All coinage did, really. It was a slow process that really started with the rise of Rome as the world power. In ancient Greece, coinage was a symbol of status, so you put out bids to employ the best artist you could find to engrave your dies. That kind of economic pressure led to the flourishing of the schools of fine art. Under Rome, there was still a demand for art, but it increasingly took a back seat to
output capacity. Augustus, Nero, and to a lesser extent Trajan and Hadrian took an interest in the artistry of their coins, but the rest only cared for a photorealistic bust and a clear propaganda message on the reverse. Things got worse after the Crisis, and the workmanship of the busts started to suffer. That continued until it all fizzled out in the 5th century.
The Sassanians probably started out pulling under-employed artists from the Roman East... that is really the only explanation I can think of for why the coinage of Ardashir and Shapur is so much better than the Parthians had done in centuries. Shapur was followed by a civil war, then Carus and the rest started laying on the hurt - the workmanship declines, but only gets really bad after Peroz, who emptied the state treasury to ransom himself and his sons from the Hephthalites.
Fascinatingly, for a little bit in the 6th/7th centuries, some of the most artistically advanced coins came from Central Asia!
This is probably my favorite, a semi-anonymous drachm of "Napki Malka" or Nezak-King, minted around 600-700 AD.
