Romanian flag, anthem and coat of arms *

    National flag

The national flag of Romania is a tricolour: blue, yellow and red. It has not undergone many or major changes in the course of history. Only the distribution of the colours (in point of proportion and position) changed to a certain extent, being made equal after the Revolution of 1848 when, under the spur of the French revolutionary spirit, many states in Europe adopted as their national flag the dimensionally standardised three-colour banner. Sigillography attests that at certain historical stages, the Romanian flag had the three colours arranged horizontally with the red in the upper part, the yellow in the middle and the blue in the lower part. Also, the proportion of the colours was not the same as it is now (33 per cent for each colour). Basically, however, the three colours so dear to the Romanians are to be found in banners dating back to the time of Michael the Brave (rom: Mihai Viteazul) and even Stephen the Great (rom: Stefan Cel Mare). Moreover, recent research indicates that they existed even on the Dacian standard presented on Trajan's Column in Rome. This standard was of a special form: a bright metal wolf's head hanging from which were long coloured bands of cloth. As the wind blew, the standard gave a whiz that scared the enemy and encouraged those who carried it in battle. In critical moments, hiding the standard so that it should not be taken by the enemy was a custom common with several peoples, including therefore the Dacians, the Daco-Romans and the Romanians. Such a hidden standard was the one belonging to Tudor Vladimirescu, the leader of the 1821 revolution. When the revolution was stifled, Tudor's chieftains decided to bury the standard in a courtyard. Only 60 years later, in 1882, was the standard found, reconditioned and brought to Bucharest, the capital of the country, being deposited, in the framework of a special ceremony, at the Army House (today the Central Military Museum). The 1821 revolution Tudor Vladimirescu helped the country get rid of the Phanariot rulers imposed by the Ottoman Empire in Wallachia and Moldavia in the early 18th century (the Phanariot rulers came from the Phanar district of Constantinopole and were aliens imposed on the country by the Sultan as mere administrators). The flag, the standard, the banner are profound symbols, connected to history, to the resistance of the people and the secret of their survival. The Romanian tricolour (the colours red, yellow and blue are to be found also in Romania's coat of arms) resisted, as a symbol, even after the advent of communism under Ceausescu in this country, when the entire heraldry of the USSR's satellites was reduced to a caricature.

In the course of time, poems and hymns were dedicated to the Romanian tricolour; one of these, Three Colours, on music by Ciprian Porumbescu, has been very mobilising and is one of the most liked by the Romanians. The flag of Romania has the colours placed vertically as follows: blue (hoist), yellow (in the middle) and red (fly). The width of each colour band is one-third of the length. The blue is cobalt, the yellow-chrome and the red-vermillion.

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Andrei Muresan's poem "Un rasunet", written and published during the 1848 Revolution, found the adequate music within a few days, as the anthem was sung for the first time on June 29, 1848 at Ramnicu Valcea (in Wallachia the revolution had broken out on June 11). The poem became an anthem under the title "Desteapta-te romane"  ("Awaken Thee, Romanian") and spontaneously earned recognition owing to its energetic and mobilising message. Since 1848 "Desteapta-te romane" has been a song dear to the Romanians, giving them courage in the crucial moments, during the Independence War (1877-1878), just as during World War I.
In the moments of crisis after August 23, 1944 when, after the state coup, Romania turned against Hitler's Germany and then participated in the war along with the Allies, this anthem was spontaneously sung by everyone and was aired on the national radio, keeping the whole country on alert. The same happened on December 22, 1989, at the time of the anti-Communist revolution; the anthem rose from the streets, accompanying huge masses of people, dispelling the fear of death and uniting a whole people in the lofty feelings of the moment. Thus, its institution as a state anthem came by itself, upon the tremendous pressure of the demonstrators.
The message of the anthem "Desteapta-te romane" is social and national at the same time; social because it imposes a permanent state of vigil meant to secure the passing to a new world; national because it gears this awakening to the historical tradition. The anthem proposes that sublime "now or never," present in all national anthems from the paion with which the Greeks fought at Marathon and Salamina to the French revolutionary Marseillaise. The invocation of the national fate is the peak a people can reach in its soaring towards the divine. This "now or never" historically calls upon all vital energies and mobilises to the full.

The coat of arms of Romania With all peoples the national coat of arms - the supreme heraldic sign - is of special importance. Its images evoke history, through it tradition remains alive, while its bearings awaken the national feeling. In most states' coats of arms, the bearings are devoted to the specific national past and are commonly recognised by citizens. Such lofty symbols however are not established only by laws and decrees. They are equally the melting pot for the citizens' ideas and aspirations, for their common thoughts. In Romania the preoccupation with a representative, synthetic coat of arms dates back to the 19th century. It led to the formation of a fine team of heraldry specialists rallying outstanding Romanian scientific figures. As the State Archives were set up and sigillography studies developed, the heraldry experts identified the coats of arms of districts, provinces, the heraldic bearings of the big landowners, a.o. After 1859 (when Wallachia and Moldavia united into one state) the question of a representative coat of arms arose. In 1863 the solution was found of joining the ancient, traditional symbols of Wallachia (the golden eagle with cross) and Moldavia (the auroch with a star between its horns). Later (1872), Romania's heraldry commission proposed a synthetic coat of arms that combined the traditional symbols of all the Romanian provinces: Wallachia, Moldavia, Bukovina, Transylvania, Maramures, Crisana, Banat and Oltenia. The coat of arms was adopted by the Government of Romania and was in use until 1921 when, following the great Union of December 1, 1918, the new coat of arms of Greater Romania was devised, with the addition of the symbols instituted in 1872: the insignia of the House of Hohenzollern (a European royal house with origins in the early Middle Ages, which gave Romania four kings, the first of whom - Carol I, 1866-1914 - was the one that raised the country to the rank of a kingdom in 1881), the crown of Romania (made from the steel of a cannon captured at Pleven, during the 1877-1878 Independence War through which the country, by the valour of the Romanian soldiers, won its independence from the Ottoman Empire) and two face-to-face dolphins with their tails up, symbolising the Black Sea. The coat of arms of Greater Romania was replaced in 1947, when the Romanian People's Republic was proclaimed under pressure from the Soviet occupation troops, with a decorative effigy symbolising the country's riches guarded by ears of wheat and a rising sun as a background as well as a red star in the chief. Immediately after the 1989 Revolution, the idea came up of giving Romania a new, representative coat of arms. In fact, the very symbol of the Revolution was the flag with a hole in its middle wherefrom the communist coat of arms had been cut out. The heraldic commission set up to design a new coat of arms for Romania worked intensely, subjecting to Parliament two final designs which were then combined. What emerged is the current design adopted by the two Chambers of Romania's Parliament in their joint session of September 10, 1992.
Romania's coat of arms has as a central element the golden eagle with cross. Traditionally, this eagle appears in the arms of the Arges county, the town of Pitesti and the town of Curtea de Arges. It stands for the "nest of the Basarabs," the nucleus around which Wallachia, was organised, the province that determined the historical fate of the whole Romania. The eagle, being the symbol of Latinity and a heraldic bird of the first order, symbolises courage, determination, the soaring toward great heights, power, grandeur. It is to be found also in Transylvania's coat of arms. The shield on which it is placed is azure, symbolising the sky. The eagle holds in its talons the insignia of sovereignty: a sceptre and a saber, the latter reminding of Moldavia's ruler, Stephen the Great (1456-1504), also called "Christ's athlete" whereas the sceptre reminds of Michael the Brave (1593-1601), the first unifier of the Romanian Countries.
On the bird's chest there is a quartered escutcheon with the symbols of the historical Romanian provinces (Wallachia, Moldavia, Transylvania, Banat and Crisana) as well as two dolphins reminding of the country's Black Sea Coast. In the first quarter there is again Wallachia's coat of arms on azure: an eagle or holding in its beak a golden Orthodox cross, accompanied by a golden sun on the right and a golden new moon on the left. In the second quarter there is Moldavia's traditional coat of arms, gules: an auroch head sable with a mullet of or between its horns, a cinquefoil rose on the dexter and a waning crescent on the sinister, both argent. The third quarter features the traditional coat of arms of Banat and Oltenia, gules: over waves, a golden bridge with two arched openings (symbolising Roman emperor Trajan's bridge over the Danube), wherefrom comes a golden lion holding a broadsword in its right forepaw. The fourth quarter shows the coat of arms of Transylvania with Maramures and Crisana: a shield parted by a narrow fesse, gules; in the chief, on azure, there is an eagle sable with golden beak coming out of the fesse, accompanied by a golden sun on the dexter and a crescent argent on the sinister; on the base, on or, there are seven crenellated towers, placed four and three. Also represented are the lands adjacent to the Black Sea, on azure: two dolphins affronts, head down.

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