'''Epitaful''' (gr. Επιτάφιος, ''epitaphios'', sau Επιτάφιον, ''epitaphion''; sl. Плащаница, ''plashchanitsa''; ar. نعش, ''naash'') este o [[icoană]], astăzi cel mai adesea găsit sub forma unei pânze mari<ref>De obicei de dimensiunea sfintei mese a alturului bisericii.</ref> pictate sau brodate, bogat ornamentată, care este utilizată în timoul slujbelor din [[Vinerea Mare|Sfânta Vineri]] și [[Sâmbăta Mare]]. De asemenea, epitaful există și în formă pictată sau mozaic pe pereții bisericii, pe iconostas sau pe panouri de lemn.

In the Late Byzantine period, it was commonly painted below a [[Pantocrator|Christ Pantocrator]] on the apse of the [[Proskomedia|prothesis]] of churches, illustrating a liturgical [[hymn]] which celebrated Christ "On the throne above and in the tomb below".<ref>G Schiller, ''Iconography of Christian Art, Vol. II'',1972 (English trans from German), Lund Humphries, London, p.199, ISBN 853313245</ref> The icon, in particular a panel mosaic version taken to Rome, probably in the 12th century, developed in the West into the Man of Sorrows subject, which was enormously popular in the Late Middle Ages, though this shows a live Christ, normally with eyes open.

The Epitaphios is used on the last two days of [[Holy Week]] in the Byzantine rite, as part of the ceremonies marking the death and resurrection of Christ. It is then placed on the [[Altar|Holy Table]], where it remains throughout the Paschal season.

'''The Deposition from the Cross.''' Prior to the ''Apokathelosis'' (lit. "taking-down from the tree") [[Vespers]] on the afternoon of Great Friday, the priest and deacon will place the Epitaphios on the Holy Table. The priest may also anoint the Epitaphios with perfumed oil. A chalice veil and the [[Gospel Book]] is placed on top of the Epitaphios. This may be either the large Gospel Book used at the [[Divine Liturgy]], or it may be a small one.

The priest may hear [[confession]]s at the Epitaphios, and he may anoint people who were not able to be present for the [[Holy Unction]] service earlier in the week.

'''The Burial of Christ'''. During Matins, ''Lamentations'' (Greek: Επιτάφιος Θρήνος, ''epitaphios thrênos'', lit. "winding-sheet lamentation"; or Εγκομια, ''enkomia'', "praises") are sung before the Epitaphios as at the tomb of Christ, while all hold lighted candles. The verses of these Lamentations are interspersed between the verses of Psalm 118 (the chanting of this psalm forms a major part of the Orthodox funeral service). The psalm is divided into three sections, called ''stases''. At the beginning of each stasis, the priest or deacon will perform a censing. At the third and final stasis, the priest will sprinkle rosewater on the Epitaphios and the congregation, symbolizing the anointing of Christ's body with spices.

At the end of the procession, the Epitaphios is brought back to the church. Sometimes, after the clergy carry the Epitaphios in, they will stop just inside the entrance to the church, and hold the Epitaphios above the door, so that all who enter the church will pass under it (symbolically entering into the grave with Christ) and then kiss the Gospel Book. In Greek churches, the Epitaphios is then brought directly to the sanctuary, where it remains on the Holy Table until [[Ascension]] Thursday. In Slavic churches, it is brought back to the catafalque in the middle of the church (and honored further with more petals, rosewater and incense), where it remains until the Midnight Office at the Paschal Vigil on Great Saturday night. Where the Epitaphios remains in the center of the church, the faithful will continue to venerate it throughout Great Saturday.

The [[Hours]] on Holy Saturday will be read near the Epitaphios, and certain portions of the Liturgy that would normally be done at the Holy Doors ([[Litany|Litanies]], reading the Gospel, the [[Great Entrance]], etc.) are instead done in front of the Epitaphios.

In the Slavic use, during the [[Midnight Office]], after the Opening and Psalm 50, the [[Canon]] of Great Saturday is chanted (repeated from the Matins service the night before) as a reflection upon the meaning of Christ’s death and His [[W:Harrowing of Hell|Harrowing of Hell]]. During the last Ode of the [[Canon (hymn)|Canon]], at the words, "weep not for me, O Mother, for I shall arise...", the priest and deacon dramatically raise the Epitaphios (which represents the dead body of Christ) from the bier and carry it into the sanctuary, laying it upon the Holy Table, where it will remain throughout the Paschal season as a reminder of the burial cloth left in the empty tomb (John 20:5).

During [[Bright Week]] (Easter Week), the [[Royal Doors]] of the sanctuary remain open as a symbol of the empty tomb of Christ. The Epitaphios is clearly visible through the open doors, and thus symbolizes the winding sheet left in the tomb after the resurrection.

At the end of Bright Week, the Holy Doors are closed, but the Epitaphios remains on the Holy Table for 40 days, as a reminder of Jesus' physical appearances to his disciples from the time of his [[Resurrection]] until his [[Ascension]] into heaven.

An Epitaphios of the [[Theotokos]] also exists. This too is a richly embroidered cloth icon, but depicting instead the body of the [[Theotokos]] lying in state. [http://www.uncutmountainsupply.com/prodimages/lg/epitaph.jpg] This is used on the feast of the [[Dormition]] of the Theotokos on 15 August, known in the West as the Assumption of the Blessed Virgin Mary. The Epitaphios of the Theotokos is used with corresponding hymns of lamentation, placed on a bier, [http://home.clara.net/orthodox/theotokos_shroud.jpg] and carried in procession in the same way as the Epitaphios of Christ, although it is never placed on the Holy Table.