Everyone has a bedtime routine: eat dinner, take a shower, put on some pajamas, brush your teeth, and finally hop into bed to relax. For people from the Czech Republic, especially kids, their bedtime routine is never complete without 痴别膷别谤苍颈膷别办. This is a children鈥檚 bedtime story show showcasing a character in the intro and outro called 痴别膷别谤苍颈膷别办. It always plays before seven o鈥檆lock and features one ten-minute long story. 痴别膷别谤苍颈膷别办 was created by a team, drawn by Radek Pila艡 and animated by Anton铆n Bure拧, the music composed by Ladislav Simon, and the show directed by V谩clav Bed艡ich. This group collaborated with many other talented authors, leading today to the wide selection of stories 痴别膷别谤苍颈膷别办 offers. 

The beloved character, 痴别膷别谤苍颈膷别办, is portrayed as a young boy with blue hair, sporting a shirt, yellow pants, and shoes, with his signature triangle paper hat made from newspaper. The intro to 痴别膷别谤苍颈膷别办 shows the boy going through the night sky using a variety of different types of transportation while throwing pages left and right, symbolizing that there is a story about to be told. Right from there is where the ten-minute bedtime story begins, culminating with 痴别膷别谤苍颈膷别办 making an appearance once more to say 鈥淒obrou noc!鈥� which means 鈥淕ood night!鈥� in English. 

One popular kid鈥檚 cartoon that was broadcasted on 痴别膷别谤苍颈膷别办 is 鈥淢axipes F铆k鈥�, created by V谩clav Bed艡ich, about a dog who grows to be very large causing 鈥渢error鈥� on the neighborhood, but inside he is a truly kind and caring animal who ends up venturing out in the world with the help of his family. Another popular cartoon was called 鈥淏ob a Bobek鈥� which is made by multiple people but directed by V谩clav Bed艡ich, Miroslav Walter, and Ivo Hejcman. The show follows the adventures of two rabbits that live in a magician鈥檚 hat. Next up on the list is 鈥淢ach a 艩ebestov谩鈥� which is written by Milo拧 Macourek and Jaroslav Doubrava and illustrated by Adolf Born. This cartoon shared stories about two children, Mach and 艩ebestov谩, who possess a magical phone that fulfills their wishes, taking them anywhere and allowing them to encounter interesting situations. Lastly, another very good and popular story broadcasted on Ve膷ern铆膷ek is Krte膷ek by Zden臎k Miler. This cartoon is very widely known and may be the most popular. Krte膷ek showcases stories about a little mole who experiences a variety of adventures with his woodland friends in the forest and several other places. Krtek became a major cultural symbol of the Czech Republic and is known in households worldwide.

With the help of these collaborators providing their diverse cartoons, 痴别膷别谤苍颈膷别办 remains the longest broadcasted show in the Czech Republic. 痴别膷别谤苍颈膷别办 also claims its importance in gaining cult status and becoming a part of the Czech cultural heritage and the nation鈥檚 identity. 痴别膷别谤苍颈膷别办 is the bedtime routine for not only children but everyone in the Czech Republic.

Written by: Lucy Vanecko

Works Cited

Petra. 鈥淰e膷ern铆膷ek - Czech Bedtime Stories.鈥� Czechology, 17 Feb. 2025, . 

Romandash, Written by Anna, et al. 鈥淟ong Live Ve膷ern铆膷ek: The Enduring Appeal of a 55-Year-Old Czech Children鈥檚 Television Show.鈥� Global Voices, 2 Jan. 2020, . 

鈥淰ecernicek Celebrates 40 Years.鈥� Radio Prague International, 7 Apr. 2021, . 

The Czech Republic can trace its poetry and literary origins to the 9th century when its texts were written in the Old Church Slavic language. The Old Church Slavic language is the oldest documented language and was created by Saints Cyril and Methodius. Cyril and Methodius were brothers born in the early 9th century and were recognized as saints for influencing Slavic people's religious and cultural development. Both brothers worked as missionaries to educate the Slavic people, teaching them Old Church Slavic by translating the texts from the Bible. The creation of the language was also used to fight against Frankish (German) influence. 

The earliest Czech poems were of songs written in Old Church Slavic, 鈥淟egends of King Wenceslas鈥� and 鈥淗ospodine, pomiluj ny鈥� (Lord Have Mercy on Us), and date back to the 10th century. It would not be until the 13th century that Czech hymns, religious songs, or poems began to appear. Czech hymns were written later in this period, including the courts of the P艡emyslid Kings of Bohemia. 

At the start of the 14th century, verses in Czech were more prominent in literary works consisting of chivalrous romances, epics, legends, and biographies of saints. In regards to the genres of poetry, epic poems were more widespread during this time. There were two types of epic poetry: poems of mythical legends and tales of knights' battles. Both of these epics contained traces of religious elements throughout the poems. 

The Great Divide on Religion 

As literary works in Czech began to appear more, Jan Hus 鈥攁 Czech theologian and philosopher鈥� set in motion in the early 15th century the Hussite movement. This movement challenged the authority of the Roman Catholic Church and addressed the grievances of the Czech people. The Hussite movement went on to create a definite break in the Czech literary works and finally allowed the Czech to form a new beginning within literature. The divide between Latin and Czech writing remained rampant throughout the later ends of the 15th century with poetry and intellectual prose being written in Latin whereas popular prose was written in Czech or German. The Hussite period developed the genre of Czech religious songs as a replacement for Latin hymns and liturgy.  

Hus is not only credited with inspiring the Hussite movement but also creating rules of grammar and spelling that would be implemented in Czech literature in the 17th and 18th centuries. 

The middle of the 15th century was when the Hussite movement came to a halt with the election of the sixteenth King of Bohemia, George of Pod臎brady, who ruled from 1458 to 1471. George was born out of wedlock to a Bohemian nobleman, at the height of the Hussites movement he served as a leader, but he was more tolerant of the Catholic faith. Due to his toleration of the Catholic faith he was chosen unanimously by the estates of Bohemia in 1458 to be king. His ruling was marked by his attempts at peace between the Hussites and Catholics in the religiously divided land of Bohemia. This earned him the nicknames of 鈥淜ing of Two Peoples鈥� and 鈥淔riend of Peace.鈥� 

The people's religious divide remained evident in the literary works after the crowing of King George, where competition amongst Catholics writing in Latin and Protestants writing in Czech proceeded. 

The Austrian-Habsburg Takeover

Czech literary works faced a further change in 1620 after the Battle of White Mountain which was due in part to the religious divide that the Czech lands were still faced with that resulted in the Austrian Habsburg control for the next 300 years. Under the Austrian Habsburg crown, the literary traditions of the past two centuries were banned. This led to the re-Catholization and Germanization of Bohemia, in turn splitting the literature into two groups: Catholic and Protestant. 

It was through Czech exiles that the literary works were able to survive. One among them was Jan Amos Comenius, whose written works in Czech divulged him as a prominent writer throughout Europe. His Labyrinth of the World and Paradise of the Heart stands as one of Czech鈥檚 greatest prose literary works. 

The Arrival of the Romanticism Movement 

The end of the 18th century brought the wave of the Romanticism movement in literary works, arts, music, and architecture. The Romanticism movement sought to express people鈥檚 emotions, visions, and imaginations. Offering the creativity to explore and indulge in fantasies and romance. This wave of excitement and feeling of limitless opportunity catalyzed the Czech people to begin reviving their literary works. This working effort to inaugurate Czech literature was in tandem with both scholars and literary artists. 

The Greatest Czech Poem Ever Written 

Of the Czech poets who came about during the Romantic period, the most celebrated and recognized of them was Karel Hynek M谩cha. His poems were known for their lyrical intensity and usage of flawless language. Of them, the most famous poem that M谩cha wrote was 惭谩箩 (May). Upon publication in 1836, the poem was met with unfavorable views with people finding M谩cha鈥檚 poem confusing and not following the national views of the time. 

It would not be until later in the 1850s after M谩cha鈥檚 death that the poem was reintroduced to the younger generation of poets and novelists it was met with critical acclaim for its existentialism, alienation, isolation, and surrealism. 

The 惭谩箩 Poem and its Poetic Impact

惭谩箩 pays homage to the beauty of spring and was heavily inspired by the nature and architecture of the Czech Republic. The poem is set on an open land landscape and features a lake called Big Pond which is now renamed Lake M谩cha after the poet. Castles such as Bezd臎z, Karl拧tejn, and K艡ivokl谩t also influenced the poem鈥檚 setting as well. 

The poem tells the tragic love story of Vil茅m, a bandit who is in love with Jarmila, a kind and pure girl, but has committed a murderous crime and is to be killed for his horrible acts. The crime he committed was murdering his father who attempted to seduce Jarmila while Vil茅m was away. Upon awaiting his execution, Vil茅m reflects on his life and ponders the beauty of nature. 

Since the rediscovery of 惭谩箩, poets who followed in the footsteps of M谩cha published their writing in an almanac titled 惭谩箩 after M谩cha鈥檚 poem. These writers were known as the 惭谩箩 Circle or the May Generation and sought to incorporate Czech literature into European culture. Their literary works focused on the simplicity of the 19th century and commented on the invasion of the Industrial Revolution. 

The Poetic Waves That Swiftly Followed 

The later part of the 19th century saw new waves of poets arriving after the conclusion of the May Generation. The first wave was the Neo-Romantics who furthered the efforts of the romantic works through their literary writing. Their poems not only focused on the romantic traditions of the Romantic movement but incorporated contemporary styles of realism, decadence, and symbolism. 

The next wave was Naturalism, and poets of this period sought to explore the Czech lands through their writing by emphasizing the morals of the people, especially those of the lower classes. 

The final wave came near the end of the 19th century with the introduction of Modernism. The characteristics of the Modernists were known for their particular style of writing and having critical views on the work of past generations. These characteristics of the Modernists lead to the birth of the literary critic as not only a working profession but also helping new up-and-coming writers. This was seen as a helpful tactic in garnering feedback on a writer鈥檚 literary works before publishing the final piece for the public to read. 

20th Century and Beyond 

The establishment of Czechoslovakia as an independent nation is when Czech literature began to thrive. Czech artists revolutionized written areas such as plays, novels, and poems. Between 1918 and 1945 poets like Franti拧ek Halas, V铆t臎zslav Nezval, and Jaroslav Seifert were writing in a wide range of poetic genres. 

After World War II, Czechoslovakia was overtaken by communism which impacted the literary freedom of writers and led Czech literature to decline amongst the public. During the communist regime, the standard style of poetry was drab social realism. The 1960s saw the communist reigns loosen, leading poetry to undergo yet another renaissance. Among the new generation of poets were Ji艡铆 Sotola, Miroslav Florian, Miroslav Holub, and Karel Siktanc who sought to write poetry on 鈥榚veryday life.鈥�

After the Warsaw Pact invasion in 1968, conditions again became harsh for writers. Many left the Czech Republic, while others stayed and wrote for the underground samizdat press or had their manuscripts smuggled to the West.

The end of the communist era allowed Czech poetry to finally thrive and reach audiences throughout the world, allowing Czech writers and poets to write freely in any style of writing and connect with others through their literary works. 

Written by Elizabeth Arebalo

Sources: 

鈥淐zech Literature.鈥� Britannica, . Accessed 7 Feb. 2025. 

鈥淪aints Cyril and Methodius.鈥� Britannica, . Accessed 7 Feb. 2025.

鈥淐zech literature.鈥� Wikipedia. . Accessed 7 Feb. 2025.

鈥淥ld Church Slavic Online.鈥� The University of Texas at Austin - Linguistics Research Center, . Accessed 7 Feb. 2025.

O鈥橦ara, Natalie. 鈥淐zech Poetry.鈥� expats-cz, 30 April 2007,  

Stehl铆kov谩, Olga. Zedn铆k Ladislav. 鈥淐ontemporary Czech Poetry.鈥� Czech Lit, 13 Feb. 2017, .

As the second of three daughters of painter Vojt臎ch Preissig, Irena Bern谩拧kov谩 was born on February 7, 1904, in Prague, Bohemia. She and her family lived in Boston, during the First World War. Their home became an important place for politicians and statesmen fighting for Czechoslovak independence to meet.

Bern谩拧kov谩 herself was a resistance member actively fighting against German occupation. Alongside that, she was a Czechoslovak journalist. After the establishment of the Czechoslovak Republic in 1918, Bern谩拧kov谩 and her sisters returned to Prague in 1921 where they went to study with their Aunt. Here she met her cousin Eduard Bern谩拧ek, whom she fell in love with and married at the age of 21. Her father was angry with her decision and did not support their marriage in any way, and therefore, cut off contact with Bern谩拧kov谩 for four years.

During this time, the couple had a home in the Spo艡ilov area of Prague. These years of marriage were not happy as her husband, Eda, did not want a strong woman but rather one to control. Arguing day by day, her husband started to come home later and later giving him time to spend with a certain widow. To top things off, Bern谩拧kov谩 had a miscarriage followed by a difficult procedure which led to her inability to have more children. The marriage had fallen apart.

Bern谩拧kov谩鈥檚 father returned to Czechoslovakia in the late 1930s where he ultimately decided it was time to reconnect with his daughter. With their political views matching one another's, their bond was strengthened once again. They both joined the anti-Nazi resistance while Bern谩拧kov谩 volunteered as a nurse in the Red Cross and treated refugees from the occupied Czechoslovak border.

The German troops marched into the rest of former Czechoslovakia in 1939, when Bern谩拧kov谩 and her father had started collaborating on publishing the largest illegal magazine 鈥淰 boj鈥� with Josef 艩kalda. Bern谩拧kov谩 rewrote the texts on a typewriter and distributed her copies while her father, who was a member of the editorial board, painted the covers and did translations. With every issue made, a copy was sent as provocation to the Gestapo. After the summer of 1939, where the State Secretary KH Frank received several copies directly, the Gestapo started going after resistance fighters on orders from the highest ranks. When most of the leading publishers were arrested, Bern谩拧kov谩 and her father escaped and moved production to her apartment. 

The Gestapo was still after her. Receiving a warning from an anonymous person saying, 鈥淭he Gestapo has requested your papers. You must not stay at home any longer, you are in danger of arrest. A friend from the police.鈥� Bern谩拧kov谩 decided to go underground. She slept in the winter garden below her father鈥檚 studio, dyed her hair, wore glasses, and only went out with false documents. Unfortunately, the Gestapo were already on her tail, and they arrested her on September 21, 1940, alongside her father and many other collaborators.

Bern谩拧kov谩 endured three days of interrogation by the Gestapo, but she did not break. She took all the blame for herself, only giving out names of those who were imprisoned or already dead. In doing so she saved the lives of many others, but as the head of a resistance organization, she was sentenced to death and executed on August 26, 1942. Due to her honorable actions, in 1946, Bern谩拧kov谩 received the Czechoslovak War Cross in memorial, and a Medal for Bravery in 1998.

Written by: Lucy Vanecko

Sources:

鈥淚rena Bernaskova.鈥� Prabook.Com, .  Accessed 31 Jan. 2025. 

http://www.publix.cz, PubliX software -. 鈥淧ortal of Prague 2.鈥� The Borough of Prague 2: Irena Bern谩拧kov谩, .  Accessed 31 Jan. 2025. 

Monika Kuncová 鈥淚nka Bern谩拧kov谩: Zasnoubena Se Smrt铆.鈥� Novinky, Novinky, 31 Oct. 2021, 

Early Life

Born in 1912 in Pilsen, Bohemia (now Plze艌, Czech Republic), Ji艡铆 Trnka鈥檚 artistic destiny was shaped early on under the guidance of Josef Skupa, a celebrated Czech puppeteer and his art teacher. Skupa鈥檚 influence ignited Trnka鈥檚 enduring passion for puppetry. 

Though puppetry was his calling, Trnka initially worked as a children's book illustrator, bringing the stories of Czech fairy tales, the Brothers Grimm, and Shakespeare to life. Trnka is credited with illustrating over 100 novels throughout his career. In 1945, Trnka shifted into animation. His first puppet film premiered in 1947, marking the start of a groundbreaking chapter in his career. From that point on, puppets became his primary medium of storytelling.

While his illustrations catered to children, Trnka鈥檚 puppet films explored mature themes, most of his films targeted towards adult audiences. His magnum opus, The Hand, remains a haunting allegory of oppression and power, proving that stop motion, animation, and puppetry - traditionally seen as children鈥檚 mediums - could deliver profound messages as effectively as any other art form.

The Walt Disney of Eastern Europe?

Western critics often labeled Trnka as the 鈥淲alt Disney of Eastern Europe,鈥� a comparison quite misleading and which oversimplifies his unique contributions to animation. This label reflects the global dominance of Disney鈥檚 name rather than the true nature of Trnka鈥檚 work. In this new era of animation, Disney鈥檚 influence was so prevalent that any notable animator was inevitably compared to him. For many, it was nearly impossible to view animation through any lens other than Disney's.

Yet, Trnka鈥檚 creations stood apart鈥攈is films drew deeply from Czech puppetry traditions and offered a cinematic language entirely his own. Far from imitating Disney鈥檚 formulaic approach, Trnka redefined animation鈥檚 potential. Critics of his time recognized his challenge to Disney鈥檚 dominance. American critic Stephen Bosustow even hailed Trnka as 鈥渢he first rebel against Disney鈥檚 omnipotence.鈥� (Balz, 2007)

Trnka embraced stop-motion puppetry as his medium, crafting deeply personal and visually stunning films that told stories Disney didn鈥檛. Each of his films had a unique style and distinct vision. This is largely due to Trnka鈥檚 artistic vision and, more importantly,  his ability to inspire and cultivate the talent of his team of animators.

Studio Brat艡i v triku

Ji艡铆 Trnka was a founding member and leader of the film studio Bratri v triku. Established in 1945, the studio became a fertile ground for artistic innovation, even as the Communist Party鈥檚 rise to power in 1948 reshaped every facet of Czech life. Remarkably, Brat艡i v triku appeared insulated from the control and ideological pressures that were imposed on other art forms. 

The studio鈥檚 relative protection stemmed from two key factors. First, the Communist Regime benefited from the prestige and revenue that the studio brought. In 1947, one of its films, based on a popular Czech fairy tale and directed by Trnka, won the award for best animated short film at Cannes, launching the studio鈥檚 reputation across Europe. Over the years, Trnka himself would garner even more accolades, including the Gold Medal at the Venice International Film Festival, the M茅li猫s Award for best animated film, and the Special Prize at Cannes, cementing his status as a celebrated artist on the global stage. This international acclaim reflected favorably on the Communist regime, which touted Trnka鈥檚 achievements as evidence of Czechoslovakia鈥檚 cultural sophistication creating a paradox where Trnka鈥檚 success served both his artistic integrity and the state鈥檚 propaganda narrative.

Second, animation proved to be a medium the regime found difficult to manipulate. 鈥淲e were protected from communism for the simple reason that nobody understood anything about animation,鈥� shares filmmaker Zdena Deitchov谩. (Falvey) Trnka鈥檚 work was so richly metaphorical and imbued with poetic imagery that it was impossible to infuse with propaganda. After all, how do you censor a film that has no dialogue? It also helped that many of Trnka鈥檚 films were often based on fairytales and Czech folktales. Thus, the studio鈥檚 films were mostly safe from direct interference from the state.

This meant that the studio had at least some degree of freedom of artistic expression that was unattainable in any other medium while under Communist rule be it theater, television, or live-action film. Thus, the preservation of Czech art and its advancement was in the hands of Bratri v Triku. As one observer noted, 鈥淭hroughout a long, bleak and often frightening period of totalitarianism, Brat艡铆 v triku built a colourful world of tenderness and artistic brilliance that remains the hallmark of Czech children鈥檚 films today.鈥� (Falvey) In Trnka鈥檚 hands, the studio became more than just an entertainment hub 鈥� it safeguarded the soul of Czech culture.

Czech Puppetry

The relative flexibility that Trnka and his studio experienced under the Communist Party is fascinating, especially when viewed through the lens of Czech history.

In the 17th century, during Habsburg rule, Bohemians (now the Czech Republic) were forced to speak German, and the Czech language faced complete erasure. However, puppet theater provided a unique loophole: the rules didn鈥檛 apply to puppets- only people. Through public performances, puppeteers preserved the Czech language and identity, offering a cultural lifeline during a time when both were at risk of being lost.

Centuries later, Trnka carried this legacy forward, operating in a vastly different political climate but with a similar mission. His stop-motion films, steeped in Czech folklore and mythology, became cultural cornerstones. What makes Trnka鈥檚 work even more remarkable is how he bridged tradition with innovation. His puppets were not mere carriers of old stories - they were modern works of art that elevated the medium of puppetry. 

Through his work, Ji艡铆 Trnka carried forward the spirit of Czech puppetry as a form of resilience and cultural preservation. His films served not only as artistic achievements but also as a reminder of the enduring power of storytelling to sustain a nation鈥檚 identity, even in the face of profound oppression.

The Hand

While the animation studio benefited from a degree of flexibility, both Trnka and his animators were fully aware that their artistic freedom, though greater compared to other mediums like theater and live-action film, was far from absolute.

Trnka's position was both advantageous and precarious. The Soviet state funded his projects, providing the resources necessary for his groundbreaking films, but this support came at the cost of complete independence. Zdena Deitchov谩, a colleague at the studio, reflected on this compromise: 鈥淣ow you can do whatever you want, but you have no money. In those days [1950s-60s], you were restricted, but you had money... so what鈥檚 better?鈥�. (Osmond, 2003) 

As one of Czechoslovakia鈥檚 most celebrated cultural figures, Trnka became both an emblem of national pride and a tool of the Communist state. The regime viewed his global acclaim as evidence of its cultural sophistication. 鈥淎s an artist, [Trinka] needed absolute freedom, and to a great extent, he had it,鈥� one observer noted, 鈥渂ut he was also part of the Communist machinery, and he knew this full well.鈥� ("A Very Famous Man")

This tension reached its peak in The Hand (1965), Trnka鈥檚 haunting stop-motion allegory about authoritarian control. Widely regarded as one of the most subversive works in Czech cinema, the film depicts a puppet artist coerced by a menacing hand into abandoning his own creative vision to craft works that glorify the hand itself. The film鈥檚 sparse, dialogue-free narrative brims with symbolic resonance, making its critique of power and oppression both unmistakable and universal.

Though The Hand initially escaped immediate censorship, it was officially banned after Trnka鈥檚 death in 1969. By then, it had already cemented its legacy as a work of defiance. Trnka鈥檚 final masterpiece remains a powerful testament to his ability to navigate and challenge the oppressive constraints of his era.

Trnka鈥檚 Legacy

Trnka鈥檚 influence is so deeply embedded in the craft that it鈥檚 nearly impossible to watch a stop-motion film today without encountering echoes of his genius. What is perhaps most remarkable is how seamlessly his style and techniques have been absorbed into contemporary animation, so much so that many animators today may not even realize they are working under his influence.

The following prominent figures in animation have credited Trnka: 

• Jan Pinkava: Czech animator and director of Geri鈥檚 Game 鈥� Pixar鈥檚 first short featuring a human protagonist, which won an Academy Award for Best Animated Short 鈥� and co-writer of Ratatouille.

• Kihachir艒 Kawamoto: Japanese puppet master and filmmaker 

• Rebecca Sugar: Creator of Steven Universe 

• Henry Sellick: Director of The Nightmare Before Christmas, James and the Giant Peach, Coraline, and Wendell & Wild

Ji艡铆 Trnka's films are inextricably tied to the Czech identity in a way few animators have ever achieved. He was a celebrated artist who, despite his fame and position, could never escape the political forces that sought to control him. Yet, in the face of these challenges, he produced work that transcended political boundaries and continues to inspire. His ability to create films that were both personal and universal, political and deeply human, is what solidified his legacy as one of the most influential animators of the 20th century. 

Trnka died in 1969 at the age of 57, his entire film career conducted under the shadow of totalitarian rule. One can鈥檛 help but wonder what new artistic territories he might have explored had he been given full artistic freedom. Nevertheless, his ability to create beautiful, deeply poetic, and at times defiant films under oppressive circumstances speaks to the spirit of his artistry.

Written by: Lucilla Chavez

References

Animation Obsessive. "A Very Famous Man." Animation Obsessive, Substack,. Accessed 27 Nov. 2024.

Balz, Adam."Ji艡铆 Trnka." Not Coming to a Theater Near You,. Accessed 27 Nov. 2024.

Falvey, Christian. "Studio Brat艡i v Triku: Cradle of Czech Animation." Radio Prague International,. Accessed 20 Nov. 2024.

Gene Siskel Film Center. "Five Questions with Irena Kovarova, Programmer of The Puppet Master: The Complete Ji艡铆 Trnka." Medium,. Accessed 20 Nov. 2024.

Jackson, Richard. "Political Oppression and Resistance in Ji艡铆 Trnka鈥檚 Ruka (The Hand) (1965)." Fantasy/Animation,. Accessed 27 Nov. 2024.

Osmond, Andrew. "Czech Animation: Two Perspectives." Animation World Network,. Accessed 20 Nov. 2024.

Puppets in Prague. "Czech Puppet History." Puppets in Prague,. Accessed 20 Nov. 2024.

Shehadi, Sammy. "Why Czechs Don鈥檛 Speak German." BBC Travel,. Accessed 20 Nov. 2024.

"The Grandmaster of Stop-Motion." Animation Obsessive, Substack,. Accessed 20 Nov. 2024.

The story begins with Tom谩拧 Ba钮a, born in Zlin, Moravia on April 3, 1876. Among a family of shoemakers, Tomas, along with his brother Antonin and his sister Anna, established the Bata Shoe Company in 1894. Rather than begin with one-man shops, the company utilized 10 workers at the very start before expanding to 50. This likely allowed the Bata Shoe Company to release the Batovka, a shoe that combined leather and canvas and sold at a low price, in 1987.

Between 1897 and 1912, the company rapidly expanded, including opening the first Bata store in Zlin in 1899, producing over 2,000 shoes a day by 1905, and employing 600 workers by 1912.

Of course, the company continued expanding into 1932, the same year that Tom谩拧 Ba钮a, along with the pilot Jind艡ich Brou膷ek, died in a tragic plane crash on July 12.

After his death, Tomas鈥� half-brother, Jan Antonin Bata, took his place. Jan continued the expansion efforts that Tomas started and found much success. Specifically, before Tomas鈥� death, the Bata Shoe Company employed over 16000 employees and maintained over 1600 shops and 25 enterprises. Under Jan鈥檚 leadership, the company more than doubled in size, with over 38,000 employees and 2200 shops and 70 enterprises maintained. By 1942, the number of employees, both in Czechoslovakia and internationally, grew to over 105,000.

These employees were not just creating shoes, however. Jan was involved in many enterprises. For example, in the world of advertisement and documentary, the Bata Film Studio, founded by Jan, was headed by Czech-American director Alexander Hackenschmied. One of the studio鈥檚 most famous films, directed by Alexander and Elmar Klos, is 鈥淭he Highway Sings.鈥� Some of his other enterprises supported the Allied forces鈥� future war efforts via pilot training.

Administration Building Number 21 (No. 21) is a landmark that signifies Jan鈥檚 success as the successor of the Bata Shoe Company. Even for a building completed in 1938, it is fairly modern by today鈥檚 standards. Each floor has its own temperature, in contrast to one temperature for the entire building. The flagship feature of No. 21, however, is the office inside an elevator. The office elevator can stop on every floor of the building. It has a sink that utilizes two water tanks: fresh above and used below. Other than the sink, it has standard office furniture and electric/light fixtures. Unfortunately, Jan Antonin Bata was unable to ever enjoy his novel elevator office.

Because of the Nazi occupation of Czechoslovakia, Jan lost control of the Bata Shoe Company in Zlin, but not before he attempted to negotiate with the Nazis. Due to the failed negotiation, Jan had to flee Czechoslovakia. After settling in the United States briefly, he was once again forced to leave, exiled due to his previous negotiation attempt. Having moved to Brazil, the entrepreneurial spirit still resided in the disgraced yet determined businessman, after which he established several company towns and continued to expand the Bata Corporation until his death in 1965. Bataipor茫, Bataguassu, Anauril芒ndia, and Mari谩polis are examples of company towns Jan established. His granddaughter Dolores Bata Arambasic lived in Batatuba, residing in the Piracaia municipality, until she was 16 to pursue education in the greater Sao Paulo state.

Administration Building Number 21, now known as the Bata Skyscraper, serves as a Zlin government office, museum, and tourist attraction. A nearby park hosts a statue of Jan right across from the building.

Even at the height of success, some people lose grasp of it due to circumstances out of their control. Jan Antonin Bata and his story shows us that achieving success is always within our grasp.

Written by Emanuel Linton

Sources:

鈥淗istory.鈥� The Bata Company, Bata Corporation, . Accessed 7 Jan. 2025.

鈥淰ideo: P谩d Letadla Tom谩拧e Bati. Co Se Odehr谩lo Na Palub臎?鈥� iDNES.Cz, MAFRA, a. s., 8 Aug. 2023, .

鈥淎 Testament to the Leadership and Innovation of Jan Antonin Bata!鈥� History of Jan A. Bata, Czech Shoe Industrialist, 26 Apr. 2007, .

Tom Scott. 鈥淭his man built his office inside an elevator.鈥� YouTube, Google LLC, 28 Aug. 2023, .

鈥淏谤补锄颈濒.鈥� Bata鈥檚 World -- World of Bata, Univerzita Tom谩拧e Bati ve Zl铆n臎, . Accessed 7 Jan. 2025.

Willoughby, Ian. 鈥淛an Anton铆n Ba钮a Always Said He Put His People First, Says Granddaughter Dolores Bata Arambasic.鈥� Radio Prague International, 11 Oct. 2023, .

Before adopting the Christmas tree to their holiday traditions the Czech Republic would instead use conifer branches or decorated evergreen branches that would be hung upside down over the dinner table.

The adoption of the Christmas tree in the Czech countryside came at a later date as they had viewed the Christmas holiday and traditions tied to the birth of Jesus. Because of this view, they saw the adoption of the Christmas tree as foreign in their lands, and took a while before they started to incorporate the Christmas tree into their households.

Eventually, in the second half of the 19th century, the Christmas tree soon became a part of the Czech Republic's holiday traditions. During this time period, families would decorate their trees with pastries, fruit, candies, paper chains, and knitted decorations on the morning of December 24th. Even though it was a different era the food that was on the tree was not allowed to be eaten as it is in today鈥檚 time with popcorn chains and candy canes being hung for decoration on the tree only.

At night once family diners had finished, families would gather together around the tree and start to shake the branches until the pastries, fruit, or candies fell down. These sweets would be the presents that would await the children. In today鈥檚 modern time presents are left under the tree but it is not Santa who leaves the gifts but baby Jesus who visits households leaving presents for good children.

The Czech's adoption of the Christmas tree has undergone various changes and revamps from the tree being seen as unpatriotic to decorated branches being hung on the ceiling to presents being left by baby Jesus.

All of this shows the unique history of how the Czech Republic came to incorporate the Christmas tree into their holiday festivities which has led to the creation of the country鈥檚 own traditions that are forever tied to the Christmas tree. Currently, the Christmas tree can be seen present throughout households in the Czech Republic. 

Written by Elizabeth Arebalo

Sources:

鈥淗istory and Present of Christmas Tree in Czech Republic.鈥� Czechlogy. 18, Dec. 2021.

鈥淧ublic Christmas Trees: A bittersweet Story.鈥� Flying Golem. 7, Dec. 2018.

鈥淗istory of Christmas Trees.鈥� History. 28, Nov. 2023.

鈥�10 Czech Christmas Traditions That Surely Aren鈥檛 Real (But They Totally Are!).鈥� CityScape Bliss. 24, Dec. 2016.

In the 12th century, St. Barbara鈥檚 Feast was included in the Tridentine calendar to be celebrated on December 4th. Now, that day is celebrated as Barborky. Barborky is a commonly practiced Czech tradition around the holiday season. On December 4th, it is customary to cut a branch from a cherry tree and put it in a vase inside the home of an unmarried woman. According to the folk tradition, the branch must be from a tree at least ten years old, and must be cut with the first ray of sun. If the branch blooms before Christmas Eve, it鈥檚 said the woman will marry in the coming year. With Barborky being celebrated early in Advent, it has a Christmas spirit to it. The cherry tree twigs are regarded as pre-Christmas decorations before putting up the Christmas tree later in the month.

While cherry tree twigs are the most typical practice of Barborky, there are two lesser known traditions that are still followed in smaller towns and villages. The first are the women in white. On December 3rd, women dress themselves head to toe in white. In some regions, the women wear only white veils over their face. In other regions, they add flower crowns. In the scariest versions, the women comb their hair over their face and scare misbehaving children, similar to the tradition of Mikul谩拧.

Lastly, the most niche tradition of Barborky is the passing of the light. As mentioned, St. Barbara is regarded as the protector of sudden death and patron of sailors, miners, and artillerymen. To commemorate this, a light called Barbor膷ino Sv臎tlo is passed around mining villages to signify her protection.

If you find yourself in Czechia on December 3rd and 4th, you鈥檒l now know why hordes of women are dressed in white veils or cherry trees seemingly missing all their twigs. However, you may see a couple more Advent traditions taking place such as Mikul谩拧 walking around with And臎l and 膶ert, or young girls carrying lights for St. Lucy鈥檚 Day.

鈥淗istory of Saint Barbara.鈥� Old Spanish Days | Fiesta Santa Barbara, Old Spanish Days | Fiesta Santa Barbara, 5 July 2024, www.sbfiesta.org/history-of-saint-barbara. 

Je啪ek, Zahrada. 鈥淩ozkvetl茅 V谩noce - Barborky: Zahrada Je啪ek.鈥� Zahradajezek.Cz, 28 Nov. 2017, www.zahradajezek.cz/rady-a-tipy/rozkvetle-vanoce-aneb-nezapomente-na-barborky/. 

Petra. 鈥淏arborky, the (Not so) Well Known Czech Tradition.鈥� Czechology, 4 Dec. 2023, www.czechology.com/barborky/.

A large part of the activism of the Velvet Revolution took place in universities. Many students took part in demonstrations or printed posters and news stories about the protests. Because some American academics and graduate students were studying in Czech universities under the Fulbright program, they got a first hand view of the demonstrations. For example, Michael Kurkal was a graduate student at Charles University. On October 28, 1989, he participated in an anti-government demonstration in Wenceslas Square. He filmed the event of police dressed in riot gear beating and arresting protesters. 

Meanwhile, an American Fulbright lecturer named James Grove was working in Palack媒 University. On November 17, he watched as the students went on strike in response to the suppression of the previous protest in Prague. Over four thousand protesters marched through the streets of Olomouc, carrying candles in remembrance of injured demonstrators. They continued their demonstrations over the next few days by printing and distributing eyewitness accounts of the events. On December 8, they got creative by building a wall of cardboard boxes outside government headquarters to symbolize the distance between the government and the outside world.

Declassified documents from the United States Department of State have revealed the experiences of the American embassy鈥檚 staff during the Velvet Revolution. Reporters such as Paula Butturini covered events such as the Wenceslas Square protest and reported them to American media outlets. She even described being beaten by police officers during the demonstration. Despite these violent incidents, the Revolution proceeded in an effective and relatively peaceful manner. The demonstrations ultimately culminated in a massive general strike at the end of November.  This forced the Communist Party to negotiate with its opposition, which led to a transition government being formed and a new president being elected. Shirley Temple Black, who was a U.S. ambassador to Czechoslovakia at the time, summarized America鈥檚 surprise at the sudden success of the revolution with a statement quoted in People Magazine: 鈥淚 knew there would be change someday. I鈥檓 astonished and thrilled and delighted that it happened so fast - and peacefully.鈥�

To learn more about the Velvet Revolution, visit the Czech Center Museum鈥檚 Witness to the Revolution exhibit, available until Saturday, December 21st.

Written By Maya Bouchebl

Sources:

Witness to the Revolution. National Czech & Slovak Museum & Library. 2024.

245 km away is Shark Herders, a sculpture placed outside of Vysehrad Castle. The sculpture by Michal Gabriel consists of five sharks swimming above the grass and six male figures following behind them. The piece represents make-believe and lightheartedness. The sculpture is open to interpretation and draws attention to itself. The sharks and figures are dark brown with holes covering them.                                                                           

Right down the road in Prague, is the sculpture Man Hanging Out by David Cerny which depicts a man dangling over the cobblestone. The figure looks like a man about to plummet to his death. Some people think the sculpture is a person attempting suicide. The sculpture represents Sigmund Freud and intellectualism. The figure has traveled around the world because of its popularity. David Cerny is one of the most (if not the most) famous contemporary visual artists in the Czech Republic.                            

In Utero, another sculpture by David Cerny in Prague, is located at Gallery Golf Hostivar. The six-meter stainless steel figure is a pregnant woman on her knees. The piece is open to interpretation, but her provocative pose may suggest she is trying to be seductive. She also looks to be in labor.                      

Sources:

CzechTourism. 鈥淭he 10 Most Famous Figures in Czech Sculpture 路 #VisitCzechia.鈥� 路 #VisitCzechia, 9 Nov. 2023, www.visitczechia.com/en-us/news/2023/11/n-czech-sculpture.

鈥淟egs out of Water: Provocative Artist Kurt Gebauer Makes People Take Notice.鈥� Radio Prague International, 19 Aug. 2024, english.radio.cz/legs-out-water-provocative-artist-kurt-gebauer-makes-people-take-notice-8826045.

鈥淪culpture Line Prague.鈥� Prague | Sculpture Line, www.sculptureline.cz/en/city/prague. Accessed 22 Aug. 2024.

Ugc. 鈥淢an Hanging Out.鈥� Atlas Obscura, Atlas Obscura, 5 Nov. 2015, www.atlasobscura.com/places/man-hanging-out.

Written by: Mikayla Faires

The carousel is open on Fridays, Saturdays, and Sundays, May through September. The cost to ride is 120 CKZ or $5 in U.S. money. The carousel is housed in a wooden pavilion that has been there since it was open. Music is played in the background that is supposed to sound like an orchestra or band operated by coins. The carousel was pushed by a person under the floor but switched to an electric motor in the 1930s. The multiple sizes of the horses suggest that not only kids rode the carousel. In the present day, kids and adults enjoy riding the carousel. Radio Prague spoke with a long-term resident while they were in Letna and asked her about her memories of the carousel. She said that as a kid, she would sit on the horse while pushing the carousel around with one foot. When she became an adult, she took her kids to the carousel and eventually her grandkids.  

Sources:

Hor谩kov谩, Pavla. 鈥淩epair Work Continues on Europe鈥檚 Oldest Merry-Go-Round.鈥� Radio Prague International, 7 Apr. 2021, english.radio.cz/repair-work-continues-europes-oldest-merry-go-round-8624933.

Hummingbird Stories. 鈥淢ore than a Century-Old Carousel with Horses on Letn谩.鈥� Our Beautiful Prague, 29 Apr. 2024, www.ourbeautifulprague.com/more-than-a-century-old-carousel-with-horses-on-letna/.

Johnston, Rosie. 鈥淢oney Makes the Merry-Go-Round: The Fight to Save the Letna Carousel.鈥� Radio Prague International, 8 Apr. 2021, english.radio.cz/money-makes-merry-go-round-fight-save-letna-carousel-8097815.

鈥淭he Letn谩 Carousel.鈥� National Technical Museum, www.muzeum-chomutov.cz/en/for-visitors/opening-hours/the-letna-carousel. Accessed 27 Aug. 2024.

McEnchroe, Thomas. 鈥淧rague鈥檚 Historic Letn谩 Carousel Set to Be Restored and Reopened by Spring 2022.鈥� Radio Prague International, 16 July 2021, english.radio.cz/pragues-historic-letna-carousel-set-be-restored-and-reopened-spring-2022-8723232.

鈥淢erry-Go-Round Brings Joy to Praguers for over 130 Years.鈥� Radio Prague International, 14 July 2024, english.radio.cz/merry-go-round-brings-joy-praguers-over-130-years-8822494.

鈥淥谤肠丑别蝉迟谤颈辞苍.鈥� Wikipedia, Wikimedia Foundation, 10 Apr. 2024, en.wikipedia.org/wiki/Orchestrion.

Written by: Mikayla Faires

These artifacts are relatively well-preserved for their age. Martin Trefn媒, who is an archaeologist and head of the Pod艡ipsko Museum, states that the collection was probably deliberately buried. Trefn媒 provides a few potential explanations for this. It is possible that the hoard was meant as a tribute to the deities, or that the site was used as a storage pit for a merchant. Trefn媒 also notes that the Bronze Age inhabitants of the area may have buried their property in response to some kind of incident. For example, if their village was being attacked by invaders, they could have stored their belongings underground to protect them from thieves. 

The exact reason why the cache was buried is impossible to determine. Nevertheless, researchers may still be able to make other discoveries about the collection. They may perform tests to determine the origin of the metal or use microscopic photography to figure out how the axes were used. The artifacts are currently going through conservation treatments, but they are expected to be on display at the Pod艡ipsko Museum in 2025. 

Written by Maya Bouchebl

Sources:

Radio Prague International. 鈥淯nique Bronze Age hoard discovered in north Bohemia.鈥� June 25, 2024.

Independent. 鈥淎rchaeologists find 3,600-year-old stash of buried weapons and jewellery in Czech Republic.鈥� August 1, 2024.

Stalin used forced labor to make money for the economy for war, post-war reconstruction, and the quasi-war. Almost all production mining plants and infrastructure construction were forced labor. People in forced labor camps were overworked, not paid, and required to work in non-ideal conditions. The labor camp was rediscovered because the initial reason for the search was to look for remains of the fortifications added to the Prague Baroque bastion fortification. A fortification is a wall used to defend an area from attack. It was soon discovered that the fortifications were gone after 1859 because the area was turned into a park.                                                                                                              

The positions of two barracks were found on the west side of the camp only by the corruption of the soil where they used to be. The third dwelling was 30% recovered on the south side. The archeologists found out that the bathroom did not have a heating system because of the coal in the urinal. Some of the chimneys and roofing of the kitchen survived demolition. The foundation of the sewerage system and a well were uncovered as well. Lost items and food waste, which consisted of coins, combs, small bones, and peach pits, were found.        

The presence of women in the camp was revealed after finding female buttons. The archeologists also pieced together what they ate from the scraps they found. They recovered almost 1000 duck bones because of them being eaten. It is concluded that at least 89 ducks were consumed and were probably brought to the camp all at once because of their age. Pre-adult to adult duck bones were discovered at the camp.                                                        

The labor camp closed in 1954 and was destroyed. The remains of the camp were covered with multiple meters of dirt, and the park was created. The Statue of Stalin was completed in 1955 with the remains of the labor camp right next to it, which is disturbing. After the statue was removed, the space was repurposed for several reasons. It was the meeting place of Prague鈥檚 first rock club in the nineties, and a statue of Michael Jackson was placed on the pedestal briefly in 1996. Behind the pedestal is an area where people hang out and skateboard. The Czech government has been thinking about how to redo the space, with one idea being to build an aquarium. 

Written by: Mikayla Faires

Sources:

鈥淐zech Archaeologists Discover a 7,000-Year-Old Neolithic Settlement.鈥� Radio Prague International, 12 Aug. 2024, english.radio.cz/czech-archaeologists-discover-a-7000-year-old-neolithic-settlement-8825442.

Hasil, Jan, et al. 鈥淭he rediscovery of a labour camp on the construction site of the Stalin Monument in Prague.鈥� Acta Universitatis Lodziensis. Folia Archaeologica, no. 37, 30 Dec. 2022, pp. 7鈥�29, https://doi.org/10.18778/0208-6034.37.01.

鈥淪talin Monument (Prague).鈥� Wikipedia, Wikimedia Foundation, 7 May 2024, en.wikipedia.org/wiki/Stalin_Monument_(Prague)#:~:text=Stalin鈥檚%20Monument%20(Czech%3A%20Stalin%C5%AFv%20pomn%C3%ADk,was%20demolished%20in%20late%201962.

Stefan Banic was born in 1870 in Smolenice, Slovakia. There isn鈥檛 much on record about his life in Europe, but in 1907, he emigrated to the United States to build a life in a country that, at the time, promised prosperity and success. Banic settled in the state of Pennsylvania and took up work as a coal miner. Life as a coal miner was both demanding and dangerous. While the exact story of inspiration for the parachute is not documented, historians and writers assume that Banic, who witness a horrible plane crash in 1912 wanted to invent a safety measure that would save lives. Its safe to say that he jumped to this conclusion after experiencing how important even the smallest of inventions came into play in his dangerous coal mining profession. To allow individuals to escape a malfunctioning aircraft safely, he began mock-up designs, through research, that would eventually change aviation safety forever.

Banic envisioned that any device made would be worn on a person's body, preferably the chest or back and would be opened and 鈥榓ctivated鈥� to help a person safely and slowly descend to the ground unharmed. His background in coal mining made him more informed than other inventors at the time because he knew all about what resources were available to him and how appropriate the materials were for his prototype. Banic鈥檚 awareness of the importance of safety measures likely influenced his determination to create a device that could save lives. This experience most likely is where the act of deployment of the parachute was heavily thought out because, as a coal miner, Banic saw the need for quick and effective emergency response in a situation like the tragic accident he first witnessed. In the testing process, the initial design of the parachute was its umbrella-like shape with a canopy above connected by rope or string. Something crazy to others at the time was Banic himself following through with his vision in 1913 and jumping off of a 15-story building to test the parachute and theory himself.

In 1914, Banic presented the parachute through a demonstration to the US Army. This test was a fantastic success and quickly earned a patent (US Patent Number 1,108,484). While today we don鈥檛 use the design drawn initially out and created by Banic for the historic patent testing, through innovation and technology, the parachute has been reworked to fit the changing safety standards and, most importantly, to change the evolution of parachute technology and aviation safety.

Stefan Banic鈥檚 legacy today is seen in small, intimate ways but is, in fact, still relevant. In 1997, the Stefan Banic Parachute Foundation was created with the purpose of skydivers celebrating and remembering the parachute inventor who made such an activity possible. As of the past few years, a little under 3 million people skydive worldwide, and it is only possible and done with such safety and security because of Banic and his brain. Most recently, in 2020, Slovakia featured the inventor on a collector 10 Euro coin. This collector's coin is currently worth anywhere between 30 USD and 70 USD, so there鈥檚 no telling what it could be decades from now if you by some chance have it in your collection. What remains most important is that inventor Stefan Banic is remembered and acknowledged for his influence on aviation safety and one of the greatest inventions, the parachute.

Written by Jacqueline Nicole Denson

Hochel, Martin. 2023. 鈥溑爐efan Bani膷, The Slovak Inventor of the Parachute.鈥� 3 Seas Europe. https://3seaseurope.com/parachute-slovak-inventor/.

鈥淚t was 45 years ago that Bill Newell, a California skydiver, created the Star Crest Recipient Awards program in honour.鈥� n.d. Skydiving Museum. https://skydivingmuseum.org/sites/skydivingmuseum.org/files/newsletters/Spring-Su mmer-2012-Newsletter.pdf.

Slov谩k Bani膷 z铆skal pred Storo膷铆m Americk媒 patent na pad谩k ... Accessed August 15, 2024. https://www.webnoviny.sk/slovak-banic-ziskal-pred-storocim-americky-patent-na-padak/.

鈥淲WI parachutes and Stefan Banic.鈥� 2006. The Aerodrome. https://www.theaerodrome.com/forum/showthread.php?t=25917.

Early Orphism artists brought color back to the grayscale period of Cubism. Orphism is embedded in Cubism but learned towards abstraction. Orphism was one of the first art styles to introduce non-objective paintings. Non-objective paintings consist of geometric shapes to convey simplicity.                                                                   

Piano Keys Lake (1905) was Kupka鈥檚 first Orphism piece. The painting contains a piano with some of the keys floating away. There are also people in a boat and more people on the shoreline.  Nocturne (1910) is Kupka鈥檚 first abstract painting. The painting is made of multiple vertical brush strokes with shades of blue, green, and purple. The following year, he created Disks of Newton, Study for Fugue in Two Colors (1911), inspired by Isaac Newton鈥檚 color theory. Newton鈥檚 color theory was that color can be formed by white light. He used a prism to refract light that resulted in colors, which he then wrapped around itself to make a color wheel. Disks of Newton consist of multiple circles overlapping each other in various colors.                                                                               

Kupka passed away on June 24, 1957, in Puteaux, France. His paintings are still in exhibitions decades after he died. There will be an exhibit called Harmony and Dissonance: Orphism in Paris, 1910-1930, with some of Kupka鈥檚 work at the Guggenheim Museum in New York from November 8, 2024-March 9, 2025. Disks of Newton will be among the pieces displayed in the exhibit. A number of his paintings are housed at the same museum permanently.             

Kupka was one of the artists that developed Orphism. Orphism is an art form that focuses on color and abstraction. This art style was the shift from Cubism to abstract art. Cubism uses geometrical shapes in an abstract form to give the subject multiple perspectives. In Abstract art, cohesive figures are not seen, but colors, shapes, and forms are used to express emotions.                                                                              

The term Orphism was made by poet Guillaume Apollinaire, inspired by the Greek god Orpheus, known for his singing abilities. Orphism artists often arranged color after music scales to reach the abstraction of music. Music can bring out emotions even though it is not tethered to the real world. The artists also used bright colors to display movement.                                                                                                                                                   

The Yellow Scale (1907) was Kupka鈥檚 first dip into color theory. The painting is a self-portrait with yellow as the dominating color. This painting is on view at the Houston Museum of Fine Arts. The Women Picking Flowers Series (1909) was Kupka鈥檚 earliest painting that conveyed motion. The woman鈥檚 silhouette is dark blue, and is moving from it because of the blurriness. Another painting that represents motion is the Organization of Graphic Motifs II (1912-1913). The piece looks like it is spinning downwards, decorated with vibrant colors.                                                                                                                 

Written by: Mikayla Faires

Sources:

Artmajeur. 鈥淗istory of Czech Art.鈥� Artmajeur Online Art Gallery, 25 Nov. 2023, www.artmajeur.com/en/magazine/5-art-history/history-of-czech-art/334564.

Cushman, Emily. 鈥淔ranti拧ek Kupka | Moma.鈥� MOMA, 2016, www.moma.org/artists/3302.

鈥淗armony and Dissonance: Orphism in Paris, 1910鈥�1930.鈥� The Guggenheim Museums and Foundation, www.guggenheim.org/exhibition/harmony-and-dissonance-orphism-in-paris-1910-1930. Accessed 15 Aug. 2024.

鈥淥rphism Movement Overview.鈥� The Art Story, www.theartstory.org/movement/orphism/. Accessed 15 Aug. 2024.

鈥淧rice Database.鈥� Artnet, www.artnet.com/artists/frantisek-kupka/. Accessed 15 Aug. 2024.

Sonn, Milton. 鈥淜upka, Frantisek - 1909-10 Planes by Colors, Large Nude (Solomon R. Guggenheim Museum).鈥� Flickr, Yahoo!, 15 Aug. 2024, www.flickr.com/photos/32357038@N08/3577355216.

Tate. 鈥淣on-Objective Art.鈥� Tate, www.tate.org.uk/art/art-terms/n/non-objective-art#:~:text=Non%2Dobjective%20art%20defines%20a,sense%20of%20simplicity%20and%20purity. Accessed 15 Aug. 2024.

鈥淭he University of Chicago Library.鈥� The Origins of Color - The University of Chicago Library, www.lib.uchicago.edu/collex/exhibits/originsof-color/color-theory/#:~:text=Newton%20had%20split%20white%20light,primary%20color%20was%2C%20however%20disputed. Accessed 15 Aug. 2024.

Shepherd axes, or 鈥榁alaska鈥�, hold significant historical and cultural importance in Central or Eastern Europe and Eurasia. The Shepherd axe has historically originated from Eurasia; during the 9th century, they were first used for combat fighting and self-defense by warriors from Bulgaria and Hungary, who called it the Fokos axe. It then migrated to Central Europe through the Carpathian Mountains from the 14th to 17th centuries, leading to its evolution throughout Europe by being used by shepherds for various tasks, such as a walking stick, cutting branches, and trimming hooves. Shepherds were inseparable from their axes in Czechoslovakia and Poland, often engraving the shaft with messages or initials to indicate their origins or ownership. Over time, the Shepherd axe became a symbol of identity and community, customized with decorations representing one's heritage or religious beliefs. These axes also featured prominently in folklore, with many stories and songs celebrating the axe's role in cultural and historical connotations. Regional variations of the Shepherd axe emerged, reflecting local traditions and artistic influences. This rich cultural heritage is preserved in traditional dances, where the axe is often used as a prop, and in art and literature, it symbolizes artistic beauty and cultural pride.

Construction and Techniques

The Shepherd鈥檚 axe is adorned with beautiful traditional designs and stamps that represent their owner, often imprinted by a skilled blacksmith. Common motifs include the Edelweiss flower from the Tatra mountains, flowers, mountains, cosmic, and geometric designs, each carrying symbolic significance and personal meaning. These intricate decorations reflect the craftsmanship and cultural heritage associated with each axe. The length of Shepherd axes is longer than typical axes, designed to provide good reach and serve as support while walking, especially during wartime. Historically, these axes were used as weapons in combat and for practical tasks like chopping small branches, leading to their increased length and lightweight design. This combination made them ideal for long-distance walks and various shepherding tasks. The headpiece of the axe known as the bit is typically sharp on one side being used for chopping branches, while the butt of the axe is flat being used as a hammer. The crafting process involves selecting high-quality wood for the handle and forging the metal blade to ensure durability and sharpness. Traditional techniques are often employed, including hand-carving the handle and applying decorative engraving. These methods are still incorporated and blended with contemporary innovations to preserve the art of Shepherd axe-making. The result is a tool that is not only functional but also a symbol of identity and craftsmanship.

Present day Usage

Shepherd axes remain relevant, symbolizing cultural heritage and craftsmanship. They are used in traditional ceremonies and as cherished collectibles. One notable example is the Slovak dance known as the Odzemok, where dancers skillfully incorporate Shepherd axes into their performances. This dance, traditionally performed by men, showcases strength and agility, with the axe serving as a central prop. The use of Shepherd axes in the Odzemok highlights their historical significance and cultural symbolism, connecting modern performances with traditions.  Additionally, Shepherd axes are highly valued as artistic objects. Their intricate designs, often featuring detailed engravings, reflect the craftsmanship and creativity of their makers. Collectors appreciate them for their aesthetic appeal, with many axes displayed in museums, cultural centers, and private collections. This dual role in contemporary dance and as art pieces ensures that Shepherd axes continue to be celebrated and preserved, maintaining their cultural importance.

Examples of Shepherd Axes 

Shepherd Axe 1:

• Description: This axe has a silver hatch with cosmic design on it. The wood handle is plain without any words or additional designs.

• Key Features:

• Silver hatch with cosmic design.

• Plain wood handle.

Shepherd Axe 2:

• Description: The axe features a silver hatch that has an inscription saying "hello from the trojans," possibly indicating it as a gift. The wood handle is decorated with designs, including one depicting a scene of pigs and a hoe in a forest, and another showing a person playing an instrument with pigs eating outside.

• Key Features:

• Inscribed silver hatch Pozdrar z Trojanovic ("hello from the trojans").

• Decorative designs on wood handles (pigs and hoe in forest, person playing instrument with pigs).

Shepherd Axe 3:

• Description: This axe is wooden and has various sections of coloring on it. It features a floral design on the side and is embroidered with the name of the town where it was made, Buchlovie.

• Key Features:

• Wooden axe with colored sections.

• Floral design on the side.

• Embroidered town name ("Buchlovie").

Shepherd Axe 4:

• Description: This axe has a bronze hatch from Frenstat pod Radhostem in Czechoslovakia, made in 1977. The wood handle has a design that likely symbolizes the creator's signature, along with a flower and town design on the hatch. It is embroidered with themes such as flowers and letters.

• Key Features:

• Bronze hatch from Frenstat pod Radhostem, Czechoslovakia (1977).

• Wood handle with symbolic design.

• Flower and town design on hatch.

• Embroidered with floral and letter themes.

Written by Thomas Popoca 

Sources 

鈥淥诲锄别尘辞办鈥�, Folkdance Footnotes Beyond Choreography, , (Accessed August 8, 2024).

鈥淪hepherd Axe鈥�, Gransfors Bruk Sweden,, (Accessed August 8, 2024).

Wolfmann, 鈥淪hepherd Axe (Ciupaga), Wolfmaan, , October 7,2021.

Burgess, Keith, 鈥淎 Woodrunner鈥檚 Diary: The Shepherd Axe鈥�, Woodrunner鈥檚 Diary, , November 10, 2016.

Linden Trees symbolize peace, unity, and protection in Slovakian culture. This green flowering tree, consisting of coarsely toothed heart-shaped leaves, holds its own history and cultural significance today. In Norse mythology, the linden tree is particular to the goddess of love and fertility, Freya, and the goddess of love and marriage, Frigga. Later in history, the Romans in Slavic regions saw the Linden tree as a symbol of stability and marital love. There was once a point where newlyweds would decorate their homes with linden tree branches to keep away evil spirits that may cross the threshold and stir with the couple's romantic entanglement and intimacy. Until Saints Cyril and Methodius spread Christianity to this region, the Linden tree was associated with truth and justice. Germanic tribes in Western Slovak regions would hold official proceedings ranging from criminal trials to marriage ceremonies under the branches of linden trees because there was a firm belief that a person couldn鈥檛 lie in the presence of the trees. All that history led to the Slovakia region today, where Slavs see the Linden tree as a representation of the Spring season, love, renewal, and marriage. There is also a belief that the linden wood holds majestic powers that protect against demons, vampires, and villainous majestical creatures which is why today many decorate centerpieces and their gardens with the branches or pieces of the tree itself. Linden Trees were brought here to America by European settlers in the 18th century because of their beauty and sturdy solid wood, and present-day are all around us. In the States today, we use these trees for landscaping and aesthetic purposes, which is very different from Slovakians, who view the tree as a national emblem.

The Legend 

Greek Mythology

The Linden Tree of Tilla appears in the myth of Philemon and Baucis. This elderly couple lived in poverty in the village of Phrygia and were known for their hospitality and kindness. One day, Zeus and Hermes descended in disguise to Earth and tested the hospitality of the region's people. Both Gods were ignored throughout the village until they reached the doorstep of Philemon and Baucis, who welcomed them warmly even though the couple had little to nothing. It is said that both Zeus and Hermes were so impressed that they revealed their identities and told the couple to follow them up a nearby hill in the region. Upon doing so, the two Gods sent a massive storm that flooded and ruined the village of Phrygia but saved the couple鈥檚 home and transformed it into a grand temple. As a reward for their acts of kindness, Zeus grants them one wish: the couple wants to serve as priests in the temple and then die together at the same time so they never have to live without one another. Many years later, at the time of their deaths, Philemon and Baucis were transformed into trees when it came time for their deaths. Philemon became an oak tree and Baucis a linden tree. Eventually, the two trees would have branches that intertwined, and this union would symbolise the couples鈥� everlasting love. 

Hellenistic Period 

The Hellenistic period in Egypt emphasized botanical research, cultural exchange, and the blending of Greek and Egyptian traditions, which is why the Linden tree held symbolic significance during this time. While there is no pinpoint evidence of this, many believe that the symbolism of the tree from both cultures representing unity, peace, love, and protection could have influenced artistic works during the Hellenistic Period. 

Magic in Northern China 

The leaf shape is similar to that of the sacred Buddhist Bodhi Tree, which isn鈥檛 found on Chinese soil. Over time, empresses have visited these trees planted in front of temples to worship Buddha. It is said that The Song of the Bodhi Tree was actually carved into the wood of the Linden, otherwise known as Tilla, hundreds of years ago. 

Norse Mythology 

Freja (Freya), the goddess of love, beauty, and fertility, and Frigg (Frigga), the goddess of marriage and motherhood, are deities that embody the qualities that resonate with the symbolism of the Linden Tree. The linden tree was often used as a gathering place for social and judicial matters aligned with the goddess鈥� roles in fostering community and maintaining harmony.  

Baltic Mythology 

The goddess Laima is responsible for the fate of childbirth and marriage and is the patron saint of pregnant women. The belief was that Laima could be the bird of fortune and influence fate, so many pregnant women sacrificed and prayed under Linden trees to gain fortune and luck. Therefore, the goddess Laima and her devoted practices kept her bound to the cultural meaning of these trees. 

Germanic Mythology 

In German Folklore, the tree, otherwise known as Tilla, was believed to ward off evil spirits and provide protection from lightning. In some stories, the Tilla was often highlighted for its power to ward off evil spirits that would make humans lie. Because of this, under the trees became a place for judicial meetings, and the tree was labeled 鈥淛udgement Linden ''. The protective nature of linden trees in Germanic culture often extended to homes and churches where people plant them to safeguard their community. 

Celtic Astrology 

It is said that those born under the sign of the Linden tree would embody its qualities of love, peace, and healing. While not prominent in planetary and zodiac symbols, the Linden tree can enhance astrological interpretations. Overall, the Linden tree accepts what life dishes out in a composed way through symbolism in astrology. 

For Example: 

Libra: The Linden tree symbolizes Libra's characteristics of harmony and balance. It is associated with Venus and the quest for harmony. 

Taurus: The values of beauty, comfort, and sensuality align with the soothing qualities of the Linden Tree. 

Cancer: Governed by the moon and has nurturing and protective qualities that can be a link to the healing symbolism of the Linden tree. 

Healing Nature 

The Genus Tilla, another name for the Linden Tree, had many medicinal properties that people harvested and used for centuries. Every part of the tree, such as its bark, flowers, and leaves, was used, which meant removing parts or the entirety of the plant was never a waste. A few of the issues treated were cold and cough relief, calming relaxants, anti-inflammatory, digestive aid, pain relief, and sedatives, treating high blood pressure, protecting blood vessels, increasing urine production, aiding kidney health, and treating irritated and inflamed skin. Most commonly, people drink linden tea 1-3 times a day or apply tree extracts to topical creams and lotions to use daily or as an occasional compress. Because of the medicinal properties of the linden tree, it is still used today in traditional and herbal medicine. It is known for its versatility in treating a variety of issues in different body systems. 

Linden Tree in Slovak Independence 

In many Slovakian towns and villages, linden trees are planted in central squares or the front of places of worship, thus making them gathering places in the community and symbols of unity. Slovak poets and artists often drew inspiration from the trees, using their symbolism to evoke national pride, endurance, and struggle for independence. The current Slovakian national flag features a white cross atop a blue field representing the blue sky and white clouds observed during the pan-Slavic congress of 1848 Prague. In conclusion, the Linden tree remains a cherished symbol of heritage and independence.

Ecological Importance Modern Day

Linden Trees today serve ecological importance by improving soil health and enhancing urban environments. By implementing conservation efforts for these trees in sustainable land management practices, we can see to it that their continued presence and benefits are possible for future generations as a community. Today, you can visit Bohnice Castle in Slovakia and view the linden tree that was planted by King Mathias Cs谩k of Tren膷铆n in 1301 in the castle鈥檚 park following the death of Ondrej III, the last King of the Arp谩d family. The Slovak National Museum now owns this specific tree. If you ever find yourself in the Czech Republic, you can visit their oldest known tree, which happens to be the Linden in the 沤elezn茅 Mountains. This tree is suspected to have been planted more than 1,000 years ago, during the 14th century.

While it may sound like you have to travel far to see a linden tree or have a piece of Slovak culture near you here in Houston, check again. Varieties and hybrids of Linden Trees can be found all over Houston thanks to Sustainable city development planning. You could even check your local tree nursery and see if you can take home and plant your very own Linden Tree.

Written by Jacqueline Nicole Denson

Sources

., Alexis J. 2024. 鈥淪tories of Hope: Linden Plant Profile 鈥� Worts + Cunning Apothecary | Intersectional Herbalism + Magickal Arts.鈥� Worts + Cunning Apothecary. https://www.wortsandcunning.com/blog/linden-plant-profile.

鈥淏ojnice Castle, Slovakia | weepingredorger.鈥� 2014. weepingredorger. https://weepingredorger.wordpress.com/2014/01/21/bojnice-castle-slovakia/.

Chovanec, Zuzana. 2024. 鈥溾�淧oppies and Women Under the Linden Tree in a Slovak Village: Exploring Culturally Significant Plants Through Informed Archaeological Storytelling鈥�.鈥� Plant Perspectives, (May). https://doi.org/10.3197/whppp.63845494909726.

鈥淢ythology of Trees 鈥� Woodland Ways Blog 鈥� Bushcraft and Survival.鈥� n.d. Woodland Ways Blog. Accessed June 26, 2024. https://blog.woodland-ways.co.uk/foraging-other/mythology-of-trees-the-linden-tree/.

Othman, Sheereen. 2016. 鈥淟ittleleaf Linden: The Tree of Love.鈥� Arbor Day Blog. https://arbordayblog.org/treeoftheweek/littleleaf-linden-tree-love/.

Palovic, Zuzana, and Gabriela Bereghazyova. 2020. The Legend of the Linden: A History of Slovakia. N.p.: Hybrid Global Publishing.

鈥淪ymbolism of the linden tree.鈥� n.d. Path to the Maypole of Wisdom. Accessed June 26, 2024. https://maypoleofwisdom.com/the-symbolism-of-the-linden-tree/.

Young, Pandora. 2015. 鈥淭he Lore of Our Trees.鈥� Longwood Gardens. https://longwoodgardens.org/blog/2015-03-09/lore-our-trees.

As Bohemia descended into rebellion, factions within the Hussites began to form, with the two most prominent being the Utraquists and the Taborites. The Ultraquists consisted mostly of the nobility whose base of operations was Prague and the University. While believing that the Bible was the primary source of Church authority, they were more moderate on their views and still believed in the traditions of the Church as long they did not contradict those of the Bible. On the other hand, the Taborites consisted of more common folk and formed a powerful military force based out of the fortified town of T谩bor, from which their name comes. The Taborites were more radical in that they exclusively believed that authority only came from the Bible. Despite their differences, both believed in communion for the laity and thus their symbol became that of the chalice.

When Wencelaus IV died, he left no heir behind to succeed him and so the crown of Bohemia fell to his brother, Holy Roman Emperor Sigismund. However, the noble Estates of Bohemia refused to accept him as their king, as he had played a role in the death of Jan Hus. Emperor Sigismund tried to placate the more conservative members of the Hussite Estate to support him by giving them concessions, but it soon became clear that the rest would not budge as they wanted Sigismund to support church reformation and allow more religious liberty. Meanwhile, the Taborites outright refused to accept his authority. Believing the only alternative was force of arms, Emperor Sigismund decided to wage war with the Bohemians in 1420 for his right to rule. Following this, Pope Martin V declared a crusade against the heretical Hussites at Sigismund鈥檚 request and called upon the might of the Christian world to bear arms against them. In April of 1420, the Czech nobles came together to rally the people together in order to defend themselves.

Emperor Sigismund marched his Imperial army, along with the crusaders into Bohemia and took control of Hrad膷any. The Bohemians responded by sending their own forces to engage in battle with the Emperor鈥檚 army. What arrived on the field of battle was an army of Hussite peasants from Tabor. What at first would seem like an easy battle to win for the imperial crusaders quickly took a shocking turn. Led by the soon to be legendary figure Jan 沤i啪ka, the Bohemians thoroughly defeated the Imperial army and crusaders at V铆tkov Hill. While this was all going on, Emperor Sigismund had taken to opportunity to have himself officially crowned as King of Bohemia in Saint Vitus Cathedral, but the Bohemian nobles refused to accept him as king because they had not elected him and with that, Emperor Sigismund鈥檚 army was once again defeated at Pankr谩c, forcing him to retreat from Bohemia.

Despite his defeat, Sigismund and the crusading forces would return for a second crusade against Bohemia in 1421, laying siege to the town of 沤atec. The siege ultimately failed due to Sigismund鈥檚 delayed march, and in 1422 his army was once again devastated by Jan 沤i啪ka and the Hussites, who made use of armored wagons as mobile fortifications.

Following the failed second crusade, a third crusade was called against Bohemia, but no one was able to effectively participate in it due to internal conflicts and conflict of interests. Without the fear of external threats, the conflict turned inwards to the growing Hussite factional conflict. With no singular ruler, unity was becoming difficult as power diverted to more local rulers. As a result, the crown of Bohemia was offered to the Lithuanians, and Prince Sigismund Korybut of Lithuania was made regent in the place of Grand Duke Vytautus of Lithuania. While the Utraquists and moderate Taborites recognized his authority, there were many other factions who rejected him and infighting ensued. In 1423, Emperor Sigismund signed the Treaty of Melno with Lithuania and Poland, causing Korybut to be recalled back to Lithuania. Civil war broke out between the Taborites and the Utraquists, with Jan 沤i啪ka defeating the Utraquist in Prague and later defeating them in Hradec Kr谩lov茅. Prince Korybut returned to Bohemian with his own forces and helped to broker peace between the Hussite factions in September 1424. The following month, Jan 沤i啪ka died of disease and a Taborite priest named Prokop the Great took control of the Taborites in his place, along with Prince Korybut.

With Jan 沤i啪ka dead, Pope Martin V and Emperor Sigismund continued to call two more crusades against the Bohemians. However, both times they were defeated by the Hussite forces of Prokop and Korybut, culminating in the devastating battle of Doma啪lice in 1431 in which the crusaders were completely routed and defeated. Emperor Sigismund finally realized the folly of his attempt to force the Bohemians to kneel to him and decided to take a diplomatic approach. Going before Pope Martin V, Sigismund asked him to call a council to settle the religious differences of the Church and the Hussites once and for all. At the Council of Basel, the Church and Hussites negotiated and came to a compromise. While the Utraquist were happy with this compromise, the Taborites were not. The factional conflict between the Utraquist and Taborites would come to a head, as the Utraquist had finally grown tired of their radical brethren.

Aligning themselves with the Catholics, the Utraquist and Taborites fought one last battle against each other in 1434 at Lipany. In the ensuing battle, many of the Taborite leaders such as Prokop the Great fell and with the Taborite opposition effectively defeated, the road to peace was paved. The Church accepted Utraquism into itself and Emperor Sigismund was given his place as King of Bohemia. However, while the Bohemians and Hussites had succeeded in carving out their own place in the Church, many centuries later they would find themselves having to once again defend their religious liberties in the 1600s.

Written by James Travis

Sources:

Monroe, Will S. Bohemia and the Cechs the History, People, Institutions, and the Geography of the Kingdom, together with Accounts of Moravia and Silesia. Boston, MA: L. C. Page and Company, 1910. Republished by Forgotten Books, 2012.

Mortimer, Geoff. The Origins of the Thirty Years War and the Revolt in Bohemia, 1618. New York: Palgrave Macmillan, 2015.

Panek, Jaroslav, Oldrich Tuma, et. al. A History of the Czech Lands. 2nd ed. Prague: Charles University Karolinum Press, 2023.

Sayer, Derek. The Coasts of Bohemia: A Czech History. Princeton, NJ: Princeton University Press, 1998.

Throughout history, there has existed the emergence of various types of art styles, genres, and movements that have been popularized and advanced by Czech artists 鈥� like art nouveau, cubism, etc. Lubo Kristek, in particular, is an artist of Czech origin who assisted in furthering the European postmodern cultural movement through the usage of different media and forms. Regarding art styles, he would utilize surrealism, happening, performance art, and postmodernism. Kristek would incorporate these styles with a variety of compositions like sculptures, paintings, and performance artworks to reveal pieces that were complex, open to interpretation, and had a lively aspect to them.

It is important to note that Lubo Kristek formed a theory of 鈥渉olographic perception鈥� 鈥� where scenes of his performance art pieces are placed in a nonlinear manner to stimulate viewers so that they can form a holographic image in their minds. The idea is that when multiple happenings occur at the same time, there will be a more lasting impact on observers through various emotional and creative elements. Many of his works have the holographic perception aspect to them as plenty is going on with each piece. 

Lubo Kristek鈥檚 most notable works are mostly performance art pieces or sculptures. Performance art can be defined as pieces formed through performances by the artist or others. These works can either be performed live with viewers or recorded and uploaded as well as can be done either unprompted or planned with a script. Kristek鈥檚 ideas of expressing creativity and entertainment can best be exemplified in his performance artworks. To the right is an image of a popular exhibition of his that broke societal norms 鈥� titled Promenade with a Neurotic Fox. It was created in 1975, and his intention for this piece was to help people move past death from being a forbidden concept to verbally express or even think about. He walked the fox around in a park to help shatter the illusion of reality.

This next work is the Requiem for Mobile Telephones. It happened in 2007 to protest against societal addiction to modern technological devices. Kristek asked viewers to give up their phones and assemble them into a group. The first time this performance took place, he asked viewers to stitch the phones onto his jacket. With the subsequent happenings, the phone assembling has adhered to the first occurrence and was done so following the shape of the jacket. This work is one of several that encouraged viewer participation. 

Finally, in 1992, Lubo Kristek composed a piece called Tree of the Wind Harp 鈥� where he was able to express his belief of holographic perception. There are plenty of elements to the sculpture, but most people would easily pick up on the auditory and visual aspects of it. The work incorporates external factors like the wind by using it to create sound. Visually, much is going on but the combination of all the features will help viewers form a holographic perception of the work according to Kristek鈥檚 theory. The utilization of viewers鈥� eyes and ears supports the idea of holographic perception as people would be more stimulated by the art piece due to all the different elements.

Written by Charita Ravula

Sources:

鈥淟ubo Kristek - 34 Artworks - Assemblage.鈥� Www.Wikiart.Org, WikiArt Visual Art Encylcopedia , www.wikiart.org/en/lubo-kristek.

鈥淟ubo Kristek - Google Arts & Culture.鈥� Google, Google, artsandculture.google.com/entity/lubo-kristek/g1229c0j6?hl=en.

鈥淟ubo Kristek: The Sun King in the Theatre of His Own World.鈥� Kristek Thaya Glyptotheque, Kristek Thaya Glyptotheque, www.glyptotheque.com/index.php.

鈥淧erformance Art.鈥� Tate, Tate, www.tate.org.uk/art/art-terms/p/performance-art.

鈥淧romenade with a Neurotic Fox.鈥� WikiArt, WikiArt Visual Art Encylcopedia , www.wikiart.org/en/lubo-kristek/promenade-with-a-neurotic-fox-1975.

鈥淩equiem for Mobile Telephones - Google Arts & Culture.鈥� Google, Google, artsandculture.google.com/story/requiem-for-mobile-telephones-research-institute-of-communication-in-art/6gUhWHxh6MUDHw?hl=en.

鈥淭ree of the Wind Harp - Lubo Kristek - Google Arts & Culture.鈥� Google, Google, artsandculture.google.com/asset/tree-of-the-wind-harp-lubo-kristek/ewG266LUWXkNQA?hl=en.

Despite this impressive victory, the Empire eventually conquered, looted, and vandalized the castle in 1622. For the next two centuries, the castle was largely disregarded and mainly used for farming. The structures deteriorated and were further damaged by fire in 1751. It was eventually restored by the owners of the land in the 1840s. Thanks to their efforts, Zv铆kov Castle is now one of the oldest and most well-preserved castles in the Czech Republic. Visitors today can enjoy the unique Gothic architecture and the 16th-century murals in the St. Wenceslas Chapel.

Others are drawn to Zv铆kov Castle by the bizarre legends that surround it. It is said to be inhabited by a mischievous supernatural entity called a Rar谩拧ek, which translates to devil or imp. According to local folklore, the Zv铆kovsk媒 Rar谩拧ek has been known to poke or trip visitors and cause animals to act strangely. This creature even inspired Ladislav Stroupe啪nick媒, a 19th-century playwright, to create a comedic opera named after it. The Rar谩拧ek did not seem to appreciate its fame, however, since it also allegedly caused technical difficulties for several movie-makers who filmed in the castle. Zv铆kov is also rumored to house a ghost known as The White Lady, who sometimes alarms visitors by wandering through the castle. In addition, there are stories of hellhounds guarding a secret passage in the catacombs, as well as a legend that anyone who spends a night at the Hlizova tower will die within a year.

Written by Maya Bouchebl

Sources:

Bedford, Neal, Jane Rawson, and Matt Warren. Czech & Slovak Republics. Oakland: Lonely Planet Publications, 2004.

David, Petr, Vladim铆r Soukup, and Lubom铆r 膶ech. Wonders of Bohemia, Moravia and Silesia. Prague : Kniz虒ni虂 klub, 2004.

Havlova虂, Ma虂ja. South Bohemia: Castles, Mansions, Historical Towns. C虒eske虂 Bude虒jovice: Unios CB, 2001.

Zv铆kov. 鈥淭he History of Zv铆kov Castle.鈥� Accessed June 20, 2024.