Last modified: 2001-03-16 by dov gutterman
Keywords: hungary | csongrad |
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by Antonio Martins, 28 Febuary 2001
This flag appears at Dr. Széll Sándor: Városaink neve,
címere és lobogója (1941) as "Csongrád, Csongrád
István Molnár, 20 October 2000
Five red and white horizontal stripes.
Antonio Martins, 28 Febuary 2001
by István Molnár
Source: A magyar városok címerei (CoAs of the Hungarian cities and towns); 1975
from http://www.csongrad.hu/hdoc/varosismerteto/cimer_eng.htm , located by Dov Gutterman , 3 March 2000
The town of Csongrád is located in the Central Tisza region, opposite the mouth of the Hármas-Körös.
The coat-of-arms is a shield erect, the base curved to a point. It bears: azure, a triple-branched demi rose issuant from a heart gules, the middle stem bearing three leaves, the dexter and the sinister stems two leaves each, and all the three topped with a blossoming bloom. One bloom is borne in bend, one in bend sinister, whereas the middle one is borne palewise with a dove argent perched thereon.
Across the top a mural crown with a battlement of five merlons or. Mantling: floral ornament (acanthus leaves) gules and or on both sides.
The archetype of the blazonry of this coat-of-arms appeared on the town's seal made in 1738. This seal was used until 1849, and then again between 1903 and 1949. The present version has been in use since 1990.
The blue field evokes the town's rives, its old ferry, the one-time fishing and crab-catching, as well as the traditional handicraft industry (i.e. the making of objects from reed and sedge).
The heart with the roses issuing therefrom is a very old symbol, appearing frequently in our folk traditions and early linguistic records as the representation of love, relatedness, of being worried about others and of making sacrifices for them. All this becomes the people of Csongrád, as proven by Gedehalom, the tomb of the "Avar Romeo and Juliet", and the firmness shown in the fights for independence.
The blooming rose on the one hand expresses that the settlement has permanently been inhabited since the Neolithic age up to the present day, while the other hand it symbolizes that despite repeated destruction, Csongrád always revived and prospered with an unbroken will to live. In addition, the rose also means that the local people were always ready to make sacrifices for God, their homeland and the King.
The seven rose petals are the reminders of our ancestors who conquered this land. One of them was the chief Ond, whose son Ete gathered many Slavs and, according to the chroncler Anonymus, 'had a very strong earthwork built, which the Slavs called in their language Csongrád, that is black castle'.
The dove symbolizes the family, the local community and the abundance that arises from it. In addition, since the dove looks to the dexter side, it may also express faith in the future. According to biblical tradition, Noah's dove is the example of reconciliation, peacefulness and the relatedness of honest people.
The mural crown with the five merlons is a reminder of the fact that King St Stephen had a castle built and the seat of a comitat established here, which existed until the Mongol invasion of 1241-2. Following this, the settlement was owned by the castle of Szeged, and later by great landlords. As one of then was the Hunyadi family (since 1456), some presume that the seal of 1738 is fallacious, because the original charge would have been the raven [Turkish administrative unit] of Szeged, then that of Szolnok. After 1686 it became a market town.
The red mantling on the one hand suggests that folk traditions are being cherished (this is also expressed by the charge itself), while on the other hand, as the 'inn sign' of the excellent local red wine, it refers to the wine festivals and to the cult of St Vincent, patron saint of vineyardists.
The golden mantling evokes the rich soil around Csongrád and the hard work of its inhabitants.
Csongrád's coat-of-arms is a fine example of how the concept of progress based on traditions can be represented, thus also conveys a message to the people of today.
István Molnár, 3 March 2001