The flag of the state of Nayarit is, like most current Mexican state flags, the coat of arms centered on a white field.
The coat of arms of Nayarit is divided in three sections:
- The dexter field is red and charged with a corn plant with golden cobs, known as Tepitl, a corn variety which is produced in the region and harvested in only 50 days.
- The yellow section in sinister shows a bow and arrow, which symbolize King Nayar, who was governor of the Cora people in approximately the year 1500. He protected his people from the Spaniards with bow and arrow.
- The base of the shield is blue and shows Sangangüey Hill, an extinct volcano in the suburbs of Tepic.
The shield has an inescutcheon which consists of a white-bordered purple shield charged with an image of the Eagle of Aztlan. On the white border, there are seven footprints, symbolizing the pilgrimage of the seven Nahua tribes from Aztlan to Tenochtitlan. According to legend, they saw an eagle eating a snake on a Cactus tree, and they were instructed to build their city there.
Proposals for new flag of Nayarit
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The blue in this design is because of the flag of Galicia, as Nayarit was part of New Galicia. The other color comes from the flag of Compostela, Spain. By MetamarioMX. 2014.
[Civil Version] The blue in this design is because of the flag of Galicia, as Nayarit was part of New Galicia. The other color comes from the flag of Compostela, Spain. By MetamarioMX. 2014.
Design by MetamarioMX. 2014.
Design based on the Coat of Arms. By MetamarioMX. 2014.
Blue, yellow and green for the colours of the Nayarit landscape. Blue also represents the Pacific Ocean west of the state. The bird is the Eagle of Aztlan and the seven stars represent the seven tribes of the Náhuatl. By kyrgyzzephyr. 2014.
MetamarioMX. 2015.
MetamarioMX. 2015.
Nayarit flag proposal by Sotajarocho. 2015.
Nayarit flag proposal by Superham1. 2016.
The Flag of Nayarit is composed of the Bahía de Banderas (Bay of Flags) and a pictogram of a bow and arroy, representative of the Coras ethnic group. By Ricardo Vazoli, 2016.
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