The Orthodox Art Department as an organisational unit and museum collection of that name was set up in 1966 by separating off a section of the Department of Polish Medieval and Modern Art, one of the Museum's original units. Its collection consists of sacral objects associated with the Orthodox Church, mostly from territories of the former south-eastern Polish Republic, but also from Russia and the Balkans.
The core of the collection consists of icons dating from the 15th to the 20th centuries and orthodox church artefacts: fragments of modern iconostases (the most interesting of which are the so-called 'holy gates' featuring fine carving work), as well as procession crucifixes, hand-held and ceremonial crosses, and liturgical fabrics (for example the so called epitaphion, which was used in ceremonies lasting several weeks).
The most valuable part of the collection are the oldest icons dating from the 15th and 16th centuries which originate from the former eastern territories of Poland. The most valuable of these are the Holy Trinity icon, a richly symbolic work of art from the second half of the 16th century (XVIII-87). The icon presents both an old testament depiction of its typical orthodox theme, the so-called 'Philoxenia' (from the Greek word meaning hospitality) of Abraham, and a blend of two further iconographic trinity types: the Latin Throne of Grace (Sedes Gratiae) and the so-called 'Otieczestwo' (Paternitas) of Greek origin. No less interesting is the oldest icon in the collection, the icon of St. Paraskevi (XVIII-57) which dates from the 15th or possibly 14th century, a work with an extraordinarily sublime, though economical, archaising form and almost monochrome colour scheme. Other noteworthy objects in this part of the collection are the several monumental images of the Virgin Hodigitria with Child, of which three (XVIII-28, XVIII-30, XVIII-196) are examples of the iconographically interesting group of icons depicting the Virgin surrounded by apostles and prophets. These were of Byzantine origin and were later brought to the Carpathian region.
Another important part of the collection are the Russian icons, which mostly date from the 19th century, though there are also some older pieces from the 17th and 18th centuries including the icon of St. Nicholas (XVIII-795), the Virgin of Smolensk (XVIII-577) and a triptych illustrating the hymn to the Virgin Mary 'Dostojno jest...' ('It is meet and right…') (XVIII–130). These artefacts are fine examples of Russian iconic art and also goldsmithery, some being adorned with silver or even gold covers.
A highly valuable collection is the group of medieval brass crucifix-shaped reliquaries, the so called encolpions (12th to 15th centuries). Unearthed in the vicinity of Kiev and Volhynia these objects are part of the legacy of Kievan Rus'.
An additional feature of the collection are objects originating from regions which shared a profound post-Byzantine artistic influence. These include small cult objects with open-work carving from Mount Athos and an extremely valuable icon (a rarity in Polish museums) depicting the Virgin with Child with St. Catherine and St. Roch, a product of the so-called Italo Cretian school probably created in Venice in the 16th century.
The Orthodox Art Department does not have a permanent exhibition. Its collection is currently in storage, though it will be exhibited in the future in the Bishop Erazm Ciołek Palace at 17 Kanonicza St.
Bronisława Gumińska
