Request information about the national emblem

The National Emblem is the emblem of the state and the symbol of the nation.

The national emblem of the People's Republic of China consists of the national flag, the Gate of Heavenly Peace, a cogwheel and an ear of wheat, symbolizing the revolutionary struggle of the Chinese people for a new democracy since the May Fourth Movement and the birth of a new China under the leadership of the working class and the people's democratic dictatorship based on the alliance of the workers and peasants. The Second Session of the First National Committee of the Chinese People's Political Consultative Conference adopts the design of the national emblem of the People's Republic of China and a description of the design. On September 20 of the same year, Chairman Mao Zedong ordered the promulgation of the national emblem of the People's Republic of China.In September 1954, the first session of the National People's Congress and its adoption of the Constitution of the People's Republic of China stipulated in Article 105 that: "The national emblem of the People's Republic of China shall be the Gate of Heavenly Peace illuminated by the five stars in the center, surrounded by the ears of grain and gears. " It was confirmed in all subsequent constitutions. on March 2, 1991, the 18th meeting of the Standing Committee of the Seventh National People's Congress of the People's Republic of China adopted the Law of the People's Republic of China on the National Emblem of the People's Republic of China, which was promulgated by the President of the People's Republic of China by a decree of the President, and was promulgated to be put into effect on and after October 1, 1991.

The National Emblem of the United States of America: the main body is a white-headed sea eagle (bald eagle) with a shield on its chest. The white-headed sea eagle is the national bird of the United States, and it is a symbol of strength, courage, freedom and immortality. The upper half of the shield is a blue horizontal rectangle, and the lower half is a red and white vertical stripe, which is the same symbol as the flag. The crown above the eagle symbolizes the birth of a new independent nation in the world's sovereign states - the United States of America; 13 white five-pointed stars in the crown, representing the first 13 states of the United States. The eagle's two claws are grasping an olive branch and an arrow, symbolizing peace and force. The eagle beak holding the yellow ribbon with Latin writing "EPLURIBUS UNUM", meaning "united as one", meaning that the United States of America consists of many states, is a complete country.

The People's Republic of China and the State Coat of Arms in the center of the Tiananmen Square illuminated by the five stars, surrounded by ears of grain and gears. Wheat rice ears, five stars, Tiananmen Square, gears for the gold, the bottom of the circle and pendant ribbons for the red, gold, red two colors in China is a symbol of good luck and festive traditional colors. Tiananmen Square symbolizes the unyielding national spirit of the Chinese people against imperialism and feudalism; the gears and ears of grain symbolize the working class and the peasant class; the five stars represent the great unity of the people under the leadership of the Chinese ****production party.

The Birth of the National Emblem

The national emblem is the sign and symbol of the state. The pattern of the national emblem and the way of using it are stipulated by the Constitution or a special law.

When the national emblem hangs above the main door of government agencies at all levels or above the podium at the meeting, everyone will feel that it is so noble, so solemn; when people see the honor for the motherland of China's athletes dressed in sportswear decorated with the national emblem pattern, standing on the podium to the audience, but also feel that it is so dignified, beautiful, and y feel as a Chinese person is how proud, happy! ......

How was the gleaming emblem of the People's Republic of China born?

Accurately speaking, the national emblem is the fruit of collective creation, is the crystallization of the collective wisdom of many experts and scholars.

July 1949, the Preparatory Committee for the National Committee of the Political Consultative Conference in order to meet the establishment of a new China, in the "People's Daily" published to the country to seek the national flag, the national emblem and the national anthem lyrics of the enlightenment, clearly puts forward the design of the national emblem of the requirements are: a, there should be a Chinese character; b, there should be a regime characteristics; c, the form of the solemnity of the rich and beautiful.

People from all walks of life all over the country have devoted themselves to this work of historic significance. At the same time, by the order of the central government, responsible for the collection of the national emblem of the Department of Construction of Tsinghua University and the National Academy of Fine Arts in Beiping (changed to the Central Academy of Fine Arts in 1950) have set up the national emblem design team. As of August 20, 1949, **** had received one hundred and twelve manuscripts and nine hundred designs for the national emblem from domestic and overseas Chinese. Although these manuscripts and designs had their own characteristics, they were all inadequate and therefore were not adopted. Therefore, at the plenary session of the Chinese People's Political Consultative Conference (CPPCC) in late September 1949, only the program for the national flag and the lyrics of the national anthem were adopted, but the program for the national emblem was not announced.

Then the first committee of the CPPCC decided to invite the Department of Construction of Tsinghua University and the Central Academy of Fine Arts to organize a design competition for the national emblem.

Of these, the national emblem design group of the Department of Camping Construction of Tsinghua University was headed by Prof. Liang Sicheng, China's famous architect and head of the Department of Camping Construction, and its members included Mr. Liang Sicheng's wife, the architect Lin Huiyin, the painter Li Zongjin, the Chinese architecture expert Mo Zongjiang, the architectural design teachers Zhu Changzhong, Wang Guoyu, Hu Yunging, and Zhang Changling, as well as the scholars Luo Zhewen who have studied the ancient architecture of China, and so on.

The national emblem design group of the Central Academy of Fine Arts consists of Zhang Ding, a famous craft artist and professor, Zhang Guangyu, Zhou Lingzhao and Zhong Ling.

In order to hang the new coat of arms on the National Day in 1950, experts and scholars of the two design groups, the various ideas and visions carefully scrutinized and repeatedly studied. Mr. Liang Sicheng and Mr. Lin Huiyin were ill and participated in the design work. Everyone was extremely excited and determined to come up with the best design for the glory of the motherland.

According to the requirements of the CPPCC flag and emblem review group and the opinions of people from all walks of life, and compared all the design options, the two emblem design group finally determined the emblem design has the following content:

Using gears, wheat and rice ears, five stars, ribbons as the theme, reflecting the workers and peasants under the leadership of the **** production party of China under the leadership of the power and the people's great unity of the whole country.

The Tiananmen Gate was designed as part of the theme to represent the birthplace of the May Fourth Movement and the birthplace of the new China, and to symbolize the spirit of the nation.

Who proposed the wheat ears on our national emblem?

In the winter of 1942, in the mountainous city of Chongqing, where the cold wind was blowing, Comrade Soong Ching Ling held a tea party in her apartment to send Comrade Dong Biwu back to Yan'an. Zhou Enlai and Deng Yingchao were also invited to attend. On the tea table were two bunches of full-grain sheaves sent by farmers in the outskirts of Chongqing, illuminated by the fire with a golden glow. At this time, some people praise this ears of grain is really like gold. Soong Ching Ling said, "It is more valuable than gold. Eighty percent of China's population are peasants, and if there is a good harvest every year, the people will have enough to eat and drink." Comrade Zhou Enlai stroked the full ears of grain and said meaningfully, "When the whole country is liberated, we will paint the ears of grain on the national emblem." Sure enough, after the country was liberated, he did not forget his speech at that tea party, and when formulating the pattern for the national emblem of the People's Republic of China*** and the State of China, he suggested that the ears of wheat and rice should be painted on it.

Two national emblem design group in addition to determining the content of the above pattern, Tsinghua design group also from the "Chinese characteristics" of this requirement, in the color of the pattern decided to use red, gold and two colors: red reflects our country's auspiciousness and joyfulness of the national color traditions, the gold embodies the richness of the richness of the nobility. Gold, red and each other, set off, and increase the magnificent color of the pattern.

In order to make the coat of arms from the form of more solemn, solemn, Tsinghua design group decided to draw Tiananmen Square as a front elevation, the five-starred red flag symbolizing China's political power as a background of the sky covering the motherland, placed squarely on the pattern of the coat of arms of the central axis, left and right symmetry, to reflect the Chinese nation's lofty temperament.

In terms of styling, the two design groups also referred to the national emblem patterns of various countries during the design process, and studied and drew on the decorative patterns and craftsmanship effects of ancient ceremonial artifacts such as bronze mirrors, jade bibs and jade rings in China.

The two groups of experts, scholars, after nearly half a year of hard work, dozens of design patterns repeated comparisons, carefully studied, each completed a pattern that they consider the most satisfactory.

On the evening of June 20, 1950, the CPPCC National Emblem Review Group discussed the national emblem program for the last time, and Comrade Zhou Enlai personally presided over the discussion. That night, the schemes of the Tsinghua University design group and the Central Academy of Fine Arts design group were each hung on the left and right sides of the wall. In the Central Academy of Fine Arts design, Tiananmen was a diagonal perspective image with colorful colors; in the Tsinghua group's design, Tiananmen was a front elevation image with gold and red colors.

Premier Zhou Enlai listened carefully to the reports of all the members of the review group, and finally, according to the opinions of Li Siguang, Zhang Xiruo, Shao Lizi and the vast majority of the members of the meeting, he pointed to the Tsinghua group's design and said, "Well, then, let's settle on this!" Premier Zhou's conclusion was unanimously adopted by the meeting.

Subsequently, according to Premier Zhou Enlai's comments on the shape of the rice spike, the Tsinghua design group and night and day to make changes to the details, and then draw a complete pattern, sent to the national emblem review team. June 21, the review team of Ma Shulun, Shen Yanbing to the CPPCC plenary meeting put forward the review report. June 23, the CPPCC plenary meeting unanimously adopted the national emblem program. June 28, the Central People's Government adopted the CPPCC national emblem program. On June 28, the Central People's Government adopted the CPPCC's proposal for the national emblem.

Finally, the famous sculptor, Gao Zhuang, took on the work of further modifying the pattern of the national emblem, processing and shaping the official relief model. After nearly two and a half months of meticulous labor, Gao Zhuang completed the historic task in time by mid-September.

On September 20, 1950, Mao Zedong, Chairman of the Central People's Government, issued a nationwide order announcing the national emblem. From then on, the solemn and beautiful national emblem of our country was born.

China's national emblem clearly indicates the nature of our country, marking the victory of the Chinese people in the new democratic revolutionary struggle since the May Fourth Movement and the birth of a new China as a people's democratic dictatorship based on the alliance of the workers and peasants under the leadership of the working class.

China's new democratic revolution began with the May Fourth Movement and achieved a great victory in 1949, establishing the People's Republic of China. Tiananmen Square is the birthplace of the "May Fourth" movement, but also the establishment of new China is a place of great gatherings, with Tiananmen Square pattern as a symbol of the new national spirit, is very appropriate. The gears and ears of wheat and rice are used to symbolize the working class and the peasantry, and the five stars on the national flag represent the great unity of the Chinese people under the leadership of the Chinese ****anufacturing party, which distinctly expresses the nature of the new China as a socialist state of people's democratic dictatorship based on the alliance of workers and peasants under the leadership of the working class.

The national emblem is the symbol of the state, which represents the dignity of our great socialist motherland, the Chinese people*** and the state. Therefore, we must respect and love the national emblem.

Gao Zhuang, the stereotypical designer of the national emblem

The design and completion of the national emblem is the crystallization of collective wisdom and the embodiment of the people's will. It condenses the heart and soul of many designers; it is full of their love for the Chinese ****-producing party, their yearning for socialism, and their deep affection for the new China. Everyone who participated in the design of the national emblem will live on in the fond memories of the Chinese people.

August 28, 1949, the State Council convened a meeting of experts and scholars from various fields to discuss the pattern of the national emblem, Gao Zhuang, who took part in the design of the national emblem, said at the meeting: "In shaping the model of the national emblem, I have a desire to make our national emblem more solemn, brighter, healthier, stronger, more programmed, more unified, and endowed with a higher sense of national spirit and the spirit of the times. I want to make our national emblem more solemn, more bright, more healthy, more strong, more programmed, more unified, and to give it a higher national spirit and the spirit of the times, so that the artistry of our national emblem can be mentioned at the international level and shine forever.

Gao Zhuang's fervent wish represented the voice of the entire Chinese people, and the design of the national emblem, officially promulgated on September 20, 1950, fully embodied the voice of the people and their aspirations. Sculpting a three-dimensional model of the flat national emblem, which had already been considered and approved by the Congress of the National Committee of the Chinese People's Political Consultative Conference (CPPCC), was not an easy task. This flat national emblem pattern, is in the National Committee of the CPPCC Preparatory Committee public solicitation of hundreds of patterns based on the consultation of all parties, and after the Tsinghua University and the Central Academy of Fine Arts two emblem design group of experts and scholars in the design competition, and finally, Tsinghua University design group design program to obtain the CPPCC National Review Group adopted. This condensation of countless people's efforts of the plane pattern, to be sculpted by Gao Zhuang for the national emblem three-dimensional model, which is of course a difficult and honorable task.

After accepting the task, Gao Zhuang first carefully studied the flat pattern of the coat of arms and found that there were still many shortcomings. For example, the original picture of the rice and wheat stalks bent outward, is droopy and disorganized; red ribbons of ribbons, lack of ins and outs, and have the feeling that the city walls are not correct. Gao Zhuang believes that the national emblem to give a higher national spirit and the spirit of the times, is the guiding ideology of the revision work, the materials that make up the national emblem, such as the national flag, Tiananmen Square, cogwheel, rice and wheat, red ribbons, is stipulated by the central government. How to use these materials to form a pattern, and by it to express the spirit of the image and artistic effect, it can be completely by the artist to play its ingenuity.

With this belief, Gao Zhuang repeated his ideas and made careful comparisons. He changed the rice and wheat into branches and juxtaposed upward, and give the different characters of rigid and flexible, symbolizing the unity of our country's various nationalities **** survival, a symbol of the Chinese nation is flourishing. The red ribbons were changed to regular interspersed, echoing the Tiananmen wall, giving an impression of strength and stability. Other places have also made some changes, such as the size of Tiananmen Square, the location of the Chinese watch, the distance of the five-pointed star on the flag, and so on. In short, after the revision of the national emblem pattern, the whole and local changes in unity, regular and solemn, but also natural and beautiful, fully embodies the Chinese national spirit and the spirit of the times.

In the process of modifying the pattern of the national emblem and shaping the three-dimensional model of the national emblem, Gao Zhuang referred to a large number of materials, he also bought a statue of the Buddha and a few sides of the Qin, Han, Sui, Tang bronze mirror as a reference, reference. In order to make the coat of arms more perfect, spectacular, he made the coat of arms plaster model and the original flat pattern together, so that people can compare comments, listen to the comments, and constantly modify, in order to achieve perfection. To this day, Gao Zhuang still treasures the plaster model of the coat of arms he made back then.

Gao Zhuang in arts and crafts attainments are very deep, woodcutting and sketching is very powerful, y appreciated by the master of art Mr. Xu Beihong, over the past decades, he for the motherland to train a large number of virtuous and talented art talent, for China's arts and crafts education has made due contribution.

Professor Gao Zhuang, at the age of eighty, once composed a poem to express his ambition:

The old ox is willing to bury his head in old age,

The step by step plowing does not ask for reward.

The grass is full and happy,

White bones are willing to enter the hands of artists.

This poem reflects the spirit of the artist, who has made remarkable contributions to the people, that "the old steed in the stable still aspires to go a long way" and never stops working.

The poem reflects the spirit of the artist who has made remarkable contributions to the people.