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Sarmatism, Orientalism, and the Third Reich: The Afterlife of Ottoman Imperial Tents in Europe
Abstract
The defeat of the Ottomans in the Battle of Vienna in 1683 changed the course of European history. The event became embedded in the cultural memory of the region via myriad commemorative celebrations, publications, and reenactments over the next three centuries. The material trophies won in battle were appropriated to serve as potent symbols of the supremacy of European powers. Most important among such trophies were the ornate appliqué tents representative of Ottoman power and prestige. As particularly efficacious material objects, Ottoman-style tents were consumed both privately and publicly, in aristocratic mansions and town squares, respectively. In addition to the exhibition of extant tents in such spaces, visual re-presentations and textual sources spun an historical narrative around their capture. Moreover, these dazzling tent-trophies sparked a new industry of tent making in Central Europe, particularly in modern-day Poland and Ukraine. The forms and decorative programs of the seventeenth-century Ottoman tents captured at the siege of Vienna were not merely imitated in these new production centers. Rather, they were altered and elaborated, creating a European-Ottoman hybrid fabric architecture. In other instances, fragments of Ottoman tents were repurposed in the construction of tents for the Polish nobility. Subsequently, after the fall of the Ottoman Empire, the Nazis occupied Poland and annexed the material wealth of the country, including Ottoman tents. While residing in the Wawel Royal Castle in Kraków, Nazi leaders used various sections of Ottoman tents as backdrops for banquets and, most intriguingly, to line the walls of their makeshift movie theater. Ottoman imperial tents were coveted objects to be sure, embodying imperial power and military might in their ornament and monumentality. The tents were thus appropriated time and again from the late seventeenth century until World War II in Austrian, Polish, and German spheres in particular, where their “Oriental” cache served to visually buttress changing political and ideological agendas.
Discipline
Art/Art History
Geographic Area
Europe
Ottoman Empire
Sub Area
None