DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.29463#0094
The Hags discussed in the preceding chapter were the leaders and
guides of these "moving splendors." So too were horsetail standards,
ortughs.
Unlike Ottoman Hags, tughs have been almost totally neglected in
scholarly studies. Any discussion of them has rarely gone beyond the
level of museum inventory descriptions. The first attempt to present
tughs and to speculate on their function is probably to be found in
the work of Luigi Ferdinando, Count of Marsigli, whose investiga-
tion of the entire system of seventeenth- and eighteenth-century
Ottoman military power was introduced in the first chapter of this
book.^
SURVEY OF THE STOCK OF TUGHS
The major group of existing tughs, more than thirty-five of them,
has been preserved in Istanbul mainly in the Topkapi Saray Museum
(about twenty-Hve items) and in the Askeri Museum (about ten items),
but no full description of them has been published. They have been
mentioned only in some brief museum guides, and hardly anything
about them is included in the standard books on Turkish art, such as
the works of C. E. Arseven or O. Aslanapa.^
Several tughs have also survived in Hungary, particularly in the
Torteneti Muzeum (the Military Museum) in Budapest (six items)
and in the Magyar Nemzeti Muzeum (Hungarian National Museum),
some of which were described by J. Szendrei as early as t8g6, on the
occasion of the great exhibition of the Millenium of Hungary.^
Tughs captured in the Turkish wars of the sixteenth to eighteenth
centuries by Austrians and Germans and preserved in various places
—in Dresden, Karlsruhe, and Ingolstadt (single items each), with a
major set in Vienna, at least eight items in the Heeresgeschichtliches
(Army) Museum and in the Historical Museum of the City of Vienna
— have often been mentioned in the German literature, mainly in
museum catalogues of special exhibitions.^ Recently an ambitious
attempt at researching tughs was made by Oskar and Edith Fohler
in Vienna; they tried to assemble as many references as possible on
this subject scattered among the European literature of the sixteenth
through nineteenth centuries, but they did not go beyond this area,
to the East, where the key to the secret lies hidden.^
A survey of tughs in the collections of Venice (eight items in the
70
guides of these "moving splendors." So too were horsetail standards,
ortughs.
Unlike Ottoman Hags, tughs have been almost totally neglected in
scholarly studies. Any discussion of them has rarely gone beyond the
level of museum inventory descriptions. The first attempt to present
tughs and to speculate on their function is probably to be found in
the work of Luigi Ferdinando, Count of Marsigli, whose investiga-
tion of the entire system of seventeenth- and eighteenth-century
Ottoman military power was introduced in the first chapter of this
book.^
SURVEY OF THE STOCK OF TUGHS
The major group of existing tughs, more than thirty-five of them,
has been preserved in Istanbul mainly in the Topkapi Saray Museum
(about twenty-Hve items) and in the Askeri Museum (about ten items),
but no full description of them has been published. They have been
mentioned only in some brief museum guides, and hardly anything
about them is included in the standard books on Turkish art, such as
the works of C. E. Arseven or O. Aslanapa.^
Several tughs have also survived in Hungary, particularly in the
Torteneti Muzeum (the Military Museum) in Budapest (six items)
and in the Magyar Nemzeti Muzeum (Hungarian National Museum),
some of which were described by J. Szendrei as early as t8g6, on the
occasion of the great exhibition of the Millenium of Hungary.^
Tughs captured in the Turkish wars of the sixteenth to eighteenth
centuries by Austrians and Germans and preserved in various places
—in Dresden, Karlsruhe, and Ingolstadt (single items each), with a
major set in Vienna, at least eight items in the Heeresgeschichtliches
(Army) Museum and in the Historical Museum of the City of Vienna
— have often been mentioned in the German literature, mainly in
museum catalogues of special exhibitions.^ Recently an ambitious
attempt at researching tughs was made by Oskar and Edith Fohler
in Vienna; they tried to assemble as many references as possible on
this subject scattered among the European literature of the sixteenth
through nineteenth centuries, but they did not go beyond this area,
to the East, where the key to the secret lies hidden.^
A survey of tughs in the collections of Venice (eight items in the
70