By Vaibhav Agrawal
As India witnesses this Constitution Day, Bharat-India-Bharat: The Visual Transformation of the Indian Constitution, Part #1 extensively discussed about the significance of India’s democratic foundation is illuminated through the intricate journey of crafting and preserving its Constitution. Meticulously sculpted by the Constituent Assembly over two years, 11 months, and 18 days, the Constitution stands as a testament to the nation’s commitment to democracy. Housed in a specially constructed gas chamber within the parliamentary library since 1994, its meticulous preservation includes a partnership with the Getty Institute of America. The original document, a handwritten masterpiece by Prem Behari Narain Raizada, adorned with artistic illustrations from Santiniketan, is safeguarded in a nitrogen-filled case, symbolising the nation’s dedication to preserving its democratic legacy. The calligraphy and illustrations reflect India’s rich cultural tapestry, showcasing influences from diverse artistic traditions. This labour of love, spanning 5,000 years of Indian history, exemplifies the Constitution’s profound significance, not just as a legal document but as a living testimony to India’s artistic diversity and democratic ideals.
Decoding the artistry
The front cover of the Constitution, an upside-down triangle intricately designed with line drawings inspired by the paintings of Ajanta Caves, carries profound symbolism. While it showcases blooming lotuses, interpreting this image solely through a political lens would be an oversimplification. The lotus, a common symbol in Hinduism, Buddhism, and Jainism, represents lofty ideas in a world that can often seem mundane. In this context, the blooming lotuses on the cover represent a nation emerging from its feudal past and evolving into a sovereign, democratic republic. It encapsulates the birth of a new nation founded on the principles of democracy and the rule of law.
Part I of the Constitution, focusing on the Union and its territory, features an Indus Valley seal depicting a Brahmin bull. The choice of this symbol is significant, as the Indus Valley Civilization is considered the starting point of Indian history. It serves as a fitting beginning to narrate the nation’s historical journey.
However, it is essential to avoid overinterpretation of the seal’s symbolism. The depiction of the Brahmin bull does not seek to legitimise Brahminism or favour Shaivism, given that the bull serves as Lord Shiva’s vehicle in Hinduism. Instead, in the context of ancient Indian and Babylonian cultures, the bull was a symbol of fertility. The bull’s role in fertilising cows, which provided essential resources like milk, made it an object of reverence in these ancient civilizations. Here, it primarily serves as a marker for the dawn of Indian civilization.
Part II of the Constitution, which pertains to citizenship, is illustrated with a scene featuring hermits living in a forest, near ponds and rivers. This image not only reflects the philosophical achievements of India’s ancient history but also emphasises the close relationship between humanity and nature. It serves as a reminder to citizens of their duty to preserve and protect the environment, a theme deeply embedded in India’s ancient literature and enshrined as a fundamental duty in Article 51A of the Constitution.
The serene scene depicted here is one where different forms of life coexist harmoniously, showcasing a society devoid of internal conflicts. It portrays a world where humans, flora, and fauna peacefully share the same space, symbolising an idyllic vision of coexistence.
Part III of the Constitution, which encompasses the Fundamental Rights, is illustrated with the portrayal of Lord Ram, Sita, and Lakshman returning to Ayodhya after their triumph over Ravana. However, it’s important to clarify that this representation does not aim to establish the historical existence of Lord Ram. Instead, it carries a symbolic message.
In this depiction, Lord Ram’s return signifies the victory of good over evil, as he vanquished Ravana, the king of Sri Lanka. In political terms, it symbolises the supremacy of fundamental rights, representing the people’s well-being prevailing over any potential tyranny of the State. Just as Sita and Lakshman protected Lord Ram, the Executive and the Judiciary are tasked with safeguarding fundamental rights.
Furthermore, the image of Lord Ram’s return to Ayodhya may allude to the inauguration of a new era or a new governance system, but not necessarily a literal “Ram Rajya” as the modern narrative often suggests. Instead, it marks the initiation of an era where fundamental rights, including justice, liberty, equality, and democracy, were formally recognized for the first time in Indian history. It signifies the dawn of a new order. However, it’s crucial not to read too much into the nuances of this portrayal.
Part IV of the Constitution features an illustration of Lord Krishna and Arjuna on the battlefield of Kurukshetra. This section pertains to the Directive Principles of State Policy, which are like moral guidelines for the State in crafting its policies. Similarly, Lord Krishna’s sermon on the battlefield presented principles and guidance for life. The parallel between the written provisions and the artistic depiction in Part IV is evident.
The subsequent illustrations in the Constitution, featuring figures like Lord Buddha in Part V and Lord Mahavir in Part VI, further reflect India’s rich history and culture. Lord Buddha’s presence in Part V, related to the Union, may suggest that the Union government and its branches—the Executive, the Legislature, and the Judiciary—should be as enlightened as Buddha himself. Meanwhile, Lord Mahavir adorns Part VI, dealing with the states, possibly indicating that the State should follow the path of non-violence, ahimsa, in its governance and policies.
Part XII of the Constitution, which addresses Finance, Property, Commerce, and Suit, is illustrated with the image of Natraj, the cosmic dancer. This artistic choice may serve as a reminder of the extensive commerce and trade practices of the Great Cholas, an ancient dynasty known for their economic prowess. The presence of a reverse Swastika in this section could symbolise the idea that commerce should encompass all cardinal directions, akin to the far-reaching Chola trade networks.
In Part XIV, focusing on Services under the Union and the states, the illustration features Emperor Akbar in his court, potentially alluding to the efficient administration of the Mughal Empire under his rule. It is worth noting that the revenue administration system can trace its roots back to the periods of Alauddin Khilji and Emperor Akbar, and this system forms the foundation of the broader administrative structure. This artistic depiction harmonises with the written provisions of the Constitution, underscoring the historical underpinnings of India’s administrative practices.
The Constitution also showcases portraits of prominent historical figures, including Maharani Laxmi Bai, the sole woman featured in the original Constitution, as well as Tipu Sultan, Guru Gobind Singh, Shivaji, Mahatma Gandhi, and Subhash Chandra Bose. These figures symbolise and reflect India’s enduring quest for freedom and self-determination.
Furthermore, the original Constitution includes depictions of India’s diverse geographical features, such as mountains, rivers, forests, and deserts, representing the country’s four distinct geographic regions. These serve as geographical indicators that capture the diversity and natural beauty of India.
Debate and the Balance in view of the law
The debate surrounding the significance and meaning of the illustrations in the Constitution is indeed a complex one. While interpretations may vary, it’s essential to approach this topic with a balanced perspective.
The argument made by the Allahabad High Court in the Ram Janam Bhoomi case, suggesting that the presence of Lord Ram in Part III of the Constitution makes him a ‘Constitutional entity,’ raises important points about the interpretation of the law. Legal interpretation should primarily adhere to established Rules of Interpretation rather than relying on artistic symbolism or personal fantasies. Furthermore, if illustrations were to be used to imbue meaning into constitutional provisions or entities, it should be done holistically, considering all the illustrations, rather than selective or fragmented interpretations. Otherwise, the door would be open to potentially far-fetched interpretations, such as considering a flying yaksha from Part VIII as a constitutional entity. Such fanciful interpretations do not align with the principles of constitutional interpretation.
The presence of Hindu deities like Lord Ram and Lord Shiva in the illustrations has led some to emphasise their significance while overlooking other figures like Lord Buddha, Lord Mahavir, and Guru Gobind Singh.
While various interpretations exist, a valid criticism lies in the limited representation of women in the illustrations. Of all the historical women leaders, only Rani Lakshmi Bai of Jhansi is portrayed, while Sita is depicted as a mythological figure. The absence of other prominent women in the artistic representation of the Constitution indeed constitutes a gap in the artistic narrative. Recognizing and celebrating the contributions of women in India’s history and the Constitution is an important aspect of promoting gender equality and representation.
While Western civilizations have a history marred by battles and extermination of indigenous populations, India, in contrast, has preached and practised non-violence and peaceful coexistence. The Indian narrative is characterised by the peaceful coexistence of diverse cultures, religions, and languages. India’s strength lies in its ability to absorb different waves of communities and traditions, making it the world’s only living civilization with a continuous history of five thousand years.
In a broader context, the artwork, various sources of art, different styles, and diverse images from the past and present come together to weave a national narrative of pluralism and secularism, highlighting shared values and philosophies, as well as the harmony and peace that characterise Indian society.
The author is a passionate independent journalist with a keen focus on Space and Defence Affairs. As a student of Law, he stands as a writer for The Legit, a Multimedia platform for legal awareness. Can be reached out at thelegitsdcl@gmail.com
Disclaimer: Views expressed are personal and do not reflect the official position or policy of Financial Express Online. Reproducing this content without permission is prohibited.