Katalog
| Emitent | Beikthano Kingdom (Pyu city-states) |
|---|---|
| Rok | 500-600 |
| Typ | Standard circulation coin |
| Nominał | |
| Waluta | |
| Skład | Silver |
| Waga | 6.93 g |
| Średnica | |
| Grubość | |
| Kształt | Round |
| Technika | Hammered |
| Orientacja | Medal alignment ↑↑ |
| Rytownik(zy) | |
| W obiegu do | |
| Źródło(a) |
| Opis awersu | Srivatsa temple with sankh shell on left and swastika at right |
|---|---|
| Pismo awersu | |
| Legenda awersu | |
| Opis rewersu | Rising Sun stylised. |
| Pismo rewersu | |
| Legenda rewersu | |
| Krawędź | |
| Mennica | |
| Nakład |
ND (500-600) - - |
| ID Numisquare | 1863480440 |
| Dodatkowe informacje |
Historical Context: The 64 Ratti coin from Beikthano emerges from the rich tapestry of the Pyu city-states, flourishing in what is now central Myanmar between the 5th and 10th centuries CE. Beikthano, identified as one of the earliest and largest Pyu urban centers, served as a vital hub for trade, administration, and the propagation of Theravada Buddhism. This silver coinage, dated 500-600 CE, signifies a sophisticated economic system and the kingdom's prosperity, adhering to the ancient Indian Ratti weight standard, a testament to extensive cultural and commercial ties with the Indian subcontinent.
Artistry: While the engraver remains anonymous, typical for the period, the coin’s design reflects the distinctive early Pyu numismatic tradition, subtly influenced by Indian prototypes. Common motifs include the auspicious Srivatsa symbol, representing prosperity, often depicted atop a Bhadrapitha (throne or pedestal), signifying sovereignty. These central designs are typically rendered with a stylized simplicity, often encircled by a dotted border or other symbolic elements like the sun, moon, or conch, showcasing a unique blend of indigenous artistry and external religious iconography.
Technical/Grading: Struck in silver with a weight of 6.93 grams, precisely aligning with the 64 Ratti standard, this coin demonstrates remarkable metallurgical consistency for its era. High-points susceptible to wear typically include the central Srivatsa and Bhadrapitha motifs. Due to hand-striking techniques prevalent in the 6th century, examples often exhibit characteristic irregularities such as slight off-centering, uneven flan shapes, and variable strike pressure. A well-preserved specimen would display sharp detail on the primary devices and a relatively round, evenly struck flan, indicative of superior craftsmanship.