MA

1. Sachin Kr Tiwary
MA, Sem.II
C-III
Material Remains as Source of
Ancient Indian History & Culture

2. Unit-II
Coins, Seal and Sealings of the Historical Period:
5. Nature and Classifications
6. Historical Importance of coins, seals and sealings

3. Punch
Marked Coins
PMC
Location
Indian Sub-
continent
Period/Date
Pre-Mauryan
to Early
Shunga/600-
200 BCE
Material
Silver,
Copper
Sources
Literature
Epigrapghs
Art
Shape
Irregular (?)
Measurement
0.6 to 1.00
mm
thickness
PMC
Source of
Material
Types-02
Janapada/Local
&
Imperial (with
05 symbols)
Purpose
Trade
Weight
32 Ratti or
3.4 Gram
Decline
Due to outer
Influence &
decline OF
Centralize Power

5. Introduction
Others Name- Puranas, Karshapanas or Pana, Shatmana.
Nomenclature- ‘Punch-Marked Coin’ because these coins were manufactured by punching
technique.
Shapes- Irregular shapes are gained by cutting up silver bars & then making the correct
weight by cutting the edges of the coin.
Types-
• PMC can be divided into two broad groups:
(1) IMPERIAL SERIES COINS - Coins having a group of five symbols on one side, the imperial
series coins, as defined by PL Gupta, & found from almost all over India abundantly;
(2) LOCAL OR REGIONAL COINS - Coins having less than a group of five symbols, either a
group of three or four, local or regional coins.
• Scholars believe that the imperial series coins were manufactured & circulated during the
Mauryan rule under state authority.

6. PMC
Can
explain
Contemporary
Flora
Contemporary
Fauna
Important
Symbols
Religious-
Secular
Technical
Advancement
Trade
Territory of an
Empire
Trade Relation
Internal &
External
• Issued initially by merchant
Guilds & later by States, the
coins represented a trade
currency belonging to a period
of intensive trade activity &
urban development.
• They are broadly classified into
two periods:
1) the first period (attributed to
the Janapadas or small local
states) &
2) the second period (attributed
to the Imperial Mauryan
period).

7. Books

8. Important Books

9. Location Map of PMC Uniqueness-
• They bear neither date nor any
name of kings.
• We only find a number of
symbols punched on the face
of these coins.
• The symbols found on these
coins are religious,
mythological or astronomical
in character (?).
• Among the marks commonly
found are the sun, the
elephant, cow, chariot, horse,
bull, jackal, tree, tiger or lion &
dharmachakra.
• The PMC were in circulation in
Northern India up to the
beginning of the Christian era.
• In Southern India they
continued to be in use for
three centuries more.

10. Sources- Art, Inscription, Literature
• They are mentioned in the Manu, Panini, & Buddhist Jataka stories & lasted three centuries
longer in the south than the north (600 BCE – 300 CE)- Literature.
• The Jatakas give the descriptions of Kahapanas which were used very extensively in the daily
life of early Indian people- Literature..
• Kahapanas are its subdivisions are also mentioned in early Pali texts like Vinayapitaka,
Anguttara-nikaya & Majjhima-nikaya. In the Arhiya section of Ashtadhayayi (ca. 5th to 4th
century BCE) - Literature..
• Panini refers Karshapana or pana (32 ratis) & its various subdivisions like ardhakarshapana,
pada-karshapana, dvimasa (1/8 Karshapana) & masa (1/16 Karshapana) - Literature..
• Panini also mentioned other denominations of coin viz. vimastika (40 ratis), trimastika (60
rattis), satamana (100 rattis) & sana (12.5 rattis) - Literature..
• Arthasastra of Kautilya- - Literature.
o Silver coins (called pana, ardha-pana, pada & ashtabhaga) &
o copper coins (known as masaka, ardha-masaka, kakini & ardha-kakini).
• The earliest inscriptional reference to karshapana is found in Nasik Cave inscription (ca. 119-
124 BCE) of Dakhamitra, wife of Ushavadata- Inscription.
• The earliest Artistic depiction of coin is found in Bharahut railing (ca.200 BCE) - Art.

11. Scene of buying Jetavan Garden for Lord
Buddha by Anathpindak a Businessman
200 BCE, Shunga Period, Bharahut Railing
In Indian Museum, Kolkata
Sources

12. जेतवन बुद्ध काल में श्रावस्ती का
प्रसिद्ध सवहार-उद्यान जहाां गौतम बुद्धत्व
प्राप्ति क
े पश्चात प्राय: ठहरते थे. अश्वघोष ने
बुद्धचरित, सर्ग 18 में, इि वन क
े
अनाथसपांडद िुदत्त द्वारा राजक
ु मार जेत िे
खरीदे जाने की कथा का वर्णन सकया है. इि
आख्यासयका का पाली बौद्ध िासहत्य में भी
वर्णन है सजिक
े अनुिार िुदत्त ने इि मनोरम
उद्यान को इिकी पूरी भूसम में स्वर्ण मुद्राएां
सबछाकर खरीदा था और सिर बुद्ध को िांघ
क
े सलए दान में दे सदया था. राजक
ु मार जेत ने
इि धनरासि िे िात तलोां का एक सविाल
प्रािाद बनवाया था जो, चीनी यात्री िाह्यान क
े
अनुिार, बाद में जलकर भस्म हो गया था.

13. Types
Shakya
Janapada
Vidarbha/Andhra
Humped Bull
Mark on
Saurashtra
Gandhara
Janapada
Surasena Janapada a
"fish" over a "lion,"
with added taurines,
crescents & dots.
Magadh PMC
with several
marks, 05 to 07
Swastik Mark
on South
Panchala
“Bent-bar" Shatamana
Kuntala Janapada
Kuru Janapada

14. Indo Greek
Coins
(300 BCE- 100 BCE)
“Indo-Greek kings are only
known by their coins.”

15. Indo-Greek
Coins
Location
Afghanistan,
Pakistan, India
Date
200 BCE to
100 CE
Material
Gold, Silver,
Copper,
Bronze &
Nickel etc.
Purpose
Commemo-
ration,
Trade
Shape
Round to
Square
Measurement
Various
How many
Rulers
Total 40
Types
On the basis of
Metal & Size
Languages
Greek & Prakrit
Weight
Vary-Based on
Metal
Scripts
Greek, Brahmi &
Kharoshthi
POINT TO BE DISCUSS
Technique
Die-struck with
Precision

16. Books

17. Indo-
Greek
Coins Can
explain
Contemporary
Flora
Contemporary
Fauna
Important
Symbols
Religious-
Secular
Technical
Advancement
Trade
Territory of an
Empire
Trade Relation
Internal &
External
Paleographical
Development
Variety of
Weapons
Contemporary
Dresses
Iconic forms
of God-
Goddess
Historical Background
• Also known as Yavanarajya (Kingdom of Yavanas) &
Graeco-Indian.
• The Indo-Greek coins are a very important source of
ancient Indian history.
• The term “Indo-Greek” is generally used because
these kingdoms were almost always separated from
Bactria & thus differed politically from the Greco-
Bactrian kingdom.
• Their rule extended over:
• Vast part of central Asia,
• North western South Asia,
• Modern areas of Afghanistan,
• North western part of Pakistan,
• Indian provinces of Kashmir & Punjab.
• There were several dynasties & over 40 rulers of the
Indo-Greek lineage who ruled over this extended
time period.
• And surprisingly the main sources of information
about the rule of these numerous kings is the
numismatic evidence.

18. Coinage History of Indo-Greeks
• The Indo-Greek coins inaugurated a new phase in
the history of South Asian coinage.
• These coins carried elaborate details about their
issuing authority:
• The name,
• The issuing year of the coin &
• A portrait of the reigning monarch was die-
struck with precision.
• They were struck according to Attic weight
standard (Attic weight was based on a drachma
of 4.31 grams) Drachm menaing is an ancient
Greek units of weight.
• The obverse of the coins carried the portrait of
the issuing monarch.
• The reverse of the coin was marked by the
depiction of Greek Gods & Goddesses.
• The name of the monarch & his royal titles were
also mentioned in the obverse & reverse in
Greek.
Silver
Brass
Gold
Bullion
Lead
Bronze
Copper
Nickel
Metal Used for Making Coins
Physical gold and silver of
high purity that is often
kept in the form of bars,
ingots, or coins
Copper=+12–12.5% tin
And sometimes non-metals,
Such as phosphorus,
arsenic, or silicon.
Cu+Zn

19. Purpose-
Memorial Coins- In the
memorial coinage of
Agathokles (where on the
obverse the King is
commemorated & on the
reverse is Agathokles
himself), posthumous
titles are added to kings.
Meaning of Title-
Theos - “The God”
Sotar- “Saviour” etc.
Co-Opted System- It is
believe that though the
number of ruler were
less but the issuance of
coins are large, it means
they were ruled small
region wise at the same
time with many other of
the same dynasty.
Silver
Indo-Greeks Coin

20. Coinage History of Indo-Greeks: An Introduction
• The coins which were circulated in the south of the Hindu Kush bear a more Indian touch.
Biggest Hoard of Indo-Greek Coins
• Afghanistan-
1. Mir Zakah hoard of Gardez, Total- 13,083 coins (2,757 Indo-Greek coins)
2. Khisht Tepe Hoard near Qunduz, coins found during excavations at the city of Ai-
Khanoum (Out of 42 Indo-Greek kings who ruled, about 34 kings are known only
through this hoard).
Indo-Greek coins & Indian culture
• A sort of cultural & religious fusion between India & Greece can be traced from these coins.
• These type of coins also carried bilingual & bi-script inscriptions using the Greek & Prakrit
languages; & Greek & Kharoshthi or Brahmi scripts.
• The representation of Indian religious figures & symbols in the Indo-Greek coins has a
greater significance for the cultural history of South Asia.
• The last Indo-Greek king Strato II ended his rule circa 10 BCE, defeated by the Indo-
Saka/Sythian king Rajuvula.
• The Indo-Greek Kingdoms have strongly influenced their Indian subjects & Indian or nomad
neighbors, as the nature of Indian art from the period suggests, along with the mention of
the Yonas in Ashoka's Edicts.

21. Influence of Indo-Greek Coin over Indian Coins
• The high standard of coinage set by the Indo-Greeks worked as a model for several other Indian dynasties for a
very long period of time.
• The silver coins of tribal states of Northern India Viz. Audarnbaras, Kunindas, Vaimakas, Yaudhyas" weighing 20
rattis (36 grains) definitely have followed the Hemi drachm weight standard (20 rattis) of Indo Greeks.
• Few coins of Hagamasa & Raijuvala are probably hemi obules (65-67 grains) & quarter obules (36-38 grains)
highly debased with lead & closely resemble to the later issues of Indo-Greeks.
• It suggests that the central Indian city states probably followed the ancient Karsapana weight standards of Kakim
(36 to 38 grains) & also the weight standards of Indo Greeks, the then prevalent of their silver Hemi obules (63 to
68 grains) & obules (136 grains).
• The silver coins of Indo-Greeks were of the various denominations viz. Drachm (66 grains), Tetradrachm (264
grains i.e. 4 Drachms x 66=264 grains), Bbules (1/6 of Drachm=66/6=l 1 grains) & Hemi Drachm (1/2 of
drachm=66/2=33 grains). They were universally followed by almost all tribal states in India“.
• The copper unit of Indo-Greeks was known as 'Chalkon' which was approximately equal to a drachm i.e. between
67 grains & 70 grains. The Indo-Greek copper coins seem to have been raised to Indian standard by making the
Greek Chalkon equal to half an Indian Pana.

22. Kushana Coins (c.100r- 375 CE)

23. Coins
of Kushana
Dynasty
Location
Afghanistan,
Pakistan, India
Date
c. 100 - 375
CE
Material
Gold, Silver,
Copper,
Bronze
Purpose
Commemo-
ration,
Trade
Shape
Round
Measurement
Vary Metal
wise
Weight
12 g and 1.5 g.
Types
04
Languages
Greek, Sanskrit,
Bactrian
Influenced by
Roman, Greeks
Influenced to
Indian Coinage
System
Scripts
Greek, Brahmi &
Kharoshthi
POINT TO BE DISCUSS
Technique
Die-struck with
Precision

24. Books
B.N.Mukherjee

25. Nomenclature

26. Kushan
Coins Can
explain
Contemporary
Flora
Contemporary
Fauna
Important
Symbols
Religious-
Secular
Technical
Advancement
Trade
Territory of an
Empire
Trade Relation
Internal &
External
Paleographical
Development
Variety of
Weapons
Contemporary
Dresses
Iconic forms
of God-
Goddess
Historical Background
• The first self-proclaimed Kushan king, Heraios (ruled: 1–
30 AD), was one short step away from being a Yuezhi
tribesman.
• Thus it fell to his successor Kujula Kadphises to assume
the role of a true monarch and unite the disparate and
quarrelsome Yuezhi tribes under the Kushan banner
during the 1st century AD.
• After gradually wresting control of Bactria from the
Scythians and the Indo-Parthians, Kujula Kadphises
moved the Kushan tribes into the region known as
Gandhara (northeast Afghanistan and northern
Pakistan) with the main capital located at Taxila
(northwestern Pakistan) and the summer capital at
Begram (known in ancient times as Kapisa, near the
present-day Bagram Air Base), which also served as a
major trading center.
• The Kushana's coins reveals a great deal about the
rulers, coins were used as a media to propagate Kings
superiority. They reveal how the images of kings wished
to be seen, and the religious practice.

27. Coinage History of Kushana
• Gold coins issued by the Kushans were of great
complexity.
• The coins speak about the prosperity of people
and show the figure of Kanishka standing and
sacrificing at altar and deities belonging to
various religions.
• The coins also signify that Kushans were in
direct contact with the Romans.
• Kushan coins depict deities ranging form Helios
and Heracles to the Buddha and Shakyamuni
Buddha, to Ahura Mazda, Mithra and Atar, the
Zoroastrian fire god.
• The coins during his rule prove that he
honoured a medley of Gods - Zoroastrian,
Greek, Mitraic and Indian.
• The prominent Indian deity was God Shiva.
• The coins of Kadphises show that his authority
extended upto Banaras and also till Indus
basin.
Gold +
Silver Mix
Silver
Gold
Bronze
Copper
Metal Used for Making Coins

28. https://commons.wikimedia.org/wiki/File:KushanTamgas.gif
Tamga on the Coins of Kushana
issued by their Rulers:
• The tamga was normally the
emblem of a particular tribe, clan
or family.
• They were common among the
Eurasian nomads throughout
Classical Antiquity and the Middle
Ages
• (including Iranians (Alans, Sarmati
ans, Scythians),
• Mongols and
• Turkic peoples
• Central Asia etc..
Tamga

29. Depiction of Divine Deity on the Coins
The divine investiture of Kings was the concept in ancient time, which justified them to rule over their subjects
and the one whom they had conquered. They insisted that it is God's wish that they rule over their
subjects. They began depicting effigies of Gods who bestowed the kings.
1. The copper coinage of Kujula had Greek deity Heracles which shows the influence of Pahlavas.
2. Vima- Vima used only one deity on his coins, a n Indian god SHIVA standing with his humped bull-Nandi.
3. Kanishka-I- The Bactrian deities depicted in the initial issues of Kanishka's coins.
I. Elios - a solar deity,
II. Nania - a multivalent goddess,
III. Salene - the moon goddess,
IV. Ephaistos - the god of Fire. The second issues of coins were with Bactrian names instead of Greek, for
the same God named as Miiro, Mao, Nana and Athso depicted with the fire on two shoulders with a
greek legend Athsho (Zoroastrian Fire God).
V. Buddha - Gautama Buddha - Maitreya.
VI. Greek legend Lrooaspo probably represented a Zoroastrian "God of Horse"
VII. A four armed King sitting on a Simhasana (throne with Lion legs) with a greek legend Manaobago,
signified that he is son of the moon (Vohu Mano, the Concience - a Zoroastrian angel).
VIII. The Greek Wind God carrying a mantle represented in the pose of a runner was subsequently
replaced with a Bactrian name Oado instead of greek name Anemos.
IX. Oesho is depicted with a trident in hand, erect phallus and with four arms.
https://www.forumancientcoins.com/india/kushana/kus_deities.html

30. Depiction of Divine Deity on the Coins https://www.forumancientcoins.com/india/kushana/kus_deities.html
4. Huvishka With Greek, Indian, Zoroastrian and Bactrian deities (Pidti, Ardochsho,
Miiro, Oado).
I. Goddesses Uma (Ommo in Bactrian) and Simhavahini Durga with her vehicle
Lion.
II. The representation of Nana with Oesho.
III. Nana appearing with Siva was intended to represent his consort Uma- Ommo.
IV. A eagle can be seen on the right hand of Yama (Iamsho).
V. Winged female figure Nimbate standing to left holding a cornucopiae in the left
hand and a wreath or a trophy in the right hand identified as the
deity Oanindo (Goddess of victory).
VI. Greek legend "WORMOZDO" with a image on the reverse represented by a
bearded male deity nimbate standing to left, and holding a scepter in the left and
a wreath on the right hand.
VII. It signifies the supreme God of Iranian religion 'Auhramazda’.
VIII. The greek legend 'RIOM' on some of the coins shows the Indian Goddess of
fortune 'Riddi' (Kubera's wife).
5. Later Kushana rulers (VasudevaI, KanishkaII, Vashishka)
I. Shiva or Lakshmi in their coinage absorbing themselves in Indian culture.

31. Coins of Gupta Period (c.320-550 CE)

32. Coins
of Gupta
Dynasty
Location
Indian Sub-
continent
Date
c. 320- 550
CE
Material
Gold, Silver
Copper, Lead
Purpose
Commemo-
ration,
Trade
Shape
Round, Semi
Square,
Square
Measurement
Vary Metal
wise
Weight
12 g and 1.5 g.
Types
Gold- 08 (Samudragupta)
Gold-06,Silver-02,
Copper-02, Lead-01
(Chandragupta II)
Languages
Sanskrit
Influenced by
Kushana Period
Influenced to
Indian Coinage
System
Scripts
Brahmi
POINT TO BE DISCUSS
Technique
Die-struck with
Precision

33. Books

34. Gupta Coins
Can explain
Contemporary
Flora
Contemporary
Fauna
Important
Symbols
Religious-
Secular
Technical
Advancement
Trade
Territory of an
Empire
Trade Relation
Internal &
External
Paleographical
Development
Variety of
Weapons
Contemporary
Dresses
Iconic forms of
God-Goddess
Musical Tools Contemporary
Ornaments

35. Coinage History of Gupta Period
• According to some scholars, the most glorious period of ancient
Indian history is the rule of the Gupta dynasty.
• The Guptas started their rule from a small state in eastern India.
• Gradually their rule extended over a large part of south Asia.
• The first of the significant Gupta rulers was Chandragupta I.
• The most famous ruler of this dynasty was Samudragupta.
• India prospered in almost every sphere of life during this
period.
• The flourishing state of economy can be ascertained from the
large number of gold coins circulated by different Gupta rulers.
• The Gupta gold coin is known as Dinaras.
• The gold coins of the Gupta rulers are the extraordinary
examples of artistic excellence. The coins depicted the ruling
monarch on the obverse and carried legends with the figure of
a goddess on the reverse.
• The Gupta monarchs were famous for their gold coins. They
also issued silver coins. However, coins made of copper, bronze
or any other alloy metals are scarce. The abundance of gold
coins from the Gupta era has led some scholars to regard
Lead
Silver
Gold
Bronze
Copper
Metal Used for Making Coins

36. • The rate of gold in Indian coins under the
rule of Gupta rulers demonstrated a
consistent monetary decay throughout the
hundreds of years as it declines from 90%
unadulterated gold under Chandragupta I
(319-335) to a unimportant 75-80% under
Skandagupta.
• The Gold Coins of Guptas inscriptions in
Sanskrit, are the finest case of the brilliant
Indian craftsmanship that we have.
• Their period begins from around 320 CE with
Chandragupta I’s promotion of the throne.
Child of Chandragupta I-Samudragupta, the
genuine author of the Gupta Empire had
coinage made of gold.
• The Silver Coins of Guptas begins after the
Western Satraps were overthrown by
Chandragupta II.
• Kumaragupta and Skandagupta proceeded
with the old kind of coins (the Garuda and the
Peacock sorts) furthermore presented some
Maharaja Sri Gupta inscription on the Allahabad pillar Samudragupta inscription
Ma ha raa ja Sri Gu pta
Gupta & Ghatotkacha are not attested by his own Inscriptions or Coins.
Maharaja Sri Ghatotkacha inscription on the Allahabad pillar Samudragupta inscription
Ma ha ra ja Sri Gha to tka cha
Chandragupta I
(c.319-335/319-350
CE)
Gold Coin of
Kumaradevi Type.

37. • The artists depicted the ruler in various
poses.
• The study of these imageries is very
interesting.
• Mainly the images celebrated the martial
qualities and the valor of the ruler.
• In many coins of Samudragupta, he is
depicted as carrying an axe.
• In others, he is carrying a bow in his left
hand and an arrow in his right hand.
• The coins of Kumaragupta I (c. 415-450
CE) depicted him riding an elephant and
killing a lion.
• Another very interesting image of
Samudragupta depicted him as playing a
Kachagupta of the Gupta Empire
Samudragupta of the Gupta Empire

38. •These coins depicted both the figures of the king and queen in a
standing pose.
•Kumaradevi, the name of the queen of Chandragupta I is known
from these coins.
•But the other two kings did not mention the name of their
queens in their joint issues.
•The ‘Asvamedha’ or horse-sacrifice coins were issued by both
Samudragupta and Kumaragupta I.
•Horse sacrifice is an ancient Indian ritual in which a very
powerful monarch sacrificed a horse after some elaborate rituals
to demonstrate his political power.
•A very few among the ancient kings of India had performed this
sacrifice as it was allowed for only those with enormous power
and wealth. The fact that two of the Gupta monarchs performed
it is evident from their coins.
•It also showed their immense power and wealth.
•Almost every Gupta coin carried the figure of a goddess and an
inscription in the reverse. Sanskrit was the language of the
inscription. The goddess posed in either sitting or a standing
position.
Ramagupta of the Gupta Empire
Chandragupta of the Gupta Empire
Kumaragupta I of the Gupta Empire

39. • There were many goddess depicted in these coins. The most
common was the image of Laxmi, the goddess of wealth.
• Other goddesses who featured in the Gupta coins included
Durga, the goddess of valor; Ganga, the goddess of the river
Ganges; etc.
• Some of the Gupta coins, mainly the silver ones, carried the
images of Garuda, a mythical bird of Indian tradition.
• These coins are found in large numbers in western India.
• In some cases, the Garuda is replaced by a peacock.
• This variety of coins is extremely rare. And thus, carry a great
value for the numismatists.
• The first hoard of the Gupta coins was found at Kalighat, in
Calcutta in 1783.
• The coins were handed over to Warren Hastings, the British
governor-general who sent them to London. Now, many of
the coins of this collection can be seen at the British Museum.
Skandagupta I of the Gupta Empire
Purugupta of the Gupta Empire
Kumaragupta II of the Gupta Empire

40. Manufacturing-
These techniques consisted of two important processes, viz.
1) Preparing Planchets &
2) Striking coins from the Planchets.
Both the techniques embody a dozen techniques for the fabrication of PMC of India.
I. Techniques of preparing planchets- Planchets coin blanks were produced by
various techniques. Important among them are:
1. Technique of droplet coins- The technique was used widely for producing coins at
a mass scale. This technique can also be called as Bed of Charcoal Process. In this
process, silver pieces of required weight were placed in a crucible in the following
manner: Buttom of the crucible was filled with a layer of charcoal.
2. Techniques of scyphate/ cup-shaped coins- In this process, metal drops were
prepared by the droplet technique. However, the metal drops fresh from furnace
were beaten up with convex devices resulting in the saucer like shapes of the
planchets.
3. Techniques for producing coins with laminated flans- In this technique, coin
blanks were cut into approximate weight from metal sheets. Subsequently, the
pieces were weighed on scales. If the weight of a piece was found accurate, it was
sent for stamping. If the weight of a piece was found more than the stipulated
weight, corner of the pieces was cut to adjust the weight.
Scyphate/ cup-shaped Coin-

41. Technique of droplet coins
Single- die technique

42. Techniques for producing coins with a planting of silver-
A few Janapada coins are encountered which seem to be original issues of a royal mint. The only
disparity observes among these coins is the metal. Here, instead of silver, these are of copper with
a planting of silver. These copper coins appear to be official forgeries of the coins issued either
purposely by the state or unofficially by mint authorities.
In the process, planchets of baser metal were prepared either by droplet technique or by clipping
from metal sheets. The planting of silver could have been carried out by one of the three different
methods:
The simplest method was to dip the planchets on a wash of molten silver, the coin being first
cleaned in a bath of borax or potash to make the silver adhere.
This method is dangerous as it involves use of mercury. Here the blank was put into an amalgam of
silver dissolved in mercury & then heating it to evaporate the mercury.
In the last process, planchets were prepared in base metal with a high silver content & were made
to appear silvery by a process of blanching. By this process, the flan was heated over a charcoal fire
in order to oxidize the copper on the surface leaving a silver-rich layer underneath. The oxide coat
was removed by immersion in a saline solution. The flan was then removed by immersion in a
salinsolution. The flan was then struck, & the process of striking helped to stabilize silver.
Other Manufacturing Technique

43. Technique of cast planchets- In this technique instead of
preparing planchet by any other method listed above, the
blanks were being cast in moulds. In the process, molten metal
was poured into round depression of a definite depth in a big
mould. By the technique ingots were flattened & were ready
for stamping. It appears that some of the Gandhara coins
known from the Chaman Hazuri hoard were produced by this
technique.
Technique for metal sheets- In this process metal was first
melted in crucible & was then cast into moulds. These moulds
were beaten up & sheets were made out of them. These
sheets were cut into strips, from which were then cut
planchets of appropriate weights. These planchets were
weighed. If found accurate weight they were sent for
stamping. If the weight was found in excess, corners were cut
to adjust the weight, & if the weight was found to less than
the stipulated one, such planchets were sent for re-melting.
Similar method has been narrated by Kautilya in his
Arthasastra.
Technique for metal sheets

44. II. Techniques of striking coins from planchets –
Various techniques were employed to struck coins from planchets. Among them
following are noteworthy:
Single- die technique- Single technique was used by the Janapadas
issuing coins with a single symbol. In the process, coin blanks of required
weight were prepared either by droplet technique or by cutting from
metal sheets. Subsequently, planchets were stamped with a die having a
complete design of the intended symbol. In some cases, the die used to
be smaller than the flans resulting in the full impression on the blanks. In
some other cases, the dies were bigger than the flans, hence resulting in
the partial impression.
Double- die technique - This technique was influenced by the Greek coins.
In the process, coin blank were prepared by casting method. Later on,
planchets were placed upon the anvil die. On to the blanks, a punched did
was placed & was hammered onto the top of the punch-die. The planchets
got squeezed between the two dies & received impression of dies on the
either side. Anvil dies, in case of Gandharian coins, were weakly engraved as
compared with the punch-dies. The presence applied was also not sufficient.
Hence resulting in the weak impression on the obverse. As compared to the
die-struck technique, the punch dies of this technique were more like
punches than a real die & covered the central portion of the flans.
Striking
coins
from
the
Planchets

45. Punch-marked technique-This technique was employed by the
states issuing coins with more than one symbol. In the present
manufacturing process planchets of required weight were
produced either by droplet technique or by cutting required pieces
from metal sheets. Once the blank of required weight were ready
they were stamped with either one, two, three, four of five
different punches. While punching the symbols no special care was
taken of the chronology & many a times they were overlapped by
each other resulting in a mixture of symbols. Sometimes a punch
was stamped more than once, thus having an excess of such a
symbol.
Repousse technique - Literary meaning of the word Repousse is
‘shaped or ornamented with patterns in relief made by hammering
or pressing on the reverse side’. The technique can also be
identified as Utpiditanka mudra. The first half of the word,
Utapidita, stands for ‘well pressed’ & the second half for ‘devices
legend’ etc. the complete word denoted the coin having devices,
legend etc., pressed well from one side. The other side bears a
negative impression of the obverse side in intaglio.

46. Shalaka (bent-bar) technique- Shalaka or Bent
bar coins were issued by the Gandhara Janapada.
In this process, bars were first cut from oblong
ingots. The width of the ingot determined the
length of the coin, the thickness remained the
same & the strip was therefore cut to a width
which, combined with the other two dimensions,
would give approximately the required weight.
After being cut, the bar was adjusted more
exactly to the correct weight by chiseling at the
corners. Subsequently, the blank bars were
stamped with dies. The dies were impressed
twice, once at each end of the bar. The faces of
these dies were circular & convex, thus producing
a concave incuse & accentring the curvature at
the ends of the coins. The dies were
subsequently wider then the bars on which they
were impressed, so that the complete impression
is hardily seen. However, the curvatures of the
bars help in preserving the impression in
circulation.

47. Overstriking technique- In these techniques, existing
coins of the same Janapada or of a neighboring state
were overstruck with new devices.
This could have been done in two ways:
i) Restriking &
ii) Clipping
In the Restriking process, existing coins were
recalled from markets by the mint authorities. These
old issues were restruck with a punch or punches
having new devices & were put back into circulation.
A general pattern observed in this process is that
normally the blank or the reverse sides of the old
coins were used for striking new symbols.
In clipping process, existing coins of the same state
or of a neighboring state were withdrawn from
circulation. These coins were clipped into halves or
quarters & were punched subsequently by the
minting authorities with new symbols. It is observed
that bigger denominations were cut into fractions by
the traders without any royal symbols whereas
bigger coins of other states were clipped by the mint
authorities to serve them as their own issues.

48. Thank You
Any Question