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Andrzej Wajda's journal of the performance of “The Wedding” (Stary Theatre, 1991)

Directors’ journals usually include unique notes concerning the production of a film or performance. They are notebooks in which all essential information is recorded – from their thoughts about the interpretation, suggestions for the arrangement of stage movements to the list of actors together with their telephone numbers. For the reader, it can be a treasury of knowledge on a stage or film adaptation of a work and offer an insight on the director's method of working. The presented journal of Andrzej Wajda is a record of his work on The Wedding by Stanisław Wyspański, which was staged in the Stary Theatre in Kraków in 1991.

“Fish” — a drawing by Andrzej Wajda

In Japan, carps are a symbol identified with boys, who wish to become as strong and persistent as those fish. Each year, during Japanese Children's Day, which formerly was solely Boys' Day, parents hang kites on flagpoles located near their houses resembling wind socks that indicate the strength and direction of the wind. They are in the shape of carps, and the colour of each carp is related to the person it symbolises: the black carp is for the father, the red one — for mother, other colours are for children. According to old beliefs, flags are hung high in order to attract the attention of protective gods that are high in the sky.

“Golden Pavillon in Kyoto” — a drawing by Andrzej Wajda

On 10 November 1987, Andrzej Wajda received the Kyoto Prize for his lifetime achievements in the field of the arts. During a few days spent in Kyoto, the former capital city of Japan, he sketched more than a dozen drawings depicting the places he had visited. They included two views of Kinkakuji (Jap. Golden Pavillon), one of the most exquisite places of the city. The name of the building is derived from the decoration of the walls which are covered with petals of gold.

Drawing for the performance “Wielopole, Wielopole” by Tadeusz Kantor

This invaluable drawing presents the scene: “Properly handling the invention of Mr. Daguerre: the military way” of the first act of the work, Wielopole, Wielopole, directed by Tadeusz Kantor. The drawing has watermarks. The composition was made with ink and pencil and placed in a black cardboard passe-partout. The outline of the female photographer is marked in black ink. The woman is absorbed in the action of photographing/shooting.

Dan Perjovschi, “MOCAK Kraków Notebook”

Minimalism of style and verbal content, linked by an ingenious concept. The drawings allude to social, economic and artistic issues. The stance is critical: witty but also marked by bitterness.

“Stanisław Lem — Lifelike” — a drawing by Andrzej Wajda

In the collection of the Manggha Museum, there are 242 portraits by Andrzej Wajda in the Familiar faces series. One of them is a drawing signed by the author — Stanisław Lem — Lifelike. Indeed, the author has captured the resemblance perfectly using hatching and many strong lines, as in the case of the many other drawings of the series sketched on notebook pages or graph paper.

Fragment of bandage of a mummy

The representation on the bandages illustrates a fragment of chapter 125 of the Book of the Dead, the scene of “weighing hearts”. The Book is a set of formulas and spells, which are supposed to help the deceased to achieve eternal life in another world and to put down the demons of darkness, but foremost to be favourably judged of Osiris. The figures shown on the bandages, usually 42 of them, picture the Egyptian nomes, which functioned simultaneously as religious centers. The judges of the Tribunal of Two Justices are the same time the guardians of the sinners.

“The stalls in the Corpus Christi church in Kraków” by Jacek Malczewski

Jacek Malczewski began systematic studies at the School of Fine Arts in Kraków in the middle of 1873. His first teachers were Władysław Łuszczkiewicz, a historical painter and a well-known art historian, and Feliks Szynalewski. His education was also overseen by Jan Matejko, to whom Malczewski was very attentive.