· Posted: 7 Jun 2012 16:54 · Edited by: Linda UK
Exactly my point and suggested archive clues or evidence!
The Muslim and Ottoman influence in the scenes of Syldavia are there deliberately and to set the scene for content.
Interestingly King Zog's Albania was a mixture of Muslim and Christian religions and people (as were Yugoslavia and Bulgaria too), and although King Zog was a Muslim, he always equally included clerics of all Albania's four main religious groups (Sunni Muslim, Bektashi Sufi Muslim, Greek and Albanian Orthodox, Roman Catholic) in official and Royal events, and on the Proclamation of the Monarchy in 1928 King Zog swore his Oath on both the Bible and the Koran!
I'm not disputing that Syldavia is multi-Balkan inspired (Romania and the Iron Guard, Bulgaria or Serbia and the Cyrillic script, "St.Vladimir's Day" and Slav Christianity, "Macedonia" cigarettes, Bohemian "Ottokar", and many generic or general Balkan and Slav inspirations).
Just that my point in the original posting "Did Bulgaria inspire Syldavia", i think, is a far wider discussion, and that yes of course you could say Bulgaria inspired Syldavia, but far more influences (in my opinion by study, and research) suggest Herge did not include multiple Ottoman/Turkish/Muslim influences and suggestions by chance or accident!
All these (plus the King Zog and Albanian situation of 1938-39) far more show inspiration (with Bulgarian and Romanian Balkan ingredients) from Albania, Turkish and Albanian Macedonia, Muslim Slav Sandzak, Albanian and Serb Kosovo, Muslim Slav Bosniak and Serb Bosnia, Turkish and Slav Pomak Macedonia (Bulgaria and Thrace).
Interestingly there are similar references to some of these inspirations among published Tintinologist's works.
Harry Thompson in his book "Tintin - Herge & His Creation" (2011 reprint, page.104) in his chapter on King Ottokar's Sceptre, writes that the mosques of the Syldavian countryside, and the dress of the peasants both paralleled the Kingdom of Yugoslavia.
Michael Farr in his book "Tintin - The Complete Companion" (page.81), writes that Herge himself wrote in a letter to his publisher that King Zog's Albania was one model that occurred to him in creating Syldavia.
Michael Farr goes on to add that the mosques and minaret dotted landscape, the peasants and their clothes, are all typical of Albania, as well as the comparisons between Syldavia's "Black Pelican" flag and Albania's black eagle flag, and the inclusion of Ottoman crescents in the quarterings of Syldavia's Royal Coat of Arms further suggests Muslim heritage and culture.