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Wael Shawky, “Digital Church”

In the film Digital Church Wael Shawky tries to connect two worlds, the Christian and the Islamic, by staging the surah devoted to the life of Mary, mother of Jesus, recorded in the holy book of Muslims, in the space of the Catholic church. The artist uses the sung recitation of verses, which is traditional for the Islamic world, using the Arabic language, until recently recognized as the only language in which the text of the Quran has a prayer value. Although the recited surah refers to events well-known to Christian believers, the form of its conveyance is strange and confusing to them, and may even – due to the choice of the place of recitation – be perceived as blasphemous.

Chalice

It is the oldest of the dated donations of Casimir the Great for Polish churches. The Roman form of the basic chalice components and some of its motifs (e.g. small rounded arch arcades) coexists here organically with raised Gothic ornamentation, setting this impressive vessel apart from other goldsmith works of the 14th century.

Wooden feretrum

Feretron is a special type of paintings or sculptures with saints' that were used not only during the procession in church celebrations, but also as portable altars during pilgrimages.

Gothic reliquary herm

The herm is a name for reliquaries taking anthropomorphic forms, especially busts with a place at the front called a reservaculum , where the relic was placed. The presented object depicts an unidentified saint.

Baptismal font

A baptismal font of a goblet shaped with a dodecagon base, with a pyramidal bowl and a foot. The narrowing in the middle bears a band (a so-called node) which is covered by a net ornament with three coats of arms (one of which is now missing). The bowl of the baptismal font is covered by a bas-relief decoration, the fields of which are separated by tracery.

Wooden chalice designed by Stanisław Witkiewicz

Maria Dembowska, along with her husband, Bronisław, gathered one of the first ethnographic collections of the Podhale region). One of the items she donated to the Museum in 1922 was a wooden model of a church chalice designed by Stanisław Witkiewicz...

Sculpture “Christ Resurrected”

The work comes from a church in Mogilany, which no longer exists. It was a wooden church, built before 1440, which had survived until the beginning of the 17th century (when it probably burned down). The only object left from it is the presented sculpture of the Risen Christ, found in an attic in 1965. After conservation, it was transferred to the Regional Museum in Myślenice in 1968, as a gift from the Parish Office in Mogilany.

Feretory depicting St. Anne and Christ crowned

The monument dates back to the1st half of the 18th century and comes from a wooden church in Szczawnica, which was built in 1550 and demolished in 1894. The procession float which can be found in the collection of the Pieniny Museum is placed on a base in the shape of an elongated rectangle, wound around with a plait.

Chalice

Church confraternities, which boasted about having a separate chapel or a side altar, completed the religious life of parishioners. The first confraternity of the Blessed Virgin Mary, established in Niepołomice by Cardinal Zbigniew Oleśnicki, worked efficiently for one and a half centuries, but in 1596 a church inspector found it, as he described, in a state of “devotional and interment” activity.

Gothic chalice

At the beginning of 1657, the lands of southern Poland were invaded by George II Rakoczi’s army of 40 thousand soldiers. The army was supposed to give support to the Swedish headquarters in Kraków. The vicinity of Kraków was doomed by the presence of the new invaders.

Monstrance of the Branicki foundation

The late-Gothic monstrance – silver and gilded – goes in harmony with the style of the church in Niepołomice, whose Gothic character was enriched with Renaissance Branicki’s chapel. The Renaissance motifs – floral and geometric ornaments, figures of saints, putti or coat of arms – look good on the medieval architectural design, decorated with delicate pinnacles and finials. The Branicki family was concerned about the church accessories of the parish church in Niepołomice, that is why church utensils, canonicals and liturgical vessels funded by them.

Thurible/censer

Jan Branicki from Ruszcza, district governor of Niepołomice in the years 1585–1611, took particular care of church paraments (vestments, liturgical vessels and all accessories indispensable for celebrating liturgy and cult). He funded chasubles, dalmatics, copes, albs, thuribles or cruets for the church in Niepołomice while his wife Anna was a founder of altar cloths, a veil, a monstrance and a black veil for the altar used during the Great Lent.

Cope of late Renaissance set of vestments

A cope is a long and wide cloak, worn over shoulders and fastened on the chest during the Liturgy of the Hours, the celebration of the sacraments outside the Holy Mass, and the exposition of the Blessed Sacrament. The only ones authorized to wear it are bishops, presbyters, and deacons who received permission from the Holy See.

Chasuble of a late Renaissance set of vestments

The chasuble evolved from a Roman outer garment, which was a kind of sleeveless coat with only one small hole for the head. The chasuble was worn during all priestly acts. Beginning in the 13th century, the chasuble began to be shortened on the sides, so that it would not constrict hand movement, until the 17th century, when only two sheets of fabric remained: front and back. At the same time, the chasuble came to be decorated with increasingly rich embroidery.

Dalmatic of a late Renaissance set of vestments

The dalmatic was worn by the Greeks and Romans as a loose garment extended to the feet worn by lay people with long, wide sleeves and two vertical purple stripes, also known as clavi. In the 2nd century, it was adopted in Western Europe through Byzantium in today’s Dalmatia during the Merovingian and Carolingian period. The dalmatic has been functioning as a liturgical vestment since the 5th century, when it disappeared from lay people’s clothing.

Short stole of a late Renaissance set of vestments

The short stole, like the longer stole from the same set of vestments, was made of red silk satin with a floral pattern brocaded with a gold thread. The end is trimmed with a gold 1.2 cm wide border (galloon) with a geometric pattern. It was decorated with crosses made of gold border at the ends and in the central part. In addition, in the 20th century, a collar made of a piece of lace was sewn in the middle.

Long stole of a late Renaissance set of vestments

The stole is part of the liturgical vestment worn during the liturgy of many Christian Churches. This long strip of fabric is placed around the priest’s neck, and its ends fall freely on the chest (in the case of a deacon it is put on diagonally: from the left shoulder to the right side). A stole has been used since the beginning of the Middle Ages as an element included in the set of vestments. It symbolizes the priesthood as God’s yoke.

Chasuble of the Lubomirski Foundation

A white chasuble with an embroidered purple column. The type of embroidery dates this back to around 1600. It was made, among the others, with a gold and silver thread and stitches partially on an underlay of silk fabric with a lancé of gold wire. At the bottom of the vestment, the Lubomirski-Szreniawa coat of arms was gently but legibly incorporated into the chasuble column. The jacquard side fabric with a damask effect is from the 19th century.

The foundation act of King Casimir the Great

At the request of the king, on 12 June 1350, Bodzanta, the Bishop of Kraków, established a parish in the royal village of Niepołomice, thus reorganizing the rural areas adjacent to the parish.

Tile with the Nałęcz coat of arms of Bishop Piotr Gembicki

In 1845, in A Souvenir from Kraków, Józef Mączyński mentioned the existence of two “ancient furnaces” inside the episcopal palace in Kraków. Furnaces built of tiles, decorated with the coat of arms of the bishops — Marcin Szyszkowski (Ostoja) and Piotr Gembicki (Nałęcz) — were already in poor condition in the middle of the 18th century, which had been noted in the inspection of the palace. However, thanks to the large, colourful tiles, those furnaces were certainly very decorative. Unfortunately, in 1850, the furnaces shared the fate of the episcopal palace, which burned down during the great fire of Kraków, and only single tiles and their fragments have survived to this day.