Attended by Manjushri and Samantabhadra (c. late 1300s). In Japan the triptych format was used in woodblock prints during the Edo period (1603–1867), yet the three sections, or sammaitsuzuki, would not be fastened together but laid out to be viewed as a set of separate pieces.

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Triptychs had a resurgence in modern art, notably in the works of such artists as Francis Bacon, Max Beckmann, and Roy Lichtenstein—though religious subject matter was usually eschewed. Bacon would instead cite panoramic cinema screens as an inspiration for his triptychs, relating them to how he thought about the process of filmmaking.

Fittingly, the triptych format has been used in film. While making Napoléon (1927), director Abel Gance used Polyvision, which involved shooting scenes with three synchronized cameras and displaying the resulting film on three projectors.