50 Nuevos Soles 2012, Peru
| in Krause book | Number: 184 |
| Years of issue: | 22.03.2012 |
| Edition: | 305 000 000 |
| Signatures: | Presidente: Sr. Julio Velarde Flores, Director: Sr. José Gallardo Ku, Gerente General: Sr. Renzo Rossini Miñán |
| Serie: | 2009 Issue |
| Specimen of: | 31.08.2011 |
| Material: | 100% raw cotton |
| Size (mm): | 140 x 65 |
| Printer: | Francois-Charles Oberthur Fiduciaire SA, Colombes |
* 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:
Pedro Abraham Valdelomar Pinto, denomination 50 and cock.
Avers:
The engraving on banknote is made after this photo of Pedro Abraham Valdelomar Pinto.
Pedro Abraham Valdelomar Pinto (April 27, 1888 - November 3, 1919) was a Peruvian narrator, poet, journalist, essayist and dramatist; he is considered the founder of the avant-garde in Peru, although more for his dandy-like public poses and his founding of the journal Colónida than for his own writing, which is lyrically posmodernista rather than aggressively experimental. Like Charles Baudelaire in 19th century Paris, he claimed to have made his country aware for the first time of the relationship between poetry and the market, and to have recognized the need for the writer to turn himself into a celebrity.
In center, on background, is a Palace Concert building in Lima, Peru. Here, Pedro Abraham Valdelomar coined his famous sorites, "El Perú es Lima; Lima es el Jirón de la Unión; el Jirón de la Unión es el Palais Concert; y el Palais Concert soy yo" (Peru is Lima; Lima is the Jirón de la Unión; the Jirón de la Unión is the Palais Concert; and the Palais Concert is me").
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 New Temple (Templo Nuevo) in Chavín de Huántar.
The "New Temple", constructed between 500 and 200 BC, is also based on a gallery and plaza design and contained many relief sculptures. The Lanzon deity is also present, holding a strombus shell in the right hand while the left hand holds a Spondylus shell.
Chavín de Huántar is an archaeological site in Peru, containing ruins and artifacts constructed beginning at least by 1200 BC and occupied by later cultures until around 400-500 BC by the Chavín, a major pre-Inca culture. The site is located in the Ancash Region, 250 kilometers (160 mi.) north of Lima, at an elevation of 3,180 meters (10,430 ft.), east of the Cordillera Blanca at the start of the Conchucos Valley. Chavín de Huántar has been designated a UNESCO World Heritage Site. Some of the Chavín relics from this archaeological site are on display in the Museo de la Nación in Lima and the Museo Nacional de Chavín in Chavin itself.
Occupation at Chavín de Huántar has been carbon dated to at least 3000 BC, with ceremonial center activity occurring primarily toward the end of the second millennium, and through the middle of the first millennium BC. While the fairly large population was based on an agricultural economy, the city's location at the headwaters of the Marañón River, between the coast and the jungle, made it an ideal location for the dissemination and collection of both ideas and material goods. This archeological site is a large ceremonial center that has revealed a great deal about the Chavín culture. Chavín de Huántar served as a gathering place for people of the region to come together and worship. The transformation of the center into a valley-dominating monument had a complex effect; it became a pan-regional place of importance. People went to Chavin de Huantar as a center: to attend and participate in rituals, consult an oracle, or enter a cult.
Findings at Chavín de Huántar indicate that social instability and upheaval began to occur between 500 and 300 BCE, at the same time that the larger Chavín civilization began to decline. Large ceremonial sites were abandoned, some unfinished, and were replaced by villages and agricultural land. At Chavín de Huántar, no later than 500 BCE, a small village replaced the Circular Plaza. The plaza was occupied by a succession of cultural groups, and residents salvaged building stones and stone carvings to use in house walls. Multiple occupation floors indicate the village was continuously occupied through the 1940s. 
Lower, left are carved stone jaguar heads, founded in Chavin de Huantar.
On left side, as seen through image, is the pottery vessel Huaco, founded in Chavin de Huantar.
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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