Top
header Notes Collection

200 Sum 1997, Uzbekistan

in Krause book Number: 80
Years of issue: 1997
Edition:
Signatures: no signature
Serie: 1994 Serie
Specimen of: 1994
Material: Cotton fiber
Size (mm): 148 x 78
Printer: Harrison ans Sons Limited, UK (after 1997 Thomas De La Rue security), Hayes and High Wycombe

* 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.

200 Sum 1997

Description

Watermark:

watermark

On wide white space on right side of the note there is a local watermark with picture of the Coat of Arms of the Republic of Uzbekistan.

Avers:

200 Sum 1997

At the top of the dark purple strip there is the text: ЎЗБЕКИСТОН РЕСПУБЛИКАСИ МАРКАЗИЙ БАНКИ. Under it in the ornamental frame is the Coat of Arms of the Republic of Uzbekistan. In the lower middle part of the banknote there is a seven-digit number with a two-letter series of the Latin alphabet, with the addition of a special magnetic ink. Also this number is duplicated in the left part of the banknote, but with the addition of fluorescent paint. In the center of the banknote in the lower part, against the background of the ornamental elements, there are inscriptions of different colors “200” and “SUM” placed on top of each other.

coat of arms

Above the tower, on white round background, is the Coat of Arms of the Republic of Uzbekistan, made in blue colour.

The state emblem of Uzbekistan was adopted on July 2, 1992. It is similar to the emblem of the previous Uzbek SSR. Like other post-Soviet republics whose symbols do not predate the October Revolution, the current emblem retains some components of the Soviet one. Prior to 1992, Uzbekistan had an emblem similar to all other Soviet Republics.

The emblem is in the form of a circle and mainly bears the national colors blue, white, and green. On the left there is a cotton plant and to the right wheat borders the coat of arms, cotton and wheat are the two major agricultural products of the country.

It is surmounted by the star of Rub El Hizb (۞), a symbol of Islam, which a majority of Uzbek profess.

In the middle, a Khumo, symbol of happiness and love of freedom, beats its wings. In the background a birds eye view of Uzbekistan is painted. The rising sun over the mountains with its sun rays rounds off the image.

The two rivers behind the bird, leading to the mountains, symbolize the Amu Darya and Syr Darya.

The medium frame, there is the text "ЎЗБЕКИСТОН СЎМИ РЕСПУБЛИКА ҲУДУДИДА ҲАММА ТЎЛОВЛАР УЧУН ЎЗ ҚИЙМАТИ БЎЙИЧА ҚАБУЛ ҚИ-ЛИНИШИ ШАРТ" ("Sum payments in the republic of Uzbekistan should be recognized for its value"), which written in 1 line.

Revers:

200 Sum 1997

Sherdor Sherdor

Fragment from the facade of Sher-dor Madrassah, in Samarkand - a stylized image of a tiger carrying the sun.

After the construction of the madrasah, it was named after the customer Yalangtush Bahadur, but this name did not take root among the people. The modern name - Sher-dor - it received a mosaic pattern on the tympanum of its front portal. The master of decor depicted the scene of the hunting of the gazelle of a fantastic beast from the cat family, resembling a tiger, but with the mane of a lion, in the rays of an ascending sunny face. The name is translated as "having a lion" or "having a tiger." The plot, depicted on the portal of madrasas, eventually became one of the national symbols of the Republic of Uzbekistan.

Sher-Dor Madrasah (Uzbeks. Sherdor madrasai, taj. Madrasai Sherdor - Madrasas with lions) - Islamic educational, spiritual and educational and memorial and religious building of the XVII century in Samarkand on Registan Square. Together with the Ulugh bek and Tilya-Kari madrasas, it forms a complete architectural ensemble. In 2001, together with other sights of Samarkand, it is listed on the UNESCO World Heritage List.

The Sher-Dor Madrasah was built by the Samarkand architect Abdullah Jabbar in 1619-1635 / 36 on the orders of the specific ruler (hakim) of Samarkand Yalangtush Bahadur, who was descended from an Uzbek alchin family. His decoration was done by master Muhammad Abbas.

The eastern part of the Registan Square was chosen as the site for the construction of the madrasah. To this end, the heavily dilapidated Khanaka Ulugh bek, built in 1424, was dismantled to the ground. Khanaka gave a rich construction material for Sher-Dor Madrasah, which was confirmed by archaeological excavations carried out in 1956 by Soviet archaeologist S. N. Yurenev.

Sher-Dor Madrasah was built in the reception "kosh" with Ulugh bek madrasah, the elegant proportions of which were the basis of the project. According to the plan of the architect, the main facades of the two madrasahs were to be a mirror image of each other. However, the author did not take into account that for the two hundred years that have passed since the construction of the Ulugh bek Madrasa, the level of Registan Square has risen by two meters. As a result, the proportions of the Sher-Dor Madrasah turned out to be more squat than the original.

For almost three centuries, the Sherdor madrasa was a well-known educational institution in the Islamic world, although by prestige they were inferior to both the metropolitan educational institutions and the Ulugh bek madrasah. Despite the impressive size, just over forty people could study at once in the madrasa. Among the most famous of his graduates are the famous Tatar theologian, the sheikh of the Sufi brotherhood Naqshbandi, the philosopher and historian Shigabutdin Mardzhani.

Throughout its existence, Sher-Dor Madrasah experienced several earthquakes, the most destructive of which occurred at the beginning and at the end of the XIX century. The building survived, but nevertheless it was significantly damaged: the arch of its main portal was severely deformed, the facing was collapsed in many places, and the minarets slanted. At the beginning of the 20s of the XX century, the instruction of the Soviet authorities was discontinued in the madrasa. The building was nationalized and in 1924 restoration work began. The hudjras were repaired, the collapsed part of the brick arch of the portal arch was restored, the carved mosaic of the tympanum of the main portal was strengthened, its deformed arch was dismantled, the domes and arches of the hudjras were rebuilt, the facing of the madrasas was restored. At the end of the 50s of the XX century, archaeological research was carried out on the territory of the madrasah, after which a new stage of restoration began. In 1960-1962, the minarets of the madrasah were repaired, and in 1962, a mosaic of tympana above the arch of the main portal was restored by the project of the artist V.N. Gorokhov and architect A.I. Freitag.

Sher-Dor Madrasah was built in the traditions of Central Asian medieval architecture. It is a rectangular building with a total area of ​​70x57 meters. The main facade is highlighted by a powerful entrance portal - peshtak - with a pointed arch, whose height is 31.5 meters. The corners of the building along the main facade are flanked by 31-meter-high minarets, topped with stalactite cornices. The eastern outer corners of the madrasah are made in the form of three-quarter towers erected in a level with the height of the walls. A spacious four-backed yard of a madrasah measuring 30x38 meters, paved with large paving stones from Chupanat slate, is surrounded by two hujr tiers along the perimeter. All 48 hujr one-room. In the corners of the courtyard there are auditoriums for students' classes - darskhans. On the main façade, darskhanas are covered with ribbed spheroconical domes on high drums decorated with turquoise tiles. The right darshana from the main entrance was eventually turned into a gurkhana. There are several unidentified graves. Left dome darshana served as a mosque. The architectural design of the side aivans is interesting: their niches have a body in the form of a multifaceted semi-dome.

In the decoration of madrasas, sets of glazed bricks, majolica and kashin mosaic are widely used. The decoration of the external facades is dominated by complex geometric patterns - girikhi, designed for perception from afar. On the friezes of the minarets and the dome drums there are epigraphic ornaments. The majolica mosaic of the tympanum of the main portal, which is one of the rarest works of Islamic art, is unique. The timpans of the arches are richly decorated. Curly stems with lush buds and flowers form an openwork pattern. The mosaic panels in the niche of the western aivan are noteworthy: the lush bouquets of flowers in the figured flowerpots symbolize the tree of life. The interior decoration of the darshana is particularly interesting in the interior of the building. Its walls and vaults are painted in the technique of kundal with a small multicolor floral pattern, and the painting of the dome and vaults forms complex arabesque medallions.

At the bottom a frame is located, in which is the text "ЎЗБЕКИСТОН СЎМИНИ ҚАЛБАКИЛАШТИРИШ ҚОНУНГА МУВОФИҚ ТАЪҚИБ ҚИЛИНАДИ" ("Counterfeiters of Uzbekistan Sums are prosecuted in accordance with the criminal law") takes place in 1 line.

Comments:

On July 1, 1994, a second sum was introduced at a rate of 1 new sum = 1000 old sum. This sum is subdivided into 100 Tiyin.

The rampant inflation situation is considered a politically sensitive issue in Uzbekistan, which is why the Uzbek government is slow to acclimate the currency to the current value by issuing higher coin and note denominations.