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Artículos de revistas sobre el tema "Royal coins"

Autor: Grafiati

Publicado: 27 de julio de 2024

Última modificación: 31 de julio de 2025

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1

Hauret, Philip. "The Chittagonian Coinage of Arakan’s Royal Sons." Advances in Social Sciences Research Journal 9, no. 9 (2022): 361–78. http://dx.doi.org/10.14738/assrj.99.13109.

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A researcher approaching the multi-lingual coins of the former Kingdom of Arakan (circa 1430-1784) must overcome many challenges. Difficult to read specimens, incorrect translations, poor scholarship and at times deficient photography within the existing treatments, when one can find them, are some of the obstacles encountered. Despite all the recent attention the Rohingya controversy has brought to these coins, studying them can still be productive of new information about Arakan. The objectives of this article are relatively modest, nonetheless. It will focus on a particular series of multi-

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2

Ashton, R. H. J. "Knossos Royal Road South 1971 and 1972 excavations: The Coins." Annual of the British School at Athens 84 (November 1989): 49–62. http://dx.doi.org/10.1017/s0068245400020876.

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The author publishes 82 coins from the 1971 and 1972 excavations at the Royal Road South, Knossos. As would be expected, most of the coins are bronze, and Cretan or late Roman. There are no particular surprises, except for an Alexandrian bronze of Augustus in a hitherto apparently unpublished denomination.

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3

BODZEK, Jarosław. "A Note on a Samarian Coin Type. A Royal Horseman?" Gephyra 24 (November 15, 2022): 143–49. http://dx.doi.org/10.37095/gephyra.1174953.

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Some new, unlisted types of Samarian coins have appeared recently on the antiquities market. In the present paper I would like to discuss some points concerning one of them, which is especially interesting because of its iconography. The coin appeared on the market in Autumn 2021. Its reverse shows an image of a cavalryman with a spear or a javelin. Unlike the other images of the Iranian cavalrymen depicted on Samarian coins, the exemplar probably shows "the Great King like figure" having long beard and wearing a kidaris. So far, such an image is not only unique in Samarian coinage, but finds

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4

Sinisi, Fabrizio. "Royal Imagery on Kushan Coins: Local Tradition and Arsacid Influences." Journal of the Economic and Social History of the Orient 60, no. 6 (2017): 818–927. http://dx.doi.org/10.1163/15685209-12341439.

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Abstract This article deals with the development of Kushan royal imagery as known from coins in the period between the 1st and the 3rd centuries ad, i.e. from the so-called Heraios series to the coins of Vasudeva. The aim is to challenge the traditional interpretative models which ascribed a crucial role to a Roman contribution, and to highlight instead first the role of the local numismatic tradition, which stretched back to the Graeco-Bactrians, and then the influx of patterns of royal imagery of western Iranian—namely Arsacid Parthian—origin, around the time when Vima Kadphises inaugurated

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5

Robert Langnas, Bob. "An Introduction to Parthian Silver Fractions, the Little Anomalies of Arsacid Coinage." KOINON: The International Journal of Classical Numismatic Studies 1 (January 1, 2018): 114–41. http://dx.doi.org/10.32028/k.v1i.1166.

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Although Parthian coins have appealed to a cross-section of ancient coin collectors for centuries, interest seems to have been particularly piqued by the 1993 publication of Fred B. Shore’s Parthian Coins & History: Ten Dragons Against Rome and by the subsequent sale of his collection in December 1995. Coins from the Parthian series present collectors with a number of different areas of potential focus, among them the different mint monograms, the varied representations of the distinctive Parthian tiara, portraits sporting the “royal wart” of the Arsacids, “off” style examples from Parthia

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6

Képes, György. "Erik Klipping’s royal charter of 1282: background, provisions, significance." Jogelméleti Szemle, no. 4 (January 30, 2024): 38–54. http://dx.doi.org/10.59558/jesz.2023.4.38.

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In the morning of 22 November 1286, a group of armed men dressed as monks murdered the Danish king Erik V known from his square-cut coins as “Erik Klipping”. The direct cause of the assassination was king Erik’s unpopular financial policy: he ordered all silver pennings circulating in his realm to be sent back to the royal treasury where they would be cut in order to mint new coins from the clipped parts, and imposed new taxes, too. However, another event made Erik even more famous in Danish history. He was the first king in Denmark who had to sign a royal charter (called “håndfæstning”), in m

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7

Mašek, Michal. "Portréty na mincích pergamských vládců / Portraits on coins of the rulers in Pergamon." Numismatické listy 73, no. 1-2 (2019): 3–9. http://dx.doi.org/10.37520/nl.2018.001.

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During the rule of Alexander III the Great (BC 336–323) and after his death, unified coins circulated all over the entire Hellenistic world. The silver tetradrachms have head of Heracles on their obverse. After the Alexander´s death and after the royal proclamation of some Diadochi, portraits of the particular living rulers started to appear on obverse of the subsequent coins. The tetradrachms of the rulers in the Kingdom of Pergamon represented an exception. The coins showed only dead rulers. But the unique tetradrachm with portrait of Eumenes II (alive in time of production) seems to be a sp

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8

Monter, William. "Gendered Sovereignty: Numismatics and Female Monarchs in Europe, 1300–1800." Journal of Interdisciplinary History 41, no. 4 (2011): 533–64. http://dx.doi.org/10.1162/jinh_a_00155.

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Coins have provided specific and concrete markers of official, legitimate political sovereignty since the time of the Roman Empire. Europe's female monarchs of the old regime, a group that has not been much studied, used numismatics in effective ways to enhance their official sovereignty. Throughout the entire period, most royal heiresses were married, and despite a persistent and widely circulated literature that preached wifely subservience, their coins (and, later, their medals) suggest their full political autonomy.

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9

Ericsson, Peter, and Patrik Winton. "Surge, retraction and prices: the performance of fiat coins in Sweden, c. 1715–1720." Financial History Review 27, no. 2 (2020): 256–82. http://dx.doi.org/10.1017/s0968565020000049.

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From 1716 to 1718, Sweden experienced a shock of liquidity when the absolutist regime of Charles XII issued large amounts of fiat coins (mynttecken) in order to finance the Great Northern War. After the death of the king in November 1718, the new parliamentary regime decided to partially default on the coins. In international literature, this episode is largely unknown, and in Swedish historiography, scholars have often claimed that the country's currency collapsed in hyperinflation. We assess the performance of the new coins by studying how prices of commodities in various geographic location

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10

Orlyk, Vasyl. "Copper Coins from Taulara of Mithridates VI Eupator Times from the Northern Black Sea Region and Eastern European Steppe and Forrest-Steppe." Stratum plus. Archaeology and Cultural Anthropology, no. 6 (December 2022): 149–59. http://dx.doi.org/10.55086/sp226149159.

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In the Pontic state of Mithridates VI Eupator’s times, copper coins were minted in the cities, settlements, and fortresses. The royal fortress called Talaura, that is located on the border with Armenia Minor, was one of the centers of these emissions. The article analyses 5 types of Taulara coins which are known, the assumption about the possible period of their minting is argued. Based on the analysis of die, an assumption is made concerning the more centralized Pontic coinage in the period under study and perspective directions are identified for further studies of Pontic state’s numismatics

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11

Wójcikowski, Robert S. "The Horned Horse in the Coinage of Seleucus I Nicator." Studies in Ancient Art and Civilisation 25 (December 19, 2021): 123–42. http://dx.doi.org/10.12797/saac.25.2021.25.07.

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The motif of the horned horse on the coins of Seleucus I is characteristic for the coinage of the first Seleucid king. Its meaning is still unclear in spite of many attempts to interpret it. The horned horse is associated with Dionysos, or Alexander the Great. Most of the coins featuring this motif were minted in the Iranian part of the empire of Seleucus I and this fact suggests that it should be interpreted in the context of Iranian culture in which a horse featured significantly and could symbolize royal power and authority. Horns as an iconographic element were characteristic of Babylon an

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12

Raafat, A. ABU-ELANIN. "Four New Memorial Golden Coins Of The King Farouq." SHEDET (Annual Peer-Reviewed Journal Issued By The Faculty Of Archaeology, Fayoum University) Issue No. 2 (2015) (December 15, 2015): 8–21. https://doi.org/10.5281/zenodo.546155.

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This article aims to study varied unpublished collections of the golden memorial coins were struck on the occasion of the royal wedding of the King <em>Farouq</em> –King of Egypt– to the queen <em>Fareeda</em> in 1357 A.H. (1938). Furthermore, the paper provides an interpretation of the inscriptions and decoration and its significance.

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13

Kondo, Nobuaki. "How to Found a New Dynasty: The Early Qajars’ Quest for Legitimacy." Journal of Persianate Studies 12, no. 2 (2020): 261–87. http://dx.doi.org/10.1163/18747167-12341336.

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Abstract This paper focuses on how early Qajars established their rule and legitimacy. At first, Āqā Mohammad Khān, the first shah, imitated other rulers since Nāder Shāh, such as Mohammad-Hasan Khān Qājār, Āzād Khān Afghān, and Karim Khān Zand, in his coins and documents. Like his predecessors, he also tried to install a Safavid prince at Tehran as a puppet ruler. However, following his official coronation and his conquest of Iran, he changed the format of his royal edicts and issued extraordinarily heavy gold coins. Nevertheless, neither Āqā Mohammad Khān nor his successors created an offici

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14

Woytek, Bernhard. "Heads and Busts on Roman Coins. Some Remarks on the Morphology of Numismatic Portraiture." Revue Numismatique 171 (2014) (October 18, 2014): 45–71. https://doi.org/10.5281/zenodo.8020409.

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Portraits were the standard obverse types of Roman imperial coins. Up to the mid-1st century AD, gender-specific morphological differences in the numismatic portraiture of emperors and their family members are in evidence. There were invariably portrait heads for the rulers, but draped portrait busts for imperial ladies. In this paper, the differences are analysed in detail and possible explanations are discussed. The imperial bust types are set in the context not only of Hellenistic royal coinages, but also of the heads and busts of gods and mortals appearing on Roman Republican coins –

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15

Tyler-Smith, Susan. "A DIE STUDY OF THE YEAR 21 GOLD COINS OF KHUSRO II (590–628)." Ukrainian Numismatic Annual, no. 6 (December 30, 2022): 181–97. http://dx.doi.org/10.31470/2616-6275-2022-6-181-197.

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AbstractThis paper discusses two denominations of gold coins struck by the Sasanian kingof kings, Khusro II (590–628). They both have the same design. On the obverse is theprofile head of the king facing right, similar to that found on the silver but without themarginal stars and crescents. The legend on the left is the same as that on the drachmsbut there is a longer legend on the right so the whole legend reads: 'Khusro king of kingshas increased the royal glory‘. On the reverse there is a facing bust with the headsurrounded by flames, similar to that seen on some 'special‘ issue silver drac

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16

Metcalf, D. M. "Royal Coin Cabinet, Stockholm. Part V: Anglo-Saxon Coins--Edward the Confessor and Harold II, 1042-1066 (Sylloge of Coins of the British Isles, Vol. 54)." English Historical Review CXXV, no. 515 (2010): 951. http://dx.doi.org/10.1093/ehr/ceq193.

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17

Moesgaard, Jens Christian. "Hedeby og den danske kongemagt i 900-tallet – Mønternes udsagn." Kuml 61, no. 61 (2012): 111–36. http://dx.doi.org/10.7146/kuml.v61i61.24499.

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Haithabu and the Danish monarchy in the 10th centuryNumismatic evidenceIn the 10th century, Haithabu and its environs constituted a numismatic enclave with its own coinage used by number rather than by weight. This is apparent both from hoards located in the town’s hinterland and single finds from the town itself. In these, local coins – imitations of Charlemagne’s coins from Dorestad – dominate in the form of intact speciments that are neither bent nor tested. At that time in Scandinavia and Baltic area it was the norm to use silver as payment by weight. Ornaments and coins from many differen

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18

Taasob, Razieh. "Representation of Wēś in early Kushan coinage: Royal or local cult?" Afghanistan 3, no. 1 (2020): 83–106. http://dx.doi.org/10.3366/afg.2020.0046.

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The religious significance of Wēś is a widely debated topic in the historical and numismatic study of Central Asia, including contributions from several scholars who claimed that the representation of Wēś in early Kushan coinage, particularly in the coins of Vima Kadphises (ca. ce 113–127), was an allusion to the conversion of the king to Shivaism. This paper contests the claim that the certain attributes depicted with Wēś should not be construed as belonging to the Indian god Śiva or the Greek god Heracles. The royal portrait on the obverse of the coinage of Vima Kadphises shows the king taki

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19

Bolton, H. C., and Nicola H. Williams. "Weighing and assay in the early days of the Melbourne Branch of the Royal Mint." Historical Records of Australian Science 14, no. 1 (2002): 47. http://dx.doi.org/10.1071/hr02003.

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The Melbourne Branch of the Royal Mint was founded in response to demand from prospectors and the rapidly increasing Victorian population for a viable currency. Its basic function was to assay the precious metals received, which relied on accurate weighing. Various officers of the Mint, including Robert Barton, George Foord, Robert Law and Carl Otto added refinements that contributed to the speed and reliability of this process. The Melbourne Mint operated from 1872 until 1968, although gold refining ceased in June 1964, and it then concentrated on producing threepenny and penny pieces, and al

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20

Flattun, John-Wilhelm. "Angel and Sovereign: Henry VII’s Royal Coins, Legitimation, and Relics of Power." Royal Studies Journal 8, no. 2 (2021): 76. http://dx.doi.org/10.21039/rsj.258.

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21

Dutta, Debajit. "Coinage and Economy of Premodern North-East India." Indian Historical Review 44, no. 2 (2017): 212–24. http://dx.doi.org/10.1177/0376983617726470.

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The study of coinage and economy of any area has its own appeal. As they are not much affected by outline influence, so they often proceed along their own lines and thus can have significance for people trying to determine the general patterns of development. In precolonial phase of Indian history, the Ahom kingdom situated in the North-Eastern part demands special attention as it had its own glorious series of coinage. As a royal issue, the coins of Ahom kingdom were the emblems of royalty and symbolic majesty of the Ahom kings. The metals, the motifs as well as other accompanying details on

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22

Holton, Karina. "‘All our joys will be complated’: the visit of George IV to Ireland, 1821." Irish Historical Studies 44, no. 166 (2020): 248–69. http://dx.doi.org/10.1017/ihs.2020.36.

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AbstractThe visit of George IV to Ireland in the summer of 1821 prompted an effusive display of royalist emotion. It left a visible and material legacy in Dublin in the form of Kingstown, the Round Room in the Mansion House, King's Bridge, and a variety of prints, paintings, commemorative coins and ephemera. The idea of constructing a palace to facilitate future royal visits was even floated. The visit was reported on extensively in the newspapers of the day and was the subject also of a range of poems, verses and songs. A royal visit made on a whim, together with vested interests and carefull

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23

Morgan, Patrick. "Tokens of his Rule: The Royal Image on the Coins of Roger II." Comitatus: A Journal of Medieval and Renaissance Studies 50, no. 1 (2019): 21–44. http://dx.doi.org/10.1353/cjm.2019.0006.

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24

Sobiesiak, Joanna. "The So-called Coronation Denarius of King Władysław the Premyslid and its Political and Cultural Significance." Res Historica 57 (October 22, 2024): 175–85. https://doi.org/10.17951/rh.2024.57.175-185.

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The article deals with the coins of the Duke and King Ladislaus II (I) of Bohemia, as elements of display of power. The denar around which the lecture focuses on is the so-called coronation denar of King Vladislav. Minted probably in 1158 or not much later, it was intended to legitimise the royal power of this Premyslid over Bohemia. This attribution allows for a new interpretation of the iconography on the obverse of this coin. The throning figure is not necessarily identified with Frederick Barbarossa, it could be a figure/symbol embodying sacred, imperial power.

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25

Sprawski, Sławomir. "The Temenidae, Who Came Out of Argos. Literary Sources and Numismatic Evidence on the Macedonian Dynastic Traditions / Temenidzi, którzy przybyli z Argos. Macedońskie tradycje dynastyczne w źródłach literackich i świadectwach numizmatycznych." Notae Numismaticae - Zapiski Numizmatyczne, no. 16 (May 20, 2022): 13–41. http://dx.doi.org/10.52800/nn/16/a1.

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The prevailing opinion is that, at least from Alexander I onwards, Macedonian rulers attached a lot of importance to the tradition of their Argive origin. There are also suggestions that various images placed on royal coins refer to the mythical founder of the dynasty and his foreign origin. But a review of these images does not provide convincing arguments to justify the above-mentioned opinion. The preserved fragments of poetry dedicated to Alexander I seem to speak rather in favor of his interest in the Trojan myth. If the Argive origin of the royal family is so strongly emphasized by Herod

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26

Tuplin, Christopher J. "Of Darics, Staters, and Disks: Some Issues in Achaemenid." Phoenix 76, no. 1 (2022): 122–45. http://dx.doi.org/10.1353/phx.2022.a914293.

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Abstract: This article deals with three coins. The first is the gold daric, a "monument" of Darius' royal self-presentation (if not quite an imperial currency). The second is the Athenian tetradrachm (strictly speaking the currency of someone else's empire) and its impact, perhaps in counterfeit form, at the first cataract of the Nile and in a remote oasis in the Western Desert. The third is a Cilician issue associated with Tiribazus that deserves more attention than it has generally received. All three cases raise questions about the relationship between designer, issuer, and individual coin

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27

Elokhin, Kirill. "Spanish Royal Private and Family Badges in Propaganda on Coins of the 16th Century." ISTORIYA 10, no. 4 (78) (2019): 0. http://dx.doi.org/10.18254/s207987840004980-7.

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28

Barr-Sharrar, Beryl, Blanche R. Brown, and Dominique Svenson. "Royal Portraits in Sculpture and Coins: Pyrrhos and the Successors of Alexander the Great." American Journal of Archaeology 103, no. 2 (1999): 367. http://dx.doi.org/10.2307/506765.

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29

Greenblatt, D. T., D. J. Gawkrodger, and I. R. White. "Allergy risk from Royal Mint's new nickel plated steel coins should be publicly assessed." BMJ 344, apr19 1 (2012): e2730-e2730. http://dx.doi.org/10.1136/bmj.e2730.

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30

Santagati, Elena. "I re macedoni e le due corone di Zeus." Electrum 30 (June 26, 2023): 55–74. http://dx.doi.org/10.4467/10.4467/20800909el.23.003.17320.

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The Macedonian Kings and the Two Wreaths of Zeus This paper aims to investigate the reasons why, since the reign of Philip II, the “national” Zeus, venerated on Olympus and Dion and characterized by the oak crown, was abandoned in favor of the Olympian Zeus of Elis, characterized by the olive/oleaster wreath. We notice that while the members of the royal family display, in life and death, an oak wreath as an insignia of their kingship, and at the same time also as a symbol of their highest divinity, the kings themselves issue the image of the panhellenic god with an olive/laurel wreath on thei

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31

Santagati, Elena. "I re macedoni e le due corone di Zeus." Electrum 30 (June 26, 2023): 55–74. http://dx.doi.org/10.4467/20800909el.23.003.17320.

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The Macedonian Kings and the Two Wreaths of Zeus This paper aims to investigate the reasons why, since the reign of Philip II, the “national” Zeus, venerated on Olympus and Dion and characterized by the oak crown, was abandoned in favor of the Olympian Zeus of Elis, characterized by the olive/oleaster wreath. We notice that while the members of the royal family display, in life and death, an oak wreath as an insignia of their kingship, and at the same time also as a symbol of their highest divinity, the kings themselves issue the image of the panhellenic god with an olive/laurel wreath on thei

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32

N, Mahadevi. "Womens in Ephigraphs of Gongu Nadu." International Research Journal of Tamil 3, no. 4 (2021): 63–74. http://dx.doi.org/10.34256/irjt2149.

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Ephigraphs of Kongu Nadu has the Evidence of Women’s Contribution both from Royal Family and poverty-stricken family. Though the disparate regions of Kongu Nadu was ruled by various kings, the evidence of women’s contribution is found only in the Ephigraphs of Pandyas, Cheras, and Cholas. However, women Contribution was at peak during Chozha Period. Women of Royal Clan was provisioned with the ability and rights to maintain and rejuvenate Temples. Devaradiyarkal contributed Gold and coins which stands as a testimony to their social standard. It also reflects their Wealth. The wives of Governme

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Vojvodic, Dragan. "The selection of royal figures in the image of power during the Palaiologan epoch: Byzantium - Serbia - Bulgaria." Zbornik radova Vizantoloskog instituta, no. 46 (2009): 409–33. http://dx.doi.org/10.2298/zrvi0946409v.

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The preserved presentations of the Byzantine basileis of the XIII, XIV and XV centuries show that the creators of the late Byzantine monarchical portraits adhered to certain traditional rules when selecting the personages from the ruling house, which they were to portray. Defining which figures were to be depicted in the portrayal of power depended to a large extent on the changing circumstances and events in the imperial house. However, at the same time this was also based on a significantly more profound conception that rested on principles that had evolved in the course of a long history. T

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34

Vitale, Marco. "Agathocles' Self-Representation as a Counterpart to Alexander in Syracusan Coinage: Doriktetos Chora, Athena, Artemis and Heracles." Gerión. Revista de Historia Antigua 42, Esp. (2024): 133–59. https://doi.org/10.5209/geri.94986.

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Do self-proclaimed royal successors, so-called "Diadochi", of Alexander the Great appear exclusively in the mammoth empires he left behind? Egypt, Asia Minor, Babylonia, Macedonia, Greece? Just people like Ptolemy, Seleucus, Lysimachus, Cassander, Demetrius? No. At least in terms of power staging and according to historical narratives of the Hellenistic and Roman periods, regular Diadochi and emulators of Alexander can even be identified in far-off Sicily. In particular, the first official king of Syracuse and contemporary of Alexander, Agathocles, adopted significant elements of Alexander's a

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35

Motamedmanesh, Mahdi, and Samira Royan. "Khosrow II (590–628 CE)." Encyclopedia 2, no. 2 (2022): 937–51. http://dx.doi.org/10.3390/encyclopedia2020062.

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Khosrow II (r. 590–628 CE) was the last great Sasanian king who took the throne with the help of the Romans and broke with dynastic religious preferences as he became married to a Christian empress. It was under his rule that the Sasanian Empire reached its greatest expansion. From the standpoint of iconographic studies, Khosrow II is among the most influential Persian kings. Although he was literally occupied by rebels and wars within the borders of the Sasanian territories and beyond, Khosrow managed to create a powerful image of himself that emphasized the legitimacy of his monarchy. Indeed

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36

Ivashko, Roman. "Significance of the Pledges of Tovste оf 1427 and 1444 in Politics of Gediminids and Jagiellonians". Ukraina Lithuanica. Studìï z ìstorìï Velikogo knâzìvstva Litovsʹkogo 2024, № VII (2024): 1–12. http://dx.doi.org/10.15407/ul2024.07.001.

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The Tovste urban-type settlement is currently located in Chortkiv district of Ternopil region. This publication discusses the content of the relevant documents of 1427 and 1444 on donations of 100 marks in coins of that time each from Grand Duke of Lithuania Vytautas the Great and King of Poland Wladislaus III of Varna to members of the family of Hinkovyches. Both documents are stored in the Archive of the Radziwiłły family at the Main Archive of Ancient Acts in Warsaw. The grant of Duke Vytautas the Great was first published, obviously, by the medievalist, Prof Władysław Semkowicz. The latest

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37

Cherkasova, Anastasia S. "ROYAL CULT IN THE PRE-HELLENISM AND HELLENISM (COINS OF ALEXANDER THE GREAT AND THE DIADOCHI)." Journal of historical philological and cultural studies 2, no. 76 (2022): 93–107. http://dx.doi.org/10.18503/1992-0431-2022-2-76-93-107.

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عباس محمود هميم الزبيدي, الباحث, та أ. د. طالب محيبس حسن الوائلي. "النقوش على النقود الذهبية والفضية في إيران خلال العصر الصفوي". لارك 17, № 2/Pt1 (2025): 402–372. https://doi.org/10.31185/lark.4057.

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الملخص: امتد العصر الصفوي منذ أوائل القرن السادس عشر الميلادي (10هـ) حتى أوائل القرن الثامن عشر الميلادي (12هـ)، ويُعد من أزهى فترات التاريخ الإيراني الإسلامي، إذ ازدهرت فيه الثقافة، والتجارة والاقتصاد، والفنون. ومن بين ملامح هذا الازدهار كان تطوير نظام مالي متين استند إلى سك العملات الذهبية والفضية. فكانت النقود الصفوية، كالعملات الذهبية المعروفة باسم "أشرفي" والعملات الفضية التي سميت بـ"عباسي" أو "شاهنشاهي"، عكست التطور الاقتصادي والتجاري للدولة، كما عبّرت عن الهوية الثقافية والدينية، إذ حملت النقوش الدينية وعبارات تمجيد أئمة أهل البيت (ع) لتأكيد الهوية الشيعية للدولة. ولم تعكس العملات الذهب

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Bruce, Scott G. "Charles West, The Fall of a Carolingian Kingdom: Lotharingia, 855–869. Toronto: University of Toronto Press, 2023, x, 236 pp." Mediaevistik 36, no. 1 (2023): 409–10. http://dx.doi.org/10.3726/med.2023.01.82.

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This book offers a refreshing approach to the history of Lotharingia during the brief reign of Lothar II (855–869). Rather than providing a narrative account of Lothar II’s turbulent tenure, Charles West presents annotated translations of twenty-two primary sources related in one way or another to the political culture of his age. These range from royal charters, papal and episcopal letters, and aristocratic wills to material culture, like coins and luxury manuscripts. Accompanying each translation is a learned and lucid introduction that situates the source in its political and cultural conte

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Spangler, Jonathan Wayne. "Seeing is Believing: The Ducal House of Lorraine and Visual Displays in the Projection of Royal Status." Royal Studies Journal 9, no. 2 (2022): 131–61. http://dx.doi.org/10.21039/rsj.214.

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This article examines the visual strategies employed in the early modern period by a dynasty ruling a smaller state, the Duchy of Lorraine, to survive in the face of expansion by larger neighbours (notably France). The central argument posits that in order to be treated as fully royal (and therefore with inherent rights to exist independently, as full members of the society of princes), princes like the dukes of Lorraine had to appear as royal in their visual representation. The article therefore looks at different examples of selfrepresentation produced by the dynasty over time, including gen

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41

Ingvardson, Gitte T., Dirk Müter, and Brendan P. Foley. "Purse of medieval silver coins from royal shipwreck revealed by X-ray microscale Computed Tomography (µCT) scanning." Journal of Archaeological Science: Reports 43 (June 2022): 103468. http://dx.doi.org/10.1016/j.jasrep.2022.103468.

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42

Ashton, R. "Notice. Royal portraits in sculpture and coins: Pyrrhos and the successors of Alexander the Great. BR Brown." Classical Review 47, no. 1 (1997): 226. http://dx.doi.org/10.1093/cr/47.1.226.

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43

Gutiérrez, Gerardo. "INDIGENOUS COATS OF ARMS IN TÍTULOS PRIMORDIALES AND TECHIALOYAN CÓDICES: NAHUA CORPORATE HERALDRY IN THE LIENZOS DE CHIEPETLAN, GUERRERO, MEXICO." Ancient Mesoamerica 26, no. 1 (2015): 51–68. http://dx.doi.org/10.1017/s0956536115000127.

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AbstractThe introduction of European heraldry in the Americas created a special class of material culture and iconography that circulated widely on coins, paper, architecture, and textiles. More interestingly, its appropriation and use by indigenous communities has not received proper archaeological attention. In this paper I analyze the adoption of royal Spanish heraldry by Nahua political systems (altepetl) during the Colonial period, from the sixteenth to the eighteenth centuries. My primary goal is to understand the context, meaning, and social practices for three late colonial banners fro

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44

Dedyulkin, Anton, and Svyatoslav Smirnov. "God, Hero, King? Imagery of ‘Pearson Wearing Helmet’ on the Coins of Seleukos I." Stratum plus. Archaeology and Cultural Anthropology, no. 3 (June 30, 2024): 291–307. http://dx.doi.org/10.55086/sp243291307.

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The paper analyses the iconography and archaeology of the Seleucid ‘Nike crowning trophy’ coin type. This coin type features a deified male portrait (referred to as the ‘person wearing helmet’) on the obverse and Nike, crowning a trophy, on the reverse. It was minted for a brief period in the late 4th century BC at the Susa mint. Despite being locally circulated with a relatively limited volume of issues, this motif significantly contributed to the visual representation of the royal power of Seleucus. One of the main challenges in interpreting this coin type is identifying the helmeted head. T

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Смирнов, Святослав Викторович. "“TALKING HEADS”: MODES OF NARRATIVENESS OF THE ROYAL HELLENISTIC COIN PORTRAITURE." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 2(24) (July 27, 2020): 251–66. http://dx.doi.org/10.23951/2312-7899-2020-2-251-266.

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В статье проводится анализ нарративного потенциала царского монетного портрета эпохи эллинизма. В отличие от портретов в скульптуре, на мозаиках и фресках, монетный портрет занимает в системе классического искусствоведения подчиненное положение и чаще служит в качестве вспомогательного средства для идентификации портретов в других изобразительных жанрах. Между тем появление и тиражирование монетного портрета, снабженного индивидуальными чертами, в период раннего эллинизма свидетельствует о переходе от коллективного (полисного) сознания к индивидуальному (монархическому). Для эллинистических го

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Чореф, М. М. "BRONZES OF SAUROMATES II WITH APHRODITE SITTING ON A THRONE ON REVERSE AS SOURCE OF HISTORICAL INFORMATION." Proceedings in Archaeology and History of Ancient and Medieval Black Sea Region, no. 13 (February 15, 2022): 882–902. http://dx.doi.org/10.53737/2713-2021.2021.44.88.031.

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Интерес к монетам этой группы обусловлен тем, что изображение сидящей на троне Афродиты не было свойственно нумизматике Боспорского государства до Савромата II, при котором ее стали чтить как главное божество местного пантеона. Немаловажно и то, что правее и левее фигуры божества оттиснуты метки эмиссионных центров — как столичного, так и периферийных, расположенных в европейской и в восточной частях государства. Там монеты оформляли с учетом местных представлений о символике Афродиты. Следовательно, в тот период единой идеологии на Боспоре не существовало, что свидетельствует об ослаблении ца

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Fabbricotti, Emanuela. "Silphium in Ancient Art." Libyan Studies 24 (1993): 27–33. http://dx.doi.org/10.1017/s0263718900001941.

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AbstractSilphium is the source of Cyrene's wealth. It is possible that the first colonists who landed in Cyrenaica realized the many qualities of the plant and decided at once to take advantage of it. Maybe, the Minoans knew about it too, as Sir Arthur Evans found some inscribed tablets from Cnossos with symbols very like those represented on later Cyrenaican coins.Silphium is represented on coins possibly as the symbol of Cyrenaica and a branch of silphium is also shown held by a female divinity in clay statuettes. A rare coin shows a female figure sitting on a high stool, holding out her arm

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Lowagie, Hannes. "Un livre californien: 18 gold coins found in the back of a book in the Royal Library of Belgium." In Monte Artium 8 (January 2015): 69–76. http://dx.doi.org/10.1484/j.ima.5.108760.

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Marciak, Michał, and Robert S. Wójcikowski. "IMAGES OF KINGS OF ADIABENE: NUMISMATIC AND SCULPTURAL EVIDENCE." Iraq 78 (October 19, 2016): 79–101. http://dx.doi.org/10.1017/irq.2016.8.

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This paper offers the first ever discussion of all extant images of Abdissar, Monobazos I and ’tlw (Attalos), Kings of Adiabene. In analysing the numismatic and sculptural data, a few conclusions on the historical context are suggested. First, it is argued that stylistic features of the coinage of Abdissar suggest a date in the first half of the second centuryb.c.e., and this dating bears upon the question of the historical origin of the Kingdom of Adiabene. Adiabene originated as one of many “post-Seleucid” states which arose in the Near East when the Seleucid kingdom started to crumble, befo

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Compareti, Matteo. "The Spread Wings Motif on Armenian Steles: Its Meaning and Parallels in Sasanian Art." Iran and the Caucasus 14, no. 2 (2010): 201–32. http://dx.doi.org/10.1163/157338410x12743419190106.

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AbstractThis paper is a study on the so-called “spread wings”—a particular element of the Sasanian art that is attested also in other regions of the Persian Empire in Late Antiquity, including the western coast of the Persian Gulf and the Caucasus. The spread wings can be observed on Sasanian coins above the royal crowns, which are considered specific for every Sasanian sovereign, supporting astronomical elements, like the crescent, star, and, possibly, the sun. The Arabs and the peoples of the Caucasus who adopted Christianity used the spread wings element as a pedestal for the cross. In Arme

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