National Smbols: National Emblem

2017·2.7 MB·English

by  Centre for Cultural Resources and Training

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National Emblem
NATIONAL SYMBOLS
Digitized by the Internet Archive
in 2018 with funding from
Public. Resource.Org
https://archive.org/details/nationalemblemnaOOunse
NATIONAL EMBLEM
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Foreword
For the celebration of the 50th year of India's independence, the Centre for Cultural
Resources and Training has produced eight small booklets on the National Symbols of India-
the Emblem, Flag, Anthem, Song, Calendar, Animal, Bird and Flower. These bring out the
beauty and sensitivity represented in India's ancient philosophy and culture.
National Symbols provide an identity and the choice of symbols often reflect the values of a
particular nation. The National Symbols of India are the manifestations of Man's yearning
for spiritual and emotional well being, harmony with nature and are the expressions of his
artistic creativity through the ages.
An attempt has been made in these booklets to give a brief historical background of the
National Symbols of free India. For example, the National Flag, Anthem and Song tell us the
story of India's Freedom Movement, where great literateurs, musicians, social reformers and
thinkers came together to free India from the colonial rule in a manner unique to the history
of mankind. Or, for instance, in the booklets of the National Symbols on the Tiger, Peacock
or Lotus, one can see how nature - the flora and fauna have inspired the creative genius of the
visual artist, poet, musician or dancer. The culmination of the stylised representation of the
Lotus can be seen in the architecture of the Bahai temple in Delhi and the rich heritage of the
Mughal miniature painting of the Peacock of circa 1610 C.E. The booklet on the Calendar
traces the history of the ancient knowledge of calculating time which has resulted in a variety
of calendars in use today and Ashoka's philosophy and the great tradition of artistic
expressions of his times have given India its National Emblem.
The CCRT has used information provided in the records available with government agencies
and other authentic sources to make this publication as informative as possible. Numerous
people have helped in the production of the publication and the Centre would like to express
gratitude to all of them.
The CCRT dedicates this publication to the unknown and unsung soldiers of the Freedom
Movement and also to the young generation who are, the hope of the future and will carry
forward the cultural traditions, ideals and values of our great scientists, philosophers, artists,
freedom fighters into the next millennium. This publication endeavours in creating self¬
esteem and national pride in acknowledging the fact of being an Indian and hopes to inspire
the youth to take India forward as a leader among nations ; where tolerance, love, respect for
man and nature and the diversity of cultures will instil universal values of truth, beauty and
goodness. Each booklet provides suggested activities to enlarge the scope of knowledge of
the reader.
Surendra Kaul
Director General
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NATIONAL EMBLEM
”In the art of India, every form is the symbol of a clear and conscious
thought and of consciously directed feeling. Nothing is arbitrary or
peculiar, nothing is vague or mysterious, for the very raison d'etre of
all the imagery is to present concrete ideas in comprehensible and
easily apprehended forms ",
In these two lucid sentences, Ananda Coomaraswamy expressed with brevity and
precision the essentially symbolic nature of Indian art, especially sculpture.
Representational though it is and its own brand of naturalism notwithstanding, the
content of Indian sculpture is highly symbolic. Symbolic meaning is encapsulated in
each detail of an image, including the various emblems and symbols, whether attributes
or gestures. Every symbol is multivalent, and every myth is recounted in several texts in
various redaction. Moreover, a sculptural representation cannot be easily related to a
specific version of a myth.
Pandit Jawaharlal Nehru while addressing the Indian Constituent Assembly on July 27,
1947 mentioned "the Ashokan period was essentially an international period of Indian
History. It was not a period when Indian Ambassadors went abroad to a far-off country
and went abroad not in the way of Emperors and Imperialists but as Ambassadors of
peace and culture and goodwill".
India adopted the Sarnath Lion-Capital of Ashoka as her National Emblem on
January 26,1950, the day she became a Republic,
Lion capital from Ashoka Stambha, Stone, Sarnath, Uttar Pradesh
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The National Emblem of India is the figure of four lions seated back to back, on a
circular abacus in the centre of which there is a Chakra (wheel) having 24 spokes. The
frieze of the abacus is adorned with sculpture in high relief of an elephant, a galloping
horse, a bull and a lion. These are separated by intervening Chakras. The words
"Satyameva Jayate are inscribed below the Emblem in the Devanagri script, which
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means 'Truth alone triumphs'.
The National Emblem of India is a partial reproduction of Ashoka's Lion Capital, which
is a great masterpiece of plastic art. In this, only three lions appear resting on the abacus,
the fourth being hidden from view. Though these figures rest on a bell shaped lotus, but it
does not figure in the National Emblem.
The Lion Capital discovered in 1905 C.E., at Samath, near Varanasi (Benaras, Kashi) is
generally referred to as Samath Lion Capital. The Capital originally consisted of five
component parts, (i) the shaft (which is broken in many parts now), (ii) a lotus bell base
(iii) on which is based a dmm with the four animals proceeding clockwise around the
dmm of the capital, between which the chakras are depicted above which, (iv) the
figures of four majestic addorsed lions and (v) the crowning element D/iaram Chakra, a
large wheel that is also lying in a broken condition. The crowning wheel and the lotus
vase have not been included in the National Emblem.
Prof. Foucher, eminent art historian explains the symbolism of the four animals on the
abacus, which is as follows:
"The bull symbolises the zodiacal constellation at the time of the birth of
SiddharthOy Vrishabha lagna; the elephant suggests MayadevVs dream of her
conception, the Bodhisattva entering her womb as a white elephant; the horse
suggests the Great Renunciation and the favourite steed Kanthaka on which the
Prince rode away from Kapilavastu giving up his empire; the lion stands for
Sakya-Simha, the great roar of the lion heard when Buddha turned the wheel of
Law to preach to the World the great wisdom that had dawned on him under the
Bodhi Tree ",
The Lion-Capital of Ashoka is now placed in Archaeological Museum at Samath.
Samath, as is believed, has been derived from Saranganatha, which means, the "Lord of
the Deer". It was a part of Rishipatana mrigadava or Isipatna mrigadava of Buddhist
Texts. As per the texts. Buddha is believed to have preached his first sermon to his five
disciples at Samath and the event is known as the "Turning of the Wheel of Law"-
Dharmachakrapravartana.
The Lion Capital is one of the most magnificent specimens of art and the symbolism
associated to this outstanding sculpture has been variedly explained. The basic
explanation of the Dharma Chakra, once crowning the Lion-Capital at Samath,
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