カタログ
| 発行体 | Yugoslavia |
|---|---|
| 年号 | 1925 |
| 種類 | Coin pattern |
| 額面 | 2 Dinars (2 Dinara) |
| 通貨 | Dinar (1918-1941) |
| 材質 | Copper-nickel |
| 重量 | |
| 直径 | |
| 厚さ | |
| 形状 | Round |
| 製造技法 | Milled |
| 向き | Coin alignment ↑↓ |
| 彫刻師 | Henri-Auguste Patey |
| 流通終了年 | |
| 参考文献 | KM#Pn12a |
| 表面の説明 | Portrait of King Alexander I of Yugoslavia, facing left. |
|---|---|
| 表面の文字体系 | Cyrillic, Latin |
| 表面の銘文 |
АЛЕКСАНДАР I. КРАЉ СРБА, ХРВАТА И СЛОВЕНАЦА A.PATEY (Translation: Alexander I, King of the Serbs, Croats, and Slovenes) |
| 裏面の説明 | Crown at top. Wreath of oak and laurel surrounding the value and date of issue. |
| 裏面の文字体系 | Cyrillic |
| 裏面の銘文 |
2 ДИНАРА 1925 (Translation: 2 Dinars) |
| 縁 | |
| 鋳造所 | |
| 鋳造数 |
1925 - - |
| Numisquare ID | 1939536070 |
| 追加情報 |
Historical Context: The 1925 2 Dinara pattern coin emerges from the nascent Kingdom of Serbs, Croats, and Slovenes, established in 1918 under King Aleksandar I Karađorđević. This period was crucial for consolidating the diverse South Slav territories. As a pattern, this piece represents a proposed design or trial strike, offering rare insight into the monetary planning of the era. It predates the 1929 royal dictatorship and the renaming to Yugoslavia, marking it as a product of the unified nation's formative years.
Artistry: The design likely features a dignified, idealized bust of King Aleksandar I on the obverse, typical of early 20th-century European monarchical portraiture. While the specific engraver for unadopted patterns is often unrecorded, the stylistic school would have drawn from classical numismatic traditions, potentially blended with Art Deco influences, to convey regal authority. The reverse would typically present the denomination and national symbols, executed with precision reflective of a trial piece.
Technical/Grading: Struck in copper-nickel, this pattern coin would exhibit excellent detail if well-preserved. Key high-points for grading include the King's hair, ear, and cheekbone on the obverse. On the reverse, central motifs and lettering are critical. Patterns are often struck with new dies and extra force, resulting in a full, sharp strike, free from circulation wear, and generally aiming for superior technical quality.