20 Nuevos Soles 2013, Peru
| in Krause book | Number: 183 |
| Years of issue: | 21.01.2015 |
| Edition: | 250 000 000 |
| Signatures: | Presidente: Julio Velarde Flores, Director: Alfonso López Chau Nava, Gerente General: Renzo Rossini Miñán |
| Serie: | 2009 Issue |
| Specimen of: | 17.01.2013 |
| Material: | Cotton fiber |
| Size (mm): | 140 x 65 |
| Printer: | De la Rue currency,Gateshead |
* All pictures marked 
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.
Description
Watermark:
Raúl Porras Barrenechea, denomination 20 and opened book.
Avers:
The engraving on banknote is made after this photo of Raúl Porras Barrenechea.
Raúl Porras Barrenechea (March 23, 1897 - September 27, 1960) was a Peruvian historian.
He was a teacher at the Anglo-Peruvian School. As a student during the 1950s Mario Vargas Llosa worked with Porras for four and one-half years and learned a great deal from him. Porras ran unsuccessfully for the rectorate of San Marcos University losing to Aurelio Miro Quesada. Later he was elected senator representing Lima, and was selected first vice president of the Senate. After that, during his second presidency of Peru, Manuel Prado Ugarteche appointed Porras foreign minister. Luis Alberto Sanchez wrote the prologue to Porras's posthumous book on Pizarro which was assembled by a number of Porras's followers.
Centered is the main entrance to the Torre Tagle Palace.
The Torre Tagle Palace is a Spanish Baroque palace located at Jr. Ucayali 363, in downtown Lima, Peru, a couple blocks east of the Plaza de Armas. The palace currently is home to the Peruvian Ministry of Foreign Affairs.
The palace was commissioned in 1715 (some say 1730) by Don Jose Bernardo de Tagle y Bracho: 1st Marqués of Torre Tagle, who at the time was treasurer of the Royal Spanish fleet, for his own personal use as his home.
The exterior of the palace has a baroque stone doorway. The main facade is made from stone in the first wing and plaster in the second. The style is Sevillian baroque with a strong Mudéjar influence. The materials used in its construction were brought from Spain, Panama and Central America.
Apart from carved columns, the palace is distinguished by two finely worked balconies in dark wood. These balconies (or miradors) adapt the European architecture to vernacular Peruvian tradition. The interiors feature Sevillian tiles, plasterwork, wooden columns, lobed Moorish arches and soaring coffered ceilings. It is considered to have a true "Limeño" architectural originality, harmoniously combining Andalusian, Moorish, Criollo and Asian features.
Across the field of banknote are the patterns, made in the design of the Incas.
Denomination in numerals are in lower right corner and centered. In words - centered.
Revers:
The Walls with images in the ancient city of Chimú civilisation - Chan Chan.
Chan Chan is restored and now looks pretty. Patterns and drawings are very adorned by its walls from adobe. The work here is great and worthy of respect. Now visitors can imagine what the city of antiquity looked like. The decoration uses animal motifs: fish, pelicans and others. This is not surprising: the ocean is very close!
Chan Chan, the largest city of the pre-Columbian era in South America, is now an archaeological site in La Libertad Region 5 kilometers (3.1 mi.) west of Trujillo, Peru.
Chan Chan is located in the mouth of the Moche Valley and was the capital of the historical empire of the Chimor from 900 to 1470, when they were defeated and incorporated into the Inca Empire. Chimor, a conquest state, developed from the Chimú culture which established itself along the Peruvian coast around 1400 AD. In the Chimú tongue, Quingnam, Chan Chan means "Sun Sun;" it was named for its sunny climate which is cooled year round by a southerly breeze.
Chan Chan is in a particularly arid section of the coastal desert of northern Peru. Due to the lack of rain in this area, the major source of water for Chan Chan is in the form of rivers carrying surface runoff from the Andes. This runoff allows for control of land and water through irrigation systems.
The city of Chan Chan spanned 20 km² and had a dense urban center of 6 km² which contained extravagant ciudadelas. Ciudadelas were large architectural masterpieces which housed plazas, storerooms, and burial platforms for the royals. The splendor of these ciudadelas suggests their association with the royal class. Housing for the lower classes of Chan Chan's hierarchical society are known as small, irregular agglutinated rooms (SIARs). Because the lower classes were often artisans whose role in the empire was to produce crafts, many of these SIARs were used as workshops.
The coordinates chosen at right for the location of Chan Chan were determined using "Figure 1: Archaeological Zone of Chan Chan" from Michael West's article, "Community Settlement Patterns at Chan Chan, Peru". In this figure, it can be seen that Verlarde, Laberinto, and Bandelier form the northern border of Chan Chan while Uhle, Chaiguac, Tschudi, and Rivero form its southern flanks. The location chosen for the coordinates is in the center of these cities and so represents a central location for the ruins of Chan Chan amidst this archaeological zone. 
On left side, as seen through image, is the pottery vessel Huaco of Chimú civilisation - cat.
Huaco or Guaco is the generic name given in Peru mostly to earthen vessels and other finely made pottery artworks by the indigenous peoples of the Americas found in pre-Columbian sites such as burial locations, sanctuaries, temples and other ancient ruins. Huacos are not mere earthenware but notable pottery specimens linked to ceremonial, religious, artistic or aesthetic uses in central Andean, pre-Columbian civilizations.
The Huari (Wari), along with the Nazca, the Moche and others, were among the major creators of figurines who passed down through history their unique skills in ceramics. The Incas, who absorbed all the cultures in the time of its expansion, also produced huacos.
Since the time of the Spanish conquest of Peru, these types of pieces have been found in pre-Columbian sites like temples, graves and burials, as well as other kinds of ruins. These sites, especially if they are of a sacred meaning, are called generic huaca or waqa in native Quechua, where it is likely that the figurines take their name. In Peru, a huaquero is a person that digs in ancient pre-Columbian ruins illegally in order to get valuable pieces of artwork, usually destroying the structure.
On top is a Peruvian coat of arms.
The coat of arms of Peru is the national symbolic emblem of Peru.
All four share the same escutcheon or shield, consisting of three elements: the top left section shows the vicuña, the national animal, on a light-blue field, representing the fauna of Peru; the tree in the top right section is the cinchona tree (the source of quinine, a powerful anti-malarial drug and the key flavorant in tonic water), on a white background, representing the national flora; and the bottom cornucopia with coins spilling from it, on a red field, represents the mineral resources of the country.
The Coat of arms (Escudo de Armas) has a palm branch on its left and an laurel one on its right, tied by a red and white ribbon, as well as a Holm oak Civic Crown above it. These represent God, gold, and glory. This variant is used on the national ensign (Enseña Nacional) or state flag. Its use on its own is infrequent, except on currency, both on coins and bills, and stamps.
Denomination in numerals is in lower left corner.
Comments:
Security thread.
The name is a return to that of Peru's historic currency, the Sol in use from the XIX century to 1985. Although the derivation of Sol is the Latin solidus, the word also happens to mean sun in Spanish. There is a continuity therefore with the old Peruvian Inti, which was named after Inti, the Sun God of the Incas.
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