Peacock

NATIONAL SYMBOLS

NATIONAL BIRD

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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 Lreedom 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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4

PEACOCK

There are over 2000 species of birds in India of which the Peacock is the most magnificent and elegant During the rainy season the Peacock dance brings

joy and a feeling of celebration.

The Peacock is called in Sanskrit, it is known to kill snakes. There are numerous

depictions of the peacock holding a dangling snake in its beak in Indian

paintings and sculptures. Another name for the peacock is Shikhi or Shikhavala "the possessor of the crest", for the peacock has a crest or crown on its head of blue- wire like feathers, also called plumage, which gives it a majestic and regal appearance.

The peacock was the symbol of the Mauryas, a name derived from the word mor (peacock). It is said, that the peacock is so hypnotised by the sound of the thunder of the clouds that, mistaking the sounds emanating from percussive instruments such as Pakhawaj or Mridangam for the thundering of clouds before the advent of the rains, it begins to dance in sheer ecstacy to herald the monsoon season.

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6

In Hindi, Urdu, Punjabi and Marathi the peacock is known as Mor, in Kannada, Navilu; in Tamil and Malayalam, Mayil; in Sanskrit, Neelakantha, Bhujangabhuk, Shikhi, Kekin, Meghananda, Shikhandin and Candrakin; and in Persian, Taus.

The Indian Peacock (pavo cristatus) belongs to the family of pheasants (Phasianidae). Peacock is the term used for the male, and the female is the peahen, collectively both are called peafowl. The peacock's body is large with a long slender neck and the tail has about 150 feathers that measure a metre long, with 'eye spots' of green, brown and purple. Only the male of the species has this distinguishing tail. The peahen is a brown coloured bird without the train of feathers and lays four to six large eggs and the young peafowl resemble the mother in its first year. Once the eggs are hatched, the peafowl family move around searching for food to eat. They are omnivorous feeders, but seeds and berries are the staple diet of the majority.

The peacock raises his train of feathers vertically and the glimmering feathers spread out like a fan quivering as the bird dances towards the peahen. The breeding season starts at the break of the rains and the peacock dance is associated with the joy and relief the rains bring after a gruelling hot summer.

Peacocks have a dainty gait and are stately and dignified. They have short and rounded wings, specially adapted for rapid take-off, but ill-suited for a long sustained flight.

The peacock adapts readily to domestication, therefore, it is found throughout the country, in large agricultural farms, gardens, groves and forests.

The peacock is an intelligent bird and can distinguish between friend and foe. It runs away from the enemy, but goes close to the friendly person and often signals him to feed it.

The peacock is an inquisitive observer with a keen eyesight. It readily detects a predator on the prowl and raises alarm by shrieking 'keka-keka'

It is probably the oldest known ornamental bird. More than 4000 years ago it was introduced to the cultures of Mesopotamia via trade routes and from there to the Meditteranean nations. It was so much prized in the past that Indian kings sent it as a gift to King Solomon. Alexander, it is said, carried the speeies from India to his own country, from where it reached Rome and then England in about 326 B.C.E.

One can find various references to the peacock in art and literature, folklore, religious rituals and ceremonies. The Rigveda mentions that the war God Indra's horses possessed hair like peacock's feathers and tails like those of the peacock. The Atharvaveda refers to the peacock's zeal in killing and chopping snakes to pieces. The Brahamanical texts like Aitareya, Aranyaha, and Sankhya describe the peacock as a glorious bird of the heaven.

7

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8

In the 3rd century B.C.E, Emperor Ashoka granted protection to the Peacock by prohibiting its killing and creation of abhyaranyas (wild life sanctuaries).

The Buddha, in one of his previous births, was bom as a peacock and the Mot Jataka, which deals with this life of the Buddha is illustrated at Amaravati.

Several references of the peacock are made in the Ramayana. The 'eyes' of the peacock tail are said to be the gift of Indra, for having assisted him in a battle against Ravana. In another instance , while Sita was shedding tears for Rama even the peacocks halted their beautiful dance in compassion and sorrow. The Mahabharata refers to the dead being eaten by birds and insects, specifically by peacocks.

Kalidasa while describing the beauty of nature has made special mention of the peacock. In Kumarasambhava, he has described in detail the graceful dance by peacocks on the occasion of the marriage of Shiva and Parvati. Kalidasa talks of the peacocks as the supreme symbol of the joy of life inMeghadoota.

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Varahamihira, the author of Brihatsamhita, regards the peacock as an auspicious bird and according to him, in one of the chapters titled Mayurachitrakam, if one comes across peacock as one steps out for the day's business, it brings good luck.

Babar in his autobiography starts his account of the birds of India with the peacock.

"The peacock is a beautifully coloured and splendid bird. Its body may be as large as the crane 's but it is not so tall. On the head of both the peacock and the peahen are 20 or 30 feathers rising some 2 or 3 inches high. The peahen has neither colour nor beauty. The head of the peaeock has an iridescent collar; its neck is of a beautiful blue; below the neck, its back is painted in yellow, parrot green, blue and violet colours. The flowers on its back are much smaller; below the back as far as tail-tips are larger flowers painted in the same colours. The tail of some peacocks grows to the length of a man 's extended arms. It has a small red tail, under its flowered feathers, like the tail of other birds. Its flight is feebler than the pheasants; it eannot do more than one or two short flights. Hindustani call the peacock MOR. "

M.S. Randhawa- "Paintings of Baburnama"

The Mughals had a soft comer for the peacock and tamed it in their court gardens. Emperor Shahjahan was so impressed with it that he named his beautiful throne the Takht-e-Taus - the Peacock Throne. It had a pair of peacocks with an elevated tail made of blue sapphires and other precious stones, the body being of gold, studded with

9

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emeralds, had a large ruby studded in the breast, from where hung a pear-shaped pearl of 50 carats. It was a symbol of glory of the dynasty and was kept at the court in Delhi. Nadir Shah, the Emperor of Persia, who attacked and looted the capital of the Mughals in 1739, carried away their precious possessions to his country.

Shahjahan seated on the Peacock Throne, Diwan-i-Am, 1639 C.E.

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12

Many eminent miniature painting artists were inspired by the beautiful bird. In a painting, the emperor Shahjahan, seated on the Peacock Throne, holds a rose, the Mughal symbol of royalty, in his right hand, and his left hand rests lightly on the dagger. This marvellous throne was constructed under the supervision of Bebadal Khan and was completed in seven years.

The painting titled "Giri Govardhan" is associated with the legend of Krishna lifting the mountain to protect Braja from the wrath of the rain God Indra. The peacock along with human beings and other animals took refuge under the mountain. While rain pours from dark black clouds, Indra mounted on his white elephant, the Airavat, orders the clouds to pour down heavy rain on Braja. A peacock on the Mount Govardhana symbolises the onset of rainfall.

Indian musical modes, the ragas and raginis are pictorially represented in the Ragamala Paintings, many of which use the peacock motif. In Malhara Raga, the peacock represent thirst for love. In Raga Vasanta, the plumage of the peacock is a prominent feature, the focus is on Lord Krishna. The Madhu-Madhavi Ragini depicts the silent longing of the beloved or the lover, the peacock symbolising the absent lover. These ragas and raginis and many others are seen in series of Ragamala Paintings of several schools of the 1 7th and 1 8th centuries.

Ragni Madhu Madhavi, Jaipur, Rajasthan, Painting about 1630 C.E.

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Ragini Madhu-Madhavi is one of the finest examples of Bundi Painting of the mid 1 8 th century C.E The hot days of summer are over and dark clouds in the sky bring joyous tidings of the onset of the monsoon season. The peacocks are enchanted and respond to the beauty in nature. The ladies of the palace offer the perching birds food and water. One lady holds the vessel while the second feeds a peacock.

Babar, the founder of Mughal rule in India, was a great lover of birds and animals. He commissioned artists to make paintings of birds, animals and flowers. In his autobiography "Babumama" there is a description of the painting of "Squirrels, A Peacock and A Peahen, Sams, Cranes and Fishes". This painting is by Bhawani, who excelled in painting birds and animals. On the top, squirrels are playing on a tree. In the middle, a peacock and a peahen are shown, below this is a pair of Sams cranes, and in the pond, a pair of fishes. It is one of the most beautiful paintings of birds and animals in the Babumama.

The Mughal emperor, Jahangir, was a patron of fine arts who motivated his artists and craftsmen to produce works of the highest quality. Jahangir's "Peafowl", painted by Mansur, is a masterpiece. Ustad Mansur was the most famous animal painter and was given the title, "Nadir-ul-Asr" (Wonder of the World). The painting depicts the grace and elegance of the bird. The peacock mshes forward with a small snake in his beak. The peahen twists her neck to watch the squirming morsel. The plumage has been exquisitely painted and great attention has been paid to fine details like the movement of the rear leg, rounded feathered neck in vermilion, the landscape suggestive of distant hills and rocky cliffs, trees and flowers.

Peafowl, painted by Ustad Mansur, Mughal painting, 1610 C.E.

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The peacock feather decorates the crown of Krishna and fans made of peacock feathers were kept in palaces, homes and temples. In mosques and majhars also, the priest touches the head of a devotee with peacock feathers to bless him.

Karttikeya or Skanda, the son of Shiva is seated on a peacock which is his vehicle or Vahana He is identified as the champion fighter and commander-in-chief

of the army of gods. The Mahabharata and the Pauranic texts carry descriptions of Karttikeya, mounted on the peacock, who defended Tripurari's chariot and destroyed Tarakasur.

The peacock is also known as the vehicle of several other deities such as :

Ganesha (in one of his incarnations)

Mayureshwar

Kaumari (<h'l^i'?l) (formofDurga)-5'/i/A:/i/va/janfl (RiRacjig^i)

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The peacock is also closely associated with Saraswati, the goddess of learning and with Indian music. The association of Mayura in producing the basic keynote of the

musical gamut - qc^fa fpjv: is an uncontroversial convention. It brings to

mind a possible relevance to the fact that the Goddess Saraswati is convincingly associated with music holding a Veena in her hands - Veenadharani (^hrrqrf^). There is alsoaVeenaknownasA/aywn Veena (q^'^t'TT).

The peacock is first seen on the funeral urns of Harappa. The dead man's spirit or suksma sarira is depicted as horizontally placed in the belly of the peacock which these birds are supposed to transport to the other world.

The fabulous Sanchi Stupas of the 1st century. B.C.E have group of twin peacocks decorating the architraves and posts of the stone entrance gateways, each figure shows in detail the circular eyes on the erected fan-tail feathers. The legend goes that Lord Buddha, tired of the disputes among his disciples, left for the forest in search of peace where he was given due respect by all the animals, amongst them were a pair of peacocks. The peacocks on the Sanchi torana reveal the mastery and expertise of the artists. In Sanchi the representations of animals in sculptural art reached a high stage of perfection.

17

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In the famous 5 th century temple of Deogarh, there is a remarkable depiction of a flying peacock with Karttikeya on its back on the upper portion of Sheshashayi Vishnu. Some of the Gupta stone sculptures from Madhyadesha also depict Karttikeya mounted on a peacock. Karttikeya is seen sitting on his mount the peacock, Paravani. The Peacock, the bird of immortality is traditionally the killer of serpents. Cosmologically the serpent is a symbol of the cyclic concept of the time. In killing the serpent, the peacock annihilates time - which indicates its power to destroy enemies. Therefore, it has appropriately been attributed the status of the vahana of Karttikeya, the generalissimo of Gods.

Considering its beauty, grace and qualities of friendship as well as its reference in myth, legend and later literature dating back to several centuries the Peacock was declared as India's National Bird in 1963.

19

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20

Creative Activities for Students and Teachers

The Maury an dynasty was named after the bird Peacock (Mayura). A number of Mauryan gold and silver coins show the peacock. Collect pictures or draw some of the Mauryan gold and silver coins showing the peacock.

Write a paragraph on the "Peacock Throne" .

Collect stories fi'om legends associated with the peacock.

Visit the Museums and Art Galleries and study artefacts and paintings showing the peacock.

Write a poem/paragraph on the dance of the peacock during the rainy season.

Find out why the peacock call is associated with rain.

Collect fallen feathers of birds and make an album describing each feather.

Make a list of "endangered birds" of India and laws related to their protection.

21

About CCRT

The Centre for Cultural Resources and Training (CCRT) has been set up in the service of education specialising in the area of linking education with culture. In its academic programmes it has conducted researches in the study of methodologies for providing a cultural input in curriculum teaching. The CCRT organizes a variety of training programmes for administrators, teacher educators, in service teachers of all levels and students. These aim at sensitizing the participants to the aesthetic and cultural norms governing all creative expressions. Educational visits to historical sites and museums encourage participants to use these as extended centres of learning. The major focus of the training, however, is on project work and preparation of action plans for integrating various educational disciplines using a cultural base. The training also provides an opportunity to acquire skills in traditional arts and crafts so that this knowledge may be used to discover the creative potential of the students.

To supplement the training, the CCRT collects resources in the form of sound recordings, slides and photographs, films and other audio-visual materials on the arts and crafts. These are then used to produce teaching materials for creating an understanding and appreciation of the diversity and continuity of the Indian cultural traditions.

The CCRT's audio-visual and printed material on the arts and crafts of India are being widely used for cultural education. Though some of these materials focus on a specific art form, they are also used to enrich teaching of different disciplines of the curriculum. The publications include sets of illustrated material with suggested activities for students and teachers. The digital slide-album of performing arts, natural environment and plastic/visual arts containing images alongwith descriptions cover a wide range of cultural manifestations. The films on the traditional performing arts and on historical and cultural sites are informative and aesthetically produced.

Since 1982, the CCRT is implementing the Cultural Talent Search Scholarship Scheme and is giving scholarships to talented school going children in the age group of 10-14 years to study the traditional arts and crafts of their regions .

The CCRT has been awarded for implementation the Scheme namely “Award of Scholarships to Young Artistes in different Cultural fields”, under which 400 scholarships are provided in the age group 18-25 years in the field of Indian Classical Music, Classical Dances, Light Classical Music, Theatre, Visual Arts and Folk, Traditional and Indigenous Arts.

The CCRT has also been awarded for implementation the Fellowship Scheme namely “Award of Fellowship to outstanding persons in the Field of Culture”, under which 200 Junior and Senior Fellows each are selected every year. The focus is on “in-depth study/research” in various facets of culture. These include New Emerging Areas of Cultural Studies.

The CCRT has instituted a few awards for trained teachers who are doing commendable work in the field of education and culture.

For further details you may visit our website: www.ccrtindia.gov.in

22

Acknowledgements

Dr. Sumati Mutatkar Dr. B. N. Goswamy

References

Asian Folklore Studies, (1974), VOL. XXXII, "The Peacock Cult in Asia, "Japan. Jobes, Gertrude, (1963), " Dictionary of Mythology, Folklore and Symbols", London. Journal of the Asiatic Society, (1973), Calcutta.

Nair, P.T., (1973), "Peacock-National Bird of India", Kolkata.

Randhawa, M.S., (1983), "The Paintings of Babumama", New Delhi. Sivaramamurthi, C., (1975), "Birds and animals in Indian Sculpture", New Delhi Vedas, Rig, Yajur and Atharva.

Zimmer, Heimich, "Myths and Symbols in Indian Art and Civilization", London.

Photo Credits

National Museum, New Delhi Sangeet Natak Akademi, New Delhi B.N. Khazanchi.

Phal S. Girota.

Stanley and Belinda Breeden, World Wide Fund for Nature-India.

This package contains booklets on the following National Symbols

National Emblem National Flag National Anthem National Song

National Flower National Bird National Animal National Calendar

23

w ^ ^

. A ■■

First Edition 1998 Reprint Edition 2017 Published by Director

Centre for Cultural Resources and Training 15-A, Sector-7, Dwarka New Delhi (India)

© Centre for Cultural Resources and Training 2017 ALL RIGHTS RESERVED

No part of this publication may be reproduced, stored in a retrieval system, or transmitted any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the Centre for Cultural Resources and Training

Printed at India Offset Press, Delhi-110064