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100 Dinara
| Issuer | Narodna Banka Federativne Narodne Republike Jugoslavije (National Bank of the Federative People's Republic of Yugoslavia) |
|---|---|
| Year | 1946 |
| Type | Standard circulation banknote |
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| Obverse description | The obverse is printed in brown on a pale yellow-green underprint and carries two intaglio vignettes of workers in the socialist-realist tradition: a carpenter at a workbench to the left and a man operating a scythe or agricultural tool to the right, with an industrial landscape visible in the background behind each figure. At centre, an oval cartouche framed by wheat ears bears the bank title in Cyrillic, the denomination numeral "100" in an ornate panel, and the date "БЕОГРАД, 1 МАЈ 1946", surmounted by the Yugoslav state coat of arms. The denomination "100 DINARA" and its Cyrillic equivalent "100 ЛИНАРА" appear in large letterpress type along the upper and lower borders, with the issuer's name in four languages across the top and bottom margins. |
|---|---|
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| Reverse description | The reverse, rendered in brown and pale blue-green, centres on a large intaglio vignette of a seated fisherman hauling a net, with a sailing vessel and seagulls on an open sea behind him. Two elaborate guilloche rosettes bearing the denomination in Cyrillic "ДИНАРА 100 ДИНАРА" and Latin "DINARJEV 100 ДИНАРИ" flank the central figure. The names of the Yugoslav constituent republics and regions — Crna Gora, Srbija, Hrvatska, Slovenija, Makedonija, Bosnia i Hercegovina — run along all four borders, and an anti-counterfeiting warning in four languages is inscribed in a panel along the lower margin. |
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| Comments |
Yugoslavia's first postwar banknote series, issued under the new Federal People's Republic established by Tito's 1946 constitution, replaced the provisional 1944–45 issues that had themselves superseded the wartime occupation currencies. The ZIN facility in Belgrade — which had been seized and exploited by the German occupation administration — was back under Yugoslav state control by this point, and the decision to print domestically rather than abroad carried obvious political significance for the new regime.
Zlamalik's involvement as designer and the use of Andrejević Kun for the obverse engraving gave the series a pedigree; Kun was among the most accomplished intaglio engravers working in Yugoslavia at the time.