Vede Výzkumné centrum Dvory a rezidence ve středověku, píše odborné knihy o životě na středověkých dvorech a překládá veršované eposy ze staré němčiny 13. století. Zároveň si však umí ušít středověké šaty dobovou technikou nebo vyzkoušet vaření podle dochovalých středověkých receptů. Bádání v historických pramenech i méně obvyklé experimentální přistupy pomáhají Daně Dvořáčkové-Malé z Historického ústavu AV ČR lépe pochopit vytyčený objekt věděckého zájmu - každodenní život panovníckých dvorů a obyvatel středověku. and Leona Matušková, Stanislava Kyselová, Václav Kořínek.
Generations of historians strived (and they still continue to do so) to deduce, what were the property rights of Mstiš to the homestead at the settlement near the Bilin castle and to the newly built Church of Saint Peter in its vicinity. The outcome of the analysis is unconvincing: Cosmas’ text itself does not enable any unambiguous conclusions on the nature of Mstiš’ rights to the homestead and church. It is possible that localities endowed with names derived from the names of castle custodians and other persons from the ranks of the princely retinue indicate one of the manners in which these individuals could gain land ownership. At least in some of the cases, the custodians could proceed to dispose of the property autonomously and bequeath it to an ecclesiastical institution or establish a similar institution themselves. and Tomáš Velímský.
In the culminating and late middle ages funny scenes, the so called drôleries, appear in the borders of illuminated manuscripts. Th eir problems are not explained completely; they seem to contain hidden spiritual meanings. Besides singing birds, which are symbols of the unearthly sphere, fi gures appear most oft en who were taken as negative in middle-ages – owls, apes, beasts of prey, dragons, and clowns. Th e fi gures of antique mythology were perceived as negative too; the cults connected with them were perceived as demoniacism by the Christian society. Drôleries are usually placed in borders which are decorated with an acanth. Th e acanth in time became a symbol of victory over death. It can be also interpreted as Christ´s crown of thorns. In this way the spirit of medieval symbolism indicated that negative forces are driven to the margin and defeated by Christ´s victim.
In the culminating and late middle ages funny scenes, the so called drôleries, appear in the borders of illuminated manuscripts. Th eir problems are not explained completely; they seem to contain hidden spiritual meanings. Besides singing birds, which are symbols of the unearthly sphere, fi gures appear most oft en who were taken as negative in middle-ages – owls, apes, beasts of prey, dragons, and clowns. Th e fi gures of antique mythology were perceived as negative too; the cults connected with them were perceived as demoniacism by the Christian society. Drôleries are usually placed in borders which are decorated with an acanth. Th e acanth in time became a symbol of victory over death. It can be also interpreted as Christ´s crown of thorns. In this way the spirit of medieval symbolism indicated that negative forces are driven to the margin and defeated by Christ´s victim.
Since the 1950s the term “gombik” has been used in Czech and Slovak archaeological literature to describe artifacts from the Early Middle Ages resembling buttons, which appear as an accessory of modern Hungarian as well as some Slovak men’s and women’s clothing. The most frequent occurrence of spherical pendants was recorded in graves of women and children; a lesser occurrence was recorded in graves of adult men. We may presume that the class that is referred to in written sources as dukes or even as noble faithful men applied it to jewelry - the “gombik” was probably created in the cultural space of this class and thus became indentifying symbol. and Hana Chorvátová.