Central Idea

• Former Vice-President M. Venkaiah Naidu, actors Chiranjeevi and Vyjayanthimala Bali, and Bharatanatyam dancer Padma Subrahmanyam will be conferred with Padma Vibhushan, the country’s second-highest civilian award, the Central government announced on the eve of Republic Day.
• Bindeshwar Pathak, founder of Sulabh International, will be conferred with the award posthumously.

About Padma Award

• The Padma Awards are among India’s most prestigious civilian honors, announced annually on Republic Day’s eve, following the Bharat Ratna.
• These awards are designed to recognize outstanding achievements across various fields and disciplines, particularly those involving public service.
• The Government of India introduced the Bharat Ratna and Padma Vibhushan in 1954.
• Initially, the Padma Vibhushan had three classes: Pahela Varg, Dusra Varg, and Tisra Varg, which were renamed in 1955 as Padma Vibhushan, Padma Bhushan, and Padma Shri, respectively.

Award Categories

There are three categories of Padma Awards:

1. Padma Vibhushan: This is awarded for ‘exceptional and distinguished service.’
2. Padma Bhushan: This is for ‘distinguished service of a high order.’
3. Padma Shri: This is given for ‘distinguished service.’

Eligibility Criteria

• The awards are open to all individuals regardless of race, occupation, position, or gender.
• Government employees, except doctors and scientists, are generally ineligible.
• The awards are usually not given posthumously, but exceptions can be made in extraordinary cases.
• A recipient can be considered for a higher category of Padma award only if at least five years have passed since their previous Padma honor. However, exceptions can be made for exceptionally deserving cases.

Nomination Process

• Nominations are reviewed by the Padma Awards Committee, formed annually by the Prime Minister.
• The Committee, led by the Cabinet Secretary, includes the Home Secretary, Secretary to the President, and 4-6 distinguished members.
• The Committee’s recommendations are forwarded to the Prime Minister and the President for final approval.

Limitations

• The awards are not titles and cannot be used as prefixes or suffixes to the awardees’ names.
• The number of awards given annually (excluding posthumous awards and those to NRIs/foreigners/OCIs) is capped at 120.

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Introduction

• The Indian Constitution, renowned as the world’s lengthiest written Constitution, is not just a legal document but a treasure trove of artistic richness.
• It features intricate hand-painted images and elaborate borders across all its 22 parts, making it the most visually appealing Constitution globally.

Narrative Scheme of Paintings

• Historical Representation: The paintings within the Constitution depict various periods in Indian history, from the Indus Valley civilization to the freedom struggle. Additionally, scenes from the epic tales of Ramayana and Mahabharata are featured.
• Geographical Diversity: These illustrations also capture India’s diverse geography, from the desert with marching camels to the grandeur of the Himalayas.

The Appointment of Artists

• Selection of Nandalal Bose: Nandalal Bose, a renowned artist and close associate of Mahatma Gandhi, was entrusted with the task of illustrating the Constitution in October 1949, just before the final session of the Constituent Assembly.
• Collaborative Effort: Bose collaborated with family members, students, and fellow artists, including Kripal Singh Shekhawat, A Perumal, and Direndrakrishna Deb Burman.
• Calligraphy: While the Constitution itself was handwritten by calligrapher Prem Behari Narain Raizada in a flowing italic style, the Hindi version’s calligraphy was masterfully crafted by Vasant Krishan Vaidya.

Notable Artistic Contributions

• Preamble and National Emblem: The Preamble page features intricate patterns sketched by Beohar Rammanohar Sinha and bears his signature, while Dinanath Bhargava sketched the National Emblem, the Lion Capital of Ashoka.
• Payment for Artists: Records suggest that the artists who painted the historical scenes were paid Rs 25 for each page.

Ideation of Artwork

• No Direct Correlation: Nandalal Bose’s artwork in the Constitution does not have a direct correlation with the text, as he did not illustrate the content of the Constitution itself. Instead, he crafted a visual narrative of India’s history as he envisioned it.
• Changes and Adjustments: A preliminary plan was drawn up for the artwork, which underwent changes with additions and deletions. For instance, a scene featuring ‘portraits of Akbar and Shahjahan with Mughal architecture’ was replaced with an image of Akbar.

Borrowing from History and Religion

• Diverse Representations: The artwork includes depictions of the Bull Seal from the Indus Valley region, scenes from the lives of hermits and ascetics, Buddha in meditation, Mahavir, sculptures from Mahabalipuram, and the descent of the Ganga to Earth.
• Incorporating Epics: Scenes from the Mahabharata and Ramayana are featured in the artwork, symbolizing India’s rich mythological heritage.
• Homage to Tagore: Three landscapes within the Constitution pay tribute to Nobel Laureate Rabindranath Tagore and his composition of the National Anthem, celebrating India’s diverse geographical landscapes.

Celebrating Monarchs and Freedom Fighters

• Emperor Ashoka: Part VII features Emperor Ashoka seated on an elephant, propagating Buddhism.
• King Vikramaditya and Tipu Sultan: Part IX showcases a scene from King Vikramaditya’s court, while Rani Lakshmibai of Jhansi shares the page with Tipu Sultan in Part XVI.
• Gandhi and Freedom Fighters: Mahatma Gandhi appears twice, leading the Dandi March and visiting Noakhali in Bangladesh. Subhas Chandra Bose is depicted saluting the flag with members of the Azad Hind Fauj.

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Introduction

• The Gyanvapi Structure sin Varanasi has been the center of a longstanding controversy regarding its historical origin and the existence of a Hindu temple preceding its construction.
• The Archaeological Survey of India (ASI) has recently concluded that a Hindu temple indeed existed at the site before the mosque’s construction, relying on scientific studies, textual evidence, and historical accounts.

Gyanvapi: Historical Background

• Temple’s Existence: The ASI’s findings suggest that a substantial Hindu temple once stood adjacent to the Kashi Vishwanath temple, which is believed to have been demolished during the reign of Mughal Emperor Aurangzeb.
• Persian Chronicles: The primary source for this claim is Saqi Mustaid Khan’s Maasir-i-Alamgiri, a Persian chronicle written shortly after Aurangzeb died in 1707. It mentions Aurangzeb’s orders to destroy temples and schools of the “infidels.”
• Aurangzeb’s Policy: Historians interpret this as part of Aurangzeb’s broader policy against Hinduism, marked by the destruction of temples and discriminatory measures, such as customs duties.

Historical Interpretations

• Selective Targeting: Some historians argue that the 1669 decree was not a blanket order to destroy all temples but targeted institutions where certain teachings took place, especially in Benares (now Varanasi).
• Conflict with Shivaji: It is suggested that Aurangzeb ordered the destruction of the Kashi temple as retribution following Chhatrapati Shivaji’s escape from Mughal custody.
• Religious Cloth: The Gyanvapi Mosque incorporates a part of the ruined temple’s wall, possibly serving as a religious statement of the consequences of opposing Mughal authority.

Expert Opinions and Legal Implications

• ASI Report: The ASI’s extensive report provides expert evidence but can be contested in court during the ongoing legal battle.
• Witnesses and Cross-Examination: The civil suit involves witnesses from various fields, including historians, archaeologists, and religious experts, who will be cross-examined.
• Court Determination: The courts will decide whether the ASI report can be conclusively relied upon and assess the significance of the existence of a Hindu temple in determining the mosque’s religious character.

Legal and Constitutional Aspects

• Maintainability Issue: The preliminary issue of whether the suit can be filed depends on the fate of the Places of Worship Act, 1991, which aims to maintain the religious character of places of worship as of August 15, 1947.
• Relevance of ASI Report: The relevance of the ASI report could change significantly if the 1991 law is altered or struck down. Currently, the law is considered a fundamental feature of the Constitution, safeguarding secularism.
• Secularism and Non-Retrogression: The Places of Worship Act is seen as essential in upholding the principles of secularism and non-retrogression, core elements of India’s Constitution.

Conclusion

• The controversy surrounding the Gyanvapi Mosque underscores the complexities of historical interpretation and legal implications.
• The ASI’s findings, while significant, are part of an ongoing legal process, and the final determination will have far-reaching consequences on the historical narrative and religious character of the site.

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