| Émetteur | Tripura, Princely state of |
|---|---|
| Année | 1600 |
| Type | Standard circulation coin |
| Valeur | 1 Tanka |
| Devise | Rupee |
| Composition | Silver |
| Poids | 10.64 g |
| Diamètre | |
| Épaisseur | |
| Forme | Round (irregular) |
| Technique | |
| Orientation | |
| Graveur(s) | |
| En circulation jusqu’à | |
| Référence(s) | KM#109 |
| Description de l’avers | Krishna standing on lion, playing the flute, with one gopi on each side of Krishna, border of annulets |
|---|---|
| Écriture de l’avers | |
| Légende de l’avers | |
| Description du revers | 4-line legend |
| Écriture du revers | |
| Légende du revers | sri sri yuta yaso manikya deva sri lakshmi gauri jaya maha devyah |
| Tranche | |
| Atelier | |
| Tirage |
1522 (1600) - - |
| ID Numisquare | 1361636080 |
| Informations supplémentaires |
Historical Context: This silver 1 Tanka coin, issued in 1600, hails from the Princely State of Tripura during the reign of Maharaja Yaso Manikya. Ascending the throne in 1599, Yaso Manikya was a formidable ruler who significantly expanded Tripura’s territories and maintained its sovereignty against external pressures, notably from the encroaching Mughal Empire. His coinage serves as a tangible assertion of his independent rule and the kingdom's prosperity during a politically dynamic period in Northeast India.
Artistry: The design of this Tanka exemplifies the indigenous numismatic tradition of Tripura, which, while influenced by the earlier Bengali Sultanate coinage, developed its distinct character. As with most coinage of this era, the engraver remains anonymous. The coin typically features multi-line legends predominantly in elegant Bengali script on both the obverse and reverse, proclaiming Yaso Manikya's royal titles and the date. The layout is often symmetrical, with a clear focus on the calligraphic beauty of the script rather than pictorial motifs.
Technical/Grading: Struck on a broad, relatively thin silver flan weighing 10.64 grams, this Tanka exhibits characteristics typical of the period. High-points for wear and strike quality generally include the central portions of the Bengali legends, particularly the upper serifs and flourishes of the characters. Due to the manual striking process, unevenness in the strike is common, with some areas, especially near the edges, potentially exhibiting flatness or incomplete details. The planchet shape can also vary from perfectly round.