The church in Blizne may have already existed in the 14th century. In 1366, King Casimir III the Great granted the local forest for a village under Magdeburg Law, endowing the church with two łans (old unit of field measurement used in Poland) of field. The village was sold in 1402 to the Bishop of Przemyśl, Maciej, and in 1406 Władysław II Jagiełło made it a village according to German law, while endowing the church with another two łans of field. The church building itself is mentioned in 1470; the current building is generally assumed to have been built in the 2nd half of the 15th century. The building has stone foundations and a log construction (it is a structure built with horizontal logs interlocked at the corners by notching). The ceilings of the nave and of the three-sided closed chancel are on the same level; the nave has zaskrzynienia (extended beams of the upper part of the side walls in the chancel, which is narrower than the nave, forming a support for the timber roof truss that covers the entire church). The original timber roof truss has survived until today and we can find carpenters’ marks on its trusses. The ceiling beams of the chancel are reinforced with hooks.
The windows in the chancel are closed with a late Gothic ogee arch; the portal leading to the sacristy has the same shape.

Consecration crosses are the oldest of the decorations preserved inside the church; they are painted encircled Greek crosses showing where the church was anointed in order to be consecrated. In 1549, the entire interior was covered with polychrome; the late-Gothic and renaissance murals in the chancel have survived until today. The lower parts of the chancel’s walls now show a later, ornamental polychrome (ca. 1700), which might be hiding the earlier murals (as evidenced by the uncovered fragments showing a woman’s head). The polychrome was uncovered, renovated, and partially reconstructed in the years 1964-1971.

A 16th-century figural polychrome was used to cover the entire interior of the church; individual scenes were put in rectangular fields, separated by strips of Renaissance ornaments.
The decorations from 1549 include the Passion of Jesus cycle on the northern wall of the chancel (up to the scene of Harrowing of Hell, which is partially preserved), while the eastern wall shows the Resurrection of Jesus, surrounded by currently illegible scenes. The foundation inscription is illegible as well, with the only visible elements including the date ‘1549’ and some kneeling figures (possibly depictions of the donors). The scenes on the southern wall of the chancel have been mostly reconstructed; they include the Crucifixion, the Dormition of the Virgin, the Assumption and Coronation of Mary, Madonna with Child, the Transfiguration of Christ, and the Virgin and Jesus Child with Saint Anne.
The western wall of the chancel, or the rood wall, shows a representation of the Suicide of Judas, and probably the Suffering of Job.

The Final Judgement depictions are usually dominated by devils: both in medieval and modern art, the grotesque human-animal demons seem to be more amusing than frightening. The very image of Satan as a human-animal hybrid is rooted in ancient art: the horned and hoof-bearing devil with a tail has its source in mythological satyrs, a hideous half-human half-goat characters. In ancient culture, satyrs embodied unbridled, mainly sexual, drive, and it was that meaning that was transferred into the Christian representations of Satan. Moreover, medieval art would often show evil in the form of wild animals: Romanesque artists in particular would present evil powers in the form of aggressive beasts, real or fantastic. At the same time, however, we should not assume that the exaggerated images, which seem funny to us, were purely terrifying to the audience of the time.