Ud)cb TT^ National Emblem NATIONAL SYMBOLS Digitized by the Internet Archive in 2018 with funding from Public. Resource.Org https://archive.org/details/nationalemblemnaOOunse NATIONAL EMBLEM y>W|cHI ^ ^ ^ 50^ cjcj^iid ^ tT ^ f%rg, ^ ^ ^ c^c^u^x!, "^aft ^sn3tt^ ^ ycf)rf$ra ^ 11 ^ 'hr^ ^ ^ ^ crf^ ctstt '(i^q-11 Wfrt I ^ yypT yR^ t ^ ycfra^f yy yry; ^ fcT^ry ^ yfriRRa yRm 11 ^ TT^ty ycfry^ ctstt ‘yryyRw y y^ ^ WRRy yRf^ty "^Rf^y?!’3Tf^rcyf^vRrtIf ^'"il ^ vi>M0i ^eiir^y? ■^Ri^yryyy^^'@ 1 ^ gferyyart ^ yRy ^ Tr^ty ylfry^ y^ ^ ^ 11 vsyi^yui ^^ ^xM, yr^ yry cryr^ ^^yRy ^ wy?TT wy y?ryryr^gyr^ f, f^RT^ H^H yT%RTyyy, ypffyyyy, yRM ^yRy? yyr fcRnw ykci y^ v5mPi^^iciic{1 ■^trpt ^ wry yR^ ^ f^, yny yni^ ^ ^frryRT ^ ^^yy^^^yy^iyr, yywyy: yry, ^ ^ryyr ywr yy yr^ty ylity^ y^ gw^ ^ yy ^ yy^ t yyyy yg^—yyyyi% yyr yrf^MycT yrgy yRnyyy, y^, ■yfftyyyy 3TyyT y^fy? y^ wyyyy? ylW y^ ^rfeT ftyy 11 w ft# ^ 3TyR[R, ywr ^ styyr yy yyrlwf fc# ffyy yyr^ yf^ y?r yRgyRrr ^ yyr gyeryyefty ergffry y?r yg^ yftyy y^ yy 1610 #y^ ^ yyrf yf ttr y?r Ri^^fri ^ ^ ^ yy yyyy 11 yyy^ gifyyy yyy yry^ ^ y#y wy ^ ^frryRT y^ y^eryfr t, f^Rn^ # y#y ^ yy^y ^ 3# y# fcrP# c^elu^xft # f#T t yyr yyry 3r# ^ y^y afk yy^ yyy y?r yyyryy) 3TP^Rr#Tyt y?r yyry yfyy yRy y^ yyyy y^ f%T^ yyry %yT 11 yR^^ffry^ ^ yy yffrayy ^ ^ ^ yyyyy y^ yyRfyy ffrayyy yyr^ ^ f# ywift yyy^ft yyr 3Ry yryif#^ ^ yyyRT yyr^ft ^ yyy yyyy# yy yyyty f^yr 11 ^ yyyyy ^ f#fy ^ 3#y# efryf ^ yyryyr y?r t afty ^ yy y^ft ^ yffr 3TryR yyfffy yRyr !■ 1 yRgf# #y yy yffrary ^ 3TyyT yy yyyyy wfyyr yyry ^ 3iw y aryWy ftPicbl yyr gyr y^ 'jfr yyffiy yRyr t, # yf^ y?r 3My t, 3fry ^yif wy %T#^r, yi^IPiy^X yyyyyyt, wfyyr #yf^ y?r yRg^ffry^ yyyyaff, syyyf sfk g# y^ syy# yRyRy ^ ^ y# y# 11 ^ yyyyy ^ yy> yRcfry # ^ yszr #yyy yR^ ^ y#y yky yyr yiiPiHH y?r yryyr yyyy yR^ yy yyRT feyr yyr 13fry anyr y?r y# t f% gyr y^, 3Ry y^ ^ fry yRy yf yy^ 3TT# fyr ^ yy f 3# ^ y# ^ fery ff# y#T, yRt yryy yyi y^fei ^ fery yyyfrtyrcTT, fy y 3TTyy yyi yyg^ffryf yf ffffyyr yry yyy, yfwf y ^rgyiyyi ^ WRy g# yf ffrarr ft yy yy# 1 y^%y gferyy f yryy^ ^ wr yf ysrf 'f fery cj^w yyyrRTcy yrffrffffyt ft ft yf If 1 ^ y>tef y#ffyy^ 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 ^ ^ ^ tTSTT ftxi||^ ^ ^cFRTT ^ 'H^vjil^^ ^ y^fr^ t I ^ 3T2^^ 3P|jJr, 3rST^ t, ^^THJTjf yfcPTR^ (^ WJ ^eTTRT ^STT il'iddi ^ ^?Fr^ 3rT 'HI4>l>i Rdf'iY ^ t I” ^ ^g^T cnq^ ^ 3TPT^ ^ ^ftf^ndcTT d’STT ^Hf^rT ‘HKcflq fcT^tW^ f^TeWdT ^ 3iPlcj|4a: y41cmc+10 'N'Hlc| 3Tft<^cjxi 1%^ "t I 3hh41 ^ cR^ ^ y^fr|c||c^ ^ ^ f^Teqq^ ^3cf^ ^ ^ Mdlc^IrHcb 11 fcfte cfSTT W# icT^twR ^ 3T9TqT gf^ (ftiw) ^ PiRte ^ P ncftcf^Tc^ Prf%^ 11 ^ vi^ y^ yg^FmWy^ t yy ftte ^ ar^ Psp P ^ 11 ^PiRcki, RieHir^cn "^Rg^tyRR y4 3ii'mi41 g^Fi ^ ^gPrPycr '^nHia^j ^ ^§t dl'Si ^ yfe^ dcll^xJdld P 27 ^gdlt, 1947 q^T ^yfcT^rPT ^ ^PflPrcf 9TT f%, "3RTr^ yyR 'hr4Pt ^fei^KH yy std^r^Pr wd m i ^ stt, ^ “HKdlq T^ ^ -m^ wgg g;? ^ P fcT^ yn^ yfc^ 2TT, yR ^fTW^ 3T2TyT >Hmivri|cilRql‘ c^ ^ P '^TtfcT, '(igHIci c^ ^ P Rl4^l dl^l dldl ^TF I” 26 vjHcj^fj 1950 ^ ^ ^fTR^ W, ^ 'HKdIST WRF 3r?fYq> ^ ^ Prg ^ ^ ^4101^ r4>qi i ■HKd ^ ^ ’'ileiiB>K ^44 45el45 y7 ^ yy5 ■cj|\' RiVl y?r ^ygrtcr Pt^ wt P yy5 24 3Rf ^ gyd w (ypTn) 11 ^ wy5 yy wr FT§ft, ^ ■4t%, ?TSTT yy5 pp y?r vjpft 'OTRgyd’ ^i<^fri g^d’ Rien “^r srergRT %, y&^cjdl ^ ^ gsR^ 11 Pf^ 7^ y?r 3tP 'wpy rf^' ■^yypPt P 3tP5ct t, srspg - 'wf y?r ^ Prrf Prdt t' i ^ ^Kd yy '?r^pF Pg 'dyic sRiW p pp ■rfr'f yy ^iRi45 ypF^oy ■!■, "^oycfR h^n g>frl ■!■ I "^M 45d0 BR 0c|ci ^fFy PP Pwf f, "qt^TF R'isii^ "4?FT 1 ^ ^ 3TTffrId1 UeicbK yRTR BR ^TyP^T^ t, pRg ^STMR RT^pF pF^ P pRIp ^ | PP yfp yy, yRRFRft ^ PFy^, ^bkhi^ ^ 1905 fRpfr P w wt, PPr rttbp^: rtrrtst PP #4 ^ R^T P vSleeiRsId pRTT RFRTT11 ^ #4 ^ ypF WT (l) RRRF (^ft ^ ^R 4 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 ^ %), (2) ^ c|9HcHlcbK ■^T^TETR (s) ^ ^3Tt ^ 3ii<j>f?l ^ ^ 3TT&TTfeT t, ^ ^ ^ 3TRT-W ‘^f^nTOxf fell ^ 3TR t, f^RT^ WT ^ ^ Pl^RId ♦ t, f^R# (4) ^ ^^3R# ^ ^ ftr? cT^TT (5) rTRRcT^ 3T9^fcT ^ ^rfl^ t, ^ ^TRcT ^ 11 (^) ct^HcHI^TR ^ TP^ Wt 1 ^ #4, ^!H^n!c|I, ^mRHcsI ^fRTT ^frT^RRPR ^ ^ ^R ^ ^ ycfty^sf cf^ ^ ^ ^ ^?RRI ^ ftaT% 3Ta^f^^ cT^ ^ t; FTsft, HMI^<fl ^RT ^ Jr4t|K«l ^ ^ t. RH'H4 ^ ?tcT ^afr ^ ^ ^ stt; 3rR*TRTFT ^an ^ fiT^ ^Thi) ^'ar^ ^ y^tW t, ftRT srw 'Hfyivi^ RIFT ^ ^ ^ a^; ?TTw-f%‘^ ^ t, ^arr m^rh\ 5^ ^ ^ ^5t ^ ^ ^ uri^ f^ ^ ^ ^ ^ ^ ^ H^IrHI enf^ ^ ^ ^^RH, y^T arr 1" 6 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 ” 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. 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