Symbols and rituals with regard to the legitimacy and manifestations of state authority have been the subject of debate in historical writings in recent decades. But most of the works on the subject discuss the legitimacy and authority in the context of visible symbols of power and rituals. So far as symbolism is concerned, it is both visible and invisible. Awrang, chatr, durbash, ‘alam, etc., were the visible symbols of power. But there were some invisible symbols of power hidden in sophisticated Islamic art. Islamic art in various forms and features in the early modern world told something that was sometimes not easily recognised in visible symbols of power.

It is argued that one of the chief purposes the coinage served during the medieval period was its use as a medium of communication to the subjects by the ruling authority. Coins spoke to the people in two ways—through the language of inscription as well as through the language of art. The rulers used both these languages to legitimise and glorify their authority and power in order to create a sensory image in the mind of their subjects to win their faith and make them obey. The ruler also liked to perpetuate his achievements and munificence in the memory of his subjects. Inscriptions on coins carried political overtones and messages while a variety of symbols, decorative motifs and designs engraved on the body of the coins not only tell of the aesthetic tastes of the ruler and the contemporary society but they radiated certain calculated move and political expression.¹ The present article makes an attempt to unravel the political rhetoric reflected through the invisible language of art and decorative designs found on the Indo-Islamic coins, particularly of the sultanate period.

The author has consulted both published and unpublished coins preserved in public repositories and private collections in India and abroad. Both contemporary and modern works have been extensively used to analyse the numismatic evidence and reach a conclusion. However, the suggestions expressed herewith are purely hypothetical, even speculation. The arguments put forward are for provoking a discussion and sharing with those working with similar themes.

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Symbolism and the State Authority: Reflections from the Art on Indo-Islamic Coins * †