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The numismatic chronicle and journal of the Royal Numismatic Society

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THE SILVER COINAGE OF TIBET. 345<br />

struck at <strong>the</strong> Palace <strong>of</strong> Galdan, near Lhasa (pi. xv. fig. 1),<br />

iu imitation <strong>of</strong> <strong>the</strong> good mohurs <strong>of</strong> <strong>the</strong> former Rajas,<br />

but with sufficient alterations to show <strong>the</strong>ir independence.<br />

<strong>The</strong>y chose <strong>the</strong> pattern 16 used by Jaya Bhaskara Malla<br />

<strong>of</strong> Kathm<strong>and</strong>u in N.E. 821 ( = \.D. 1700), bearing on<br />

<strong>the</strong> obverse eight fleurets containing <strong>the</strong> eight Vitaragas<br />

or Mangals, 17 <strong>and</strong> on <strong>the</strong> reverse in <strong>the</strong> same number <strong>of</strong><br />

fleurets <strong>the</strong> Devanagari characters <strong>of</strong> his name <strong>and</strong> date.<br />

<strong>The</strong> shape <strong>of</strong> <strong>the</strong> fleurets <strong>of</strong> <strong>the</strong> obverse had been borrowed<br />

from <strong>the</strong> linga pattern. <strong>The</strong> Tibetan coin is in general<br />

character <strong>the</strong> same. With <strong>the</strong> exception <strong>of</strong> several <strong>of</strong><br />

<strong>the</strong> Buddhist symbols which are different, <strong>and</strong> <strong>the</strong> legend<br />

in Tibetan letters, it is <strong>the</strong> same design drawn with<br />

<strong>the</strong> remarkable skilfulness <strong>and</strong> taste which is conspicuous<br />

on <strong>the</strong> Nepalese coins, <strong>and</strong> which we fail to find in any<br />

o<strong>the</strong>r Tibetan production. <strong>The</strong> flowery emblem <strong>of</strong> <strong>the</strong><br />

gada (mace) in <strong>the</strong> centre <strong>of</strong> <strong>the</strong> obverse exhibits<br />

a delicacy <strong>and</strong> harmony which are perfect. It is<br />

certainly not <strong>of</strong> Tibetan workmanship, but <strong>the</strong> work <strong>of</strong><br />

a Nepalese artist. <strong>The</strong> size is 8 <strong>of</strong> Mionnet's scale, <strong>and</strong><br />

<strong>the</strong> average weight <strong>of</strong> five specimens is 83*5 grains. <strong>The</strong><br />

legend, which is more or less defaced on any single<br />

specimen, can be restored by comparing several <strong>of</strong> <strong>the</strong>m. It<br />

reads as follows : ^<br />

'<br />

$* '^^<br />

' ' ^ ^ Si "^ ' mam rgyal<br />

^g ah \dan pho \>rang phyogs las.<br />

"mam rgi/al" is <strong>the</strong> name <strong>of</strong> <strong>the</strong> twenty- seventh year<br />

16 <strong>The</strong> same pattern has been partially used on <strong>the</strong>ir coins by <strong>the</strong> Rajas<br />

Jaya Mahindra Sinha Malla <strong>of</strong> Katm<strong>and</strong>u in N.E. 836 ( = A.D. 1715),<br />

<strong>and</strong> by Jaya Yoga Prakasa Malla <strong>of</strong> Patan iu N.E. 862 ( = A.D. 1731).<br />

We do not find it on any coins <strong>of</strong> Bhatgaon, probably because <strong>of</strong> <strong>the</strong> discredit<br />

which had fallen on that name.<br />

17 On <strong>the</strong> Vitaragas, see B. H. Hodgson, Naipdliya Devata Ealyana, p.<br />

401, in /. As. Soc. Beng. 1843, vol. xii. pp. 400 409. <strong>The</strong> late H. A.<br />

Oldfield has given a list <strong>of</strong> <strong>the</strong> eight Mangals in his Sketches from Nipal<br />

(London, 1880, 8vo.), vol. ii. p. 179.<br />

VOL. I. THIRD SERIES. Y Y

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