A peep into the past and present contributions of Muslims in the designing of national symbols
Mohammad Alamullah | Clarion India
IN a remarkable recent effort, Ishrat Khatun and her team from Panchayat Ghar in Laulai village in Lucknow District, have been assigned to produce 55,000 tricolour flags for this year’s Independence Day celebrations. The flags are set to adorn several prominent government buildings including the state assembly, Raj Bhavan, Bapu Bhavan, and Lok Bhavan. This project has garnered significant media attention, particularly given the current climate of rising communal tensions in the country. Khatun’s involvement in such a high-profile task has been highlighted across various Hindi TV channels, celebrating her contribution as a Muslim woman in a historically charged context.
This contemporary example underscores a broader and longstanding tradition of Muslim contributions to national symbols, including the country’s flag. The visibility and acknowledgment of Khatun’s work not only reflect her dedication but also connect to a rich historical narrative involving Muslims and the national flag.
The historical association of Muslims with India’s national flag is a subject of considerable interest and debate. One of the key figures often mentioned in connection with the flag’s design is Badruddin Tyabji, a prominent figure in the country’s freedom struggle. Tyabji is credited with designing the national flag and incorporating the Ashoka Chakra into its centre. His wife, Surayya Tyabji, is said to have played an instrumental role in producing the first version of the flag. According to accounts, this version was displayed on Prime Minister Jawaharlal Nehru’s vehicle during the country’s independence celebrations on August 15, 1947.
Leila Tyabji, daughter of Surayya Tyabji, provides a significant perspective on this. In a 2018 article for The Wire, she detailed her parents’ contributions. According to her, Badruddin Tyabji, while working as an ICS officer in the Prime Minister’s Office, established a flag committee headed by Dr Rajendra Prasad on Nehru’s instructions. Leila Tyabji recounts that her parents were directly involved in both the conceptualisation and creation of the flag, which was sewn under her mother’s supervision at a tailor’s shop in New Delhi’s iconic Connaught Place. This narrative highlights the direct and personal involvement of the Tyabji family in the flag’s creation.
Despite these detailed accounts, official records regarding the national flag’s design remain ambiguous. Documents from the National Archives of India reveal a persistent lack of clarity on this issue. Historical inquiries, including those made by the All India Boy Scout Association shortly after independence, sought confirmation of the flag’s history but found no definitive answers. The Ministry of Home Affairs, the Prime Minister’s Secretariat, and the Constituent Assembly Secretariat were all unable to provide a clear account of who designed the flag, with the latter only confirming the design decision made on July 22, 1947, by a committee including notable figures like Dr Rajendra Prasad, Maulana Abul Kalam Azad, and Sardar Patel.
Historians such as Sadan Jha have extensively researched the subject but found no conclusive evidence regarding the individual responsible for the flag’s design. Jha’s book Reverence, Resistance and the Politics of Seeing the Indian National Flag explores the complexities surrounding the flag’s history, reflecting the ongoing debate and uncertainty about its origins.
Mahatma Gandhi’s role in the development of the Indian flag is another significant aspect. During the Khilafat movement of 1920, KP Venkayya, an official in the Madras Presidency (now Andhra Pradesh), proposed several designs for the Indian national flag. Gandhi, influenced by Venkayya’s proposals, considered the need for a distinct national flag to unify and inspire the country. In his April 13, 1921, article in Young India, Gandhi articulated the importance of a national flag, drawing on symbols such as the Union Jack and Islamic emblems.
Gandhi’s endorsement of Venkayya’s design led to the incorporation of the Ashoka Chakra into the flag. Lala Hansraj’s suggestion to include a wheel in the Swarajya flag was appreciated by Gandhi, who then requested Venkayya to provide a specimen incorporating equal stripes of white, green, and red, with the Ashoka Chakra in the middle. This design would eventually evolve into the tricolour flag adopted by the country.
Beyond the specific figures of Badruddin and Surayya Tyabji, many Muslim leaders and artisans have contributed to India’s national symbols in various ways. Historical records show that Muslim leaders were actively involved in the freedom struggle and the development of national symbols, often working behind the scenes. The contributions of these individuals are a testament to their dedication to India’s independence and the creation of its national identity.
For instance, prominent Muslim leaders like Maulana Azad were influential in the political and cultural aspects of nation-building. Their efforts extended to various facets of Indian life, including the design and symbolism of national emblems. The rich tapestry of contributions from Muslims throughout India’s history highlights a deep and often under-recognised involvement in shaping the nation’s identity.
The contributions of Muslims to the Indian national flag, both historically and in contemporary times, illustrate a profound and enduring legacy. From Badruddin and Surayya Tyabji’s pivotal roles in the flag’s design and production to Ishrat Khatun’s recent efforts in fabricating thousands of tricolour flags, the involvement of Muslims in this national symbol is both significant and ongoing.
As the country continues to celebrate its national symbols, acknowledging these diverse contributions provides a deeper understanding of the nation’s heritage and the individuals who have shaped it. This recognition not only honours past contributions but also highlights the ongoing role of Muslims in contributing to national pride and unity.
* The views expressed here are the author’s own. Clarion India does not necessarily concur with them.
