Coromandel Coast

Viraraya Kali Gold Fanam

科羅曼德海岸

維拉拉亞 迦梨 金法納姆

Item number: A3736

Year: AD 1795-1850 presumed

Material: Gold

Size: 6.6 x 6.9 x 0.7 mm

Weight: 0.4 g

Provenance: Fuchin Coin 2025

This specimen is likely a gold fanam of the so-called Viraraya-Kali type produced on the Coromandel Coast.

The obverse is said to depict the goddess Kali in frontal view, the upper “U”-shaped element representing a crowned head, with the facial features and other details reduced to a single vertical stroke. The pair of hooked curves below depict the shoulders, while the torso is rendered as several pellets. Symbols flanking the head may represent the sun, moon, or other celestial motifs.

The reverse prototype is conventionally identified as a right-facing wild boar with prominent tusks, the four legs schematically rendered as four rows of pellets. In this variety, however, the tail curves back in parallel with the original dorsal line, and in some variants the tusks—traditionally projecting vertically upward—are displaced towards the tail. The significance of this modification remains unclear.

Although the overall iconographic arrangement resembles the early issues of the Hoysala dynasty, technical details such as pellet proportions and the manner in which strokes are joined are distinctly more modern. The recorded provenance dates the fanam to AD 1795–1850, a period in which the Coromandel Coast, beyond the presence of British, French and Danish colonial enclaves, still contained several indigenous powers and princely states, including the Carnatic, the Thanjavur Maratha Kingdom and the Hyderabad State, as well as numerous zamindars—local landed chiefs—any of whom might have produced coinage of this type.

The Viraraya-type gold fanams likely originated under the Hoysala dynasty in South India (corresponding to modern Karnataka) and, after the rise of the Vijayanagara Empire, were adopted and diffused more widely. The designation Viraraya cannot be assigned to a specific individual: vira, meaning “warrior,” was a common titulary element among Indian rulers, while raya—rendered as raja in North India—denoted a king or sovereign and was widely used across the Mysore region and the basins of the Tungabhadra and Kaveri rivers. As the type spread, its iconography became increasingly abstract and was reshaped in accordance with local cultural idioms. The original obverse prototype is conventionally understood as a right-facing Sardula lion, whose head, torso and limbs were rendered schematically as pellets. The Sardula—a mythical creature associated with martial strength—circulated widely in South India, possibly originating in the Mysore region, and appearing from present-day Madhya Pradesh in the north to Kerala in the south. On its back, the lion carries an upward-facing crescent. On the eastern littoral, especially in Tamil Nadu, the two curved arcs formed by the lion’s head and tail were transformed into sharp, pointed shoulders, while the crescent was elongated and embellished into a crowned human head identified locally as Kali. On the western littoral—Calicut, Cochin and Travancore—other interpretations developed. On the Malabar Coast centred on Cochin, a fanam variety circulated whose reverse featured a boar with an extended tail curling into a “J” or “U” shape, with additional strokes added to approximate the letters “VOC,” the monogram of the Dutch East India Company.

Alongside these iconographic transformations, the long-standing South Indian practice of stringing small gold coins into jewellery encouraged widespread private and imitative minting. As a result, the origins of most Viraraya-type fanams are exceedingly difficult to trace, and classification relies primarily on morphological criteria; scholarly opinion is diverse and often contested.

From the fourteenth century onwards, the Coromandel Coast became one of South India’s most commercially and strategically significant regions, governed by the Vijayanagara Empire and reliant on major ports such as Masulipatnam, Pulicat and Nagapattinam for participation in the Indian Ocean and Southeast Asian trade networks. The Muslim-ruled Madurai Sultanate briefly controlled the southern Tamil littoral in the mid-fourteenth century; after the collapse of Vijayanagara, the region fragmented into multiple Nayak polities, later joined by the rising Thanjavur Marathas as key regional powers in the seventeenth and eighteenth centuries. These indigenous states competed for revenue and maritime privileges while interacting with successive waves of Portuguese, Dutch, British and French colonial power. The Portuguese established coastal strongholds from the late fifteenth century; in the early seventeenth century the Dutch East India Company displaced them as the dominant maritime power; and from the seventeenth to eighteenth centuries the British and French engaged in intensive rivalry, producing a colonial bifurcation centred on Madras and Pondicherry. With the southward expansion of the Mughal Empire and the emergence of the Nawabs of Arcot as nominal rulers of northern Coromandel in the early eighteenth century, indigenous authority further declined under the pressure of Anglo-French military, fiscal and diplomatic intervention. Ultimately, after the Carnatic Wars, Britain displaced the other European powers and gradually incorporated the entire Coromandel Coast into the administrative and maritime system of British India during the nineteenth century.

物件編號: A3736

年代: 推測為公元 1795-1850 年

材質: 黃金

尺寸: 6.6 x 6.9 x 0.7 mm

重量: 0.4 g

來源: 福君錢幣 2025

這可能是一枚出自科羅曼德海岸(Coromandel Coast),被歸類於維拉拉亞迦梨的金法納姆。

正面據稱為迦梨女神正面像,較上方的「U」形為戴冠的頭部,五官及細節以一豎線省略。較下方兩側的鈎狀弧線為雙肩,身軀細節省略為數個圓點。頭部兩側可能為日月星辰等符號。

背面的原型據稱為一長牙野豬的右側立像,四足簡略為四排圓點。但與圓形相比,尾巴迴繞與原背部線條平行,一些幣圖變體中被強調的長牙垂直上翹,又移至尾部,具體意義不明。

該枚金幣的形制設計類似早期曷薩拉王朝初鑄時的幣圖,但如圓點大小、筆畫連接方式的工藝細節又相當近代,來源稱該法納姆出自公元1795至1850年,當時該地除英、法與丹麥等殖民政權,仍有卡納蒂克(Carnatic)、坦賈武爾馬拉塔王國(Thanjavur Maratha Kingdom)、海得拉巴王國(Hyderabad State)等獨立政權或土邦,更有許多扎明達爾(Zamindar),即地方領主,均有鑄幣的可能。

維拉拉亞形制的金法納姆可能源於南印度的曷薩拉王朝(約位於今卡納塔卡邦),在被毗奢耶那伽羅帝國取代後,該形制的法納姆也隨之繼承及傳播。維拉拉亞一名難以指向特定的人物,維拉(vira)原意為「勇士」,為印度王公貴族常見稱號。拉亞(raya),於北印度常譯為羅闍,即「國王」,為統治者之稱號。於邁索爾地區、棟格珀德拉河與高韋里河流域均十分常見。在傳播的過程中,幣圖除了有愈加抽象化的趨勢外,也隨各地文化不同而有所附會及變形。正面幣圖的原型據稱為一薩杜拉獅(Sardula)的右側立像,獅首與身軀四肢的細節簡略為圓點。薩杜拉獅為南印度流傳的一種神話生物,可能源於邁索爾地區,北至中央邦,南至喀拉拉邦,都曾使用薩杜拉獅作為力量與權力的象徵。獅背上則背負月缺朝上的新月。在東海岸的坦米爾那都邦地區,正面幣圖的獅像中,獅首與獅尾構成的兩個圓弧,變形為較尖銳且銳利的肩膀,背負的新月也拉長,添加符號而成為戴冠的人首,據稱為迦梨女神像。在西海岸的卡利卡特、科契、特拉凡科爾等地區也都曾採用。以城市科契為首的馬拉巴德海岸中,便曾流傳一種法納姆,其背面幣圖的野豬像中,野豬尾延長並迴繞呈「J」或「U」形,再增添筆畫,使其與荷蘭東印度公司的縮寫「VOC」的字母相近。

除維拉拉亞金法納姆於各地流傳中產生的幣圖形變外,南印度多地均有綴連小金幣作為金飾的文化,使得歷代的私鑄、仿鑄均盛行。因此各種維拉拉亞金法納姆的出處多難以追溯,只能從型態學角度進行粗略分類,學者各執己論,爭議頗多。

自十四世紀以降,科羅曼德海岸(Coromandel Coast)逐漸成為南印度最具戰略與商業價值的區域,由毗奢耶那伽羅帝國(Vijayanagara Empire)統治並依賴沿海港口(如默吉利伯德訥姆Masulipatnam、普利卡特Pulicat、納加帕蒂南Nagapattinam)參與印度洋與東南亞貿易。穆斯林的瑪杜賴蘇丹國(Madurai Sultanate)在十四世紀中葉短暫控制坦米爾南部沿海;而毗奢耶那伽羅崩解後,科羅曼德分裂為多個納亞卡王國(Nayaks),並與新崛起的馬拉塔坦賈武爾王國(Thanjavur Marathas)共同主導十七至十八世紀的地方政治。這些本土政權在爭奪港口稅收與貿易特許權的競爭中,與陸續抵達的葡萄牙、荷蘭、英國與法國殖民勢力產生複雜互動:葡萄牙自十五世紀末控制部分港鎮並建立普利卡特、納加帕蒂南等據點;十七世紀初荷蘭東印度公司取代葡萄牙成為區域主要海上力量;法國與英國則在十七至十八世紀進行激烈競爭,形成馬德拉斯(Madras)與朋迪治里(Pondicherry)間的殖民對峙。隨著蒙兀兒帝國南侵及卡納蒂克蘇丹國(Nawabs of Arcot)於十八世紀初成為北科羅曼德的名義統治者,本土政權進一步在英法勢力的軍事、財政與外交介入下式微。最終,在一系列卡納蒂克戰爭(Carnatic Wars)後,英國取代其他歐洲勢力成為主導力量,並於十九世紀逐步將整個科羅曼德海岸納入英屬印度的行政與海上貿易體系。

類似/相同物件 請看:

英國 維多利亞博物館 Museums Victoria

https://collections.museumsvictoria.com.au/items/82315

美國錢幣協會 American Numismatic Association

https://money.pastperfectonline.com/Webobject/F38EEDD8-5F3F-44D7-B106-254939864440

更多相關訊息請參考:

Thomas Michael, George S. Cuhaj, Standard Catalog of World Gold Coins, 1601-Present 6th Edition. Iola: Krause Publications, 2009.

Cuhaj, George S. (ed., et al) Standard Catalog of World Coins 1701-1800 5th Edition. Iola Krause, 2010.

Herrli, Hans. Gold Fanams, 1336-2000. Mumbai: Reesha Books International, 2006.

Mitchiner, Michael. The Coinage and History of Southern India: Part 1. Karnataka, Andhra. Hawkins Publications, 1998.

帕尔梅什瓦里·拉尔·笈多(Parmeshwari Lal Gupta)着;石俊志译,《印度货币史》(Coins),北京:法律出版社,2018。

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