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500 Rupees
| Uitgever | Central Bank of Sri Lanka |
|---|---|
| Jaar | 1995 |
| Type | Standard circulation banknote |
| Waarde | Log in om details te zien |
| Valuta | Log in om details te zien |
| Samenstelling | Log in om details te zien |
| Afmetingen | Log in om details te zien |
| Vorm | Log in om details te zien |
| Drukker | Log in om details te zien |
| Ontwerper(s) | Log in om details te zien |
| Graveur(s) | Log in om details te zien |
| In omloop tot | Log in om details te zien |
| Referentie(s) | Log in om details te zien |
| Beschrijving voorzijde | Dark brown, purple, and brown-orange on multicolour underprint. A vignette of musicians occupies the right portion of the note, with a dancer at left-centre rendered in intaglio. An enhanced latent image security feature is incorporated at the lower centre. |
|---|---|
| Opschrift voorzijde | Log in om details te zien |
| Beschrijving keerzijde | Log in om details te zien |
| Opschrift keerzijde | Log in om details te zien |
| Handtekening(en) | Log in om details te zien |
| Beveiligingstype | Log in om details te zien |
| Beschrijving beveiliging | Chinze (mythical lion guardian figure) |
| Varianten | Log in om details te zien |
| Opmerkingen |
The P#112 500 Rupees belongs to the transitional period when the Central Bank was phasing toward more sophisticated security substrates but had not yet adopted the polymer notes that would follow in later series. Thomas De La Rue's involvement with Sri Lankan currency printing dates back decades, and this issue continues that long contractual relationship — though by 1995 the design language had been substantially refreshed from the older series it replaced.
Watermark-only security on a high-denomination note looks sparse by contemporary standards, but was consistent with regional practice at the time. Counterfeiting pressure on the 500 Rupee denomination specifically led to accelerated redesign work within a few years of this issue's release.