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20 Som 2002, Kyrgyzstan

in Krause book Number: 19
Years of issue: 15.08.2002
Edition: --
Signatures: Председатель (Тoрага) НБКР: Сарбанов Улан Кытайбекович (1999 - 2006)
Serie: 1997 - 2001 Issue
Specimen of: 2002
Material: Cotton fiber
Size (mm): 135 × 65
Printer: De la Rue currency,Loughton

* All pictures marked magnify are increased partially by magnifying glass, the remaining open in full size by clicking on the image.

** The word "Specimen" is present only on some of electronic pictures, in accordance with banknote images publication rules of appropriate banks.

20 Som 2002

Description

Watermark:

watermark

Togolok Moldo and denomination 20.

Avers:

20 Som 2002

The predominant color of the banknote is ocher-red. Red and light green fibers, as well as colorless fibers luminescing in UV light are embedded in the paper. Paper has a local watermark, repeating the portrait depicted on the front side of the banknote, as well as a watermark in the form of a denomination banknote. A windowed metallized security thread with a microtext "20 COM" is embedded in the paper. The strip code is located on the left and right sides of the banknote.

On the front side of the banknote is the text "KYRGYZ BANKY", the signature of the Chairman (Toraga) of the NBKR; one oblique label for people with impaired vision; number "20", containing a micro font in the form of solid numbers of numbers "20", as well as the serial number of the banknote, made with red paint. In the center inside the ornament there is an image of the denomination "20", made with gold paint; through register in the form of an ornament; on a white coupon field is a conventional mark with an elevated relief for people with impaired vision; a portrait of Togolok Moldo - akyna-writer, poet, enlightener, - and the inscription "TOGOLOK MOLDO (1860-1942)". At the bottom there are numbers "20", containing a micro font in the form of solid numbers of numbers "20"; text "ZHYYRMA SOM", which is underlined by the line of micro-font "KYRGYZ BANK". On the right is the serial number, executed in black (the size of the figures increases from the top to the bottom), as well as the vertical ornamental strip. At the bottom right of the rectangle is a hidden image of the digital value "20", visible when looking at the banknote in oblique light.

togolok moldo

Togolok Moldo (Kyrgyz: Тоголок Молдо; real name: Bayymbet Abdyrakhmanov; 10 June 1860 – 4 January 1942) was a Kyrgyz poet, Manaschi and folk song writer. Born in Ak-Talaa district, Naryn Region (oblast). Togolok Moldo by his audiences – "togolok" means round-faced, "moldo" means an educated person. He is buried near the village of about 3,000 persons named for him in Ak-Talaa district.

Akyn Togolok Moldo was born in the area of ​​Kurtka (now Ak-Talin district, Naryn oblast) to a peasant family on June 10 (according to other sources on June 17) in 1860. The father of the future akyn, Abdrakhman, was an expert in Kyrgyz lyrics and often performed with songs among the people.

From the age of 9, Bayymbet studied literacy with a local mullah. He studied at a rural Muslim school. At the age of 14, having lost his father, he was brought up from his grandfather's brother, Muzoko, the well-known akyn and komuzista. After 4 years, Muzoook died, and their family, being in distress, was forced to move to Djumgal and to hire a farm laborer to a local manapa. However, even here their situation did not improve, and they moved to the Chui valley to the relatives of the mother in the village. Kara-Dobie near the town of Tokmak. Here Bayymbet traps on local bays. Striving for knowledge forced Bayymbet to hire a farm laborer to a local mullah. However, the mullah did not care much about his training, and he quarreled with him, leaves. He works as a doctor, teaches children to read and write. Living in the Chui Valley, Bayymbet gets acquainted with the famous Kyrgyz and Kazakh singers-improvisers, reads books by Nizami, Navoi, Firdousi, Hafiz, Abay, etc. During these years he learned the skill of retelling the epic "Manas" from the famous Tanibek manaschy.

In 1887, Bayymbet returned to his native village Kurtka and with new strength gave himself creative work. For his remarkable appearance - he was a stocky and dense (round) and for the ability to read and write akyna called "Togolok Moldo." Subsequently, this nickname became his constant pseudonym.

In 1880 Togolok Moldo meets in Ketmen-Tube with his famous contemporary akyn Democrat Toktogul Satylganov. After the return of Toktogul, a permanent link is established from the link between them.

In the satirical poems and poems "Kemchonta", "Babyrkany" (both - 1900) Togolok Moldov denounced the greed of the rich, in the poem "The Tale of Water and Land Birds" (1908) in an allegorical form depicted social contradictions.

In pre-revolutionary times Togolok Moldova for its democratic views and speeches in defense of the common people has repeatedly been persecuted by bais and manapas. In 1916, due to persecution by the manapov, he was forced to leave his native places and move to the ail of Kol-Boor of the present Toguz-Toru district. There he meets the October Revolution, becomes its spokesman, actively participates in the establishment of Soviet power in his native land. Akyn enthusiastically met the October Revolution of 1917. He wrote poems "Revolution" (1918), "Freedom" (1919-1923).

In the early 1920s, the embittered enemies of the Soviet regime were trying to kill the akyn, the Basmachi twice ravaged his house, taking his wife away. In 1923 he again returns to his native village Kurtka, one of the first to join the collective farm. In 1936-1938 he donated to the fund of the Research Institute under the People's Commissariat of the Republic a huge amount of valuable materials on ethnography, history and folklore of the Kirghiz.

He died on January 4, 1942. He was buried in his homeland.

To compose verses and record them Togolok Moldov started at the age of 14. His many-sided creativity nourished the life-giving juices of two mighty sources: Kirghiz folklore and progressive progressive pre-revolutionary written literature of the East, published in the Tatar and Kazakh languages. Breaking this in his work Togolok Moldo became a true innovator in Kyrgyz poetry.

The pre-revolutionary creativity of Togolok Moldova is characterized by a realistic reflection of the grave slavery of the common people, the expression of its aspirations and hopes, a call for the desire to realize their bright dreams.

In his youth, akyn created a number of works about love. In the poems "Chernoglazaya", "Tolgoyai", "Dedication of the jigit to the girl", "Dedication of the girl to the jigit" and the poem "Urpjukan" he calls on the Kyrgyz girls not to agree unhesitantly with their rightless share, to resist the negative aspects of patriarchal traditions, to defend their rights to love, his social position.

A special place in the work of Togolok Moldov is occupied by lamentations and lamentations-koshki and plachi-zhalby-armands. In the original and at the same time, the traditional form of lamentation for the deceased reveals the skill and skill of folk craftsmen, their creative work is celebrated. An example of such works are "Lamentations of the wife of a dekhanin", "Lamentation of the wife of a blacksmith". In the "Lamentation complaint of a girl married to a boy", "Lamentable complaint of a girl married to an elder", "Lamenting a girl who is enslaved for debts" akyn is indignant over the bondage of a disenfranchised Kyrgyz girl, vehemently denounces old patriarchal practices . He created a number of works on folklore subjects: "The Old Man with the Old Woman", "Babyrkan", "Telibay Tentek" and others, in which he exposes the ruling classes, holding the people in terrible darkness, calling him to enlightenment. In the satirical verses and poems "The tricks of the hodji", "The sheep in the turban", "The cry of Chacha", "The Underdog", he denounces the representatives of the ruling class in parasitism, greed and dullness, and in the poems The Legend of Water and Land Birds, "The Tale of Birds", etc. in allegorical form depicts the social contradictions of that society. Togolok Moldo is the founder of the fable genre in the Kyrgyz literature. The coming of Soviet power to the Kyrgyz land, the freedom acquired by its people, inspired the akyna to create a multitude of poems, which in manuscript form were distributed among the people. These are the poems "Revolution" (1918), "Freedom" (1919-1923), "Instruction" (1925), "Instruction to the poor" and others.

During the Great Patriotic War his songs "We Are Ready" (1941), "We Will Defeat" (1941) and others - called on the Soviet people to fight the enemy.

A specialist in Kyrgyz folklore, Togolok Moldo is also known as the performer of the epic Manas. Later he wrote the second part of the trilogy - "Semetey". He recorded samples of variants of the Kirghiz epics "Shyrdakbek", "Janil-Myrza", "Mendirman". He collected a large number of different legends, legends, proverbs, sayings.

The works of Togolok Moldo began to be published since 1925. The first edition of the akyna was the poem "Nasyut" ("Manual"), published in Moscow in 1925. Two more lifetime editions of akyn were released in 1939. All works of the creative heritage of the outstanding akyna-writer are published and reprinted in the native and Russian languages. Some of them have been translated into many languages ​​of the peoples of the USSR.

Revers:

20 Som 2002

On the reverse side of the banknote at the top is the text "KYRGYZ BANK" and the number "20", which contains a micro-font in the form of a digital denomination of "20". In the center is the Mausoleum of Manas (XIV in), and on the right is a through register in the form of an ornament. On the left, in the ornament forming the background grid, there is a micro-font indicating the denomination of the banknote ("ZHYYRMA SOM") and a vertical ornamental strip. Below - the digital rating "20"; text "ZHYYRMA SOM" and the year of issue of the banknote "2002".

Manas mausoleum

The Mausoleum of Manas.

Among the many preserved historical and architectural monuments of antiquity in the vicinity of the city of Talas, called "Manas Land" among the people, the most ancient place in the Republic is the "Gumbez Manasa" Mausoleum in the Republic. Situated 20 kilometers from the city, at the foot of the Karol-Choku Mountain, it is the greatest asset of the culture of the Kyrgyz people, its history and architecture, especially revered by the inhabitants of the country.

In the people there is not one legend and traditions about the origin of this monument of antiquity. According to one of them, the Mausoleum was built by Kanykei, the wise wife of the legendary hero Manas, who buried her husband somewhere in unknown rocks, where his treasures were laid. And for looting and mockery, only the beautiful building of the Mausoleum was left, on which she ordered to write a woman's name in order to deceive the enemies and protect her husband's body from corruption.

It is well known that the mausoleum was erected in 1334 as the tomb of the emir's daughter from the Chagataid dynasty of Abuki named Kanizak-khatun, as evidenced by the Kufi inscriptions on the main facade of the building, which could be read already in 1938. It turns out that this monument has nothing to do with the present burial site of Batyr Manas. Nevertheless, in the national memory it is preserved as the mausoleum of the famous hero of the famous Kyrgyz historical epic Manas. Archaeological excavations have shown that this burial site has indeed been repeatedly attacked by "black diggers".

Preserved to the present day as a rare monument of the memorial and cult architecture of the XIV century, the building of which is built of burned bricks and carved terracotta, the mausoleum of Manas is a significant landmark of the era of the Great Silk Road. The building of the mausoleum is a low, stern-looking dome structure made of burnt bricks, on a cubic base, with a grand portal lined with carved ganch, and a dome ceiling, also having a lancet niche entrance. The height of the building is 11 meters, and the length of the sides of its facade is 7 meters each.

Nevertheless, the Mausoleum looks like a grandiose monumental structure, which is achieved thanks to careful calculations of the ratio of the dimensions of its three external dimensions. Garneted with terracotta tiles, on which a vegetable pattern is carved and various inscriptions are inscribed, and also decorated with columns, Gumbez Manasa is an example of a combination of applied art and architecture.

Comments:

Banknotes Series 1997-2005.

The design of banknotes 1-10 Som and 200-1000 Som was developed by designer A.P. Tsygankov, and 20-100 Som by M.K. Sagimbayev.