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| Emittent | National Bank of the Republic of Belarus |
|---|---|
| Jahr | 2014 |
| Typ | Anmelden um Details zu sehen |
| Nennwert | Anmelden um Details zu sehen |
| Währung | Anmelden um Details zu sehen |
| Material | Anmelden um Details zu sehen |
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| Stempelschneider | Anmelden um Details zu sehen |
| Im Umlauf bis | Anmelden um Details zu sehen |
| Referenz(en) | KM#472 |
| Aversbeschreibung | Anmelden um Details zu sehen |
|---|---|
| Aversschrift | Cyrillic |
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| Reversbeschreibung | The reverse presents a richly detailed hagiographic composition in pad-printed polychrome against a warm amber ground evoking aged parchment or wood. Multiple scenes from the life of St. Sergius of Radonezh are arranged in a circular frieze around a central vignette depicting the saint standing among a group of figures, with a processional cross at centre. Each vignette illustrates a key episode from the saint's life, accompanied by brief Cyrillic captions identifying the depicted events, rendered in a style reminiscent of medieval Russian manuscript illumination. Stylised black doves are interspersed throughout the field between the scenes. The inscription РЭСПУБЛІКА БЕЛАРУСЬ 5000 РУБЛЁЎ Au 999,9 2014 appears around the lower portion of the design, with the year 2014 and fineness indication visible in the field. |
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| Zusätzliche Informationen |
Sergius of Radonezh founded the Trinity Monastery near Moscow in the 1340s and became the spiritual architect of Russian Orthodox monastic revival — but his political significance is equally hard to overstate. In 1380 he blessed Dmitry Donskoy before the Battle of Kulikovo, the first major Russian victory over the Golden Horde. That blessing became foundational mythology for Russian national identity for centuries afterward.
Belarus issuing this coin in 2014 carries its own weight: the timing coincides with acute pressure on Belarusian cultural and religious identity amid the crisis in Ukraine. The 500-gram, 80mm format places it firmly in the prestige collector series the National Bank was producing aggressively during this period, incorporating inlaid pearls as a direct reference to medieval Orthodox icon-mounting tradition.