Originally born Ohem Karapetian in 1726 to an Armenian family residing in Jerusalem, he would later change his first name to the more well-known Arabic pronunciation, Yuhanna, and almost completely omit his given surname upon moving to Cairo.

[3] This influence can be seen in one of the more iconic aspects of their style which is the use of written text alongside the visuals, which functions as narration of the scene and provides additional information such as names of the saints.

[3][6] Mari Girgis is a painted wooden icon depicting a mounted man in armor, presumably St. George, accompanied by two much smaller figures the moment that he is about to deliver the final blow defeating the dragon and saving the princess.

[3] There is also the inclusion of Arabic and Coptic script at the top of the piece as well as at the bottom a mainstay of Yuhanna and Ibrahims style as well as indicative of post-Byzantine and Syrio-Palestinian influence.

[3] The central scene depicts a man of monumental size, presumable St. Behnam, with a crown, a Halo, and wearing fine clothing riding a horse facing the left hand side of the piece.