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| 正面描述 | The obverse is dominated by a intaglio vignette of a Javanese nobleman wearing a white turban, positioned to the right, rendered in fine line engraving against a background of intricate guilloche patterns. The central field carries the denomination numerals "5000" flanked by the issuer inscription "BANK INDONESIA" at top center, with the value in text "LIMA RIBU RUPIAH" below. Two red oval "SPECIMEN DE LA RUE" overprint stamps appear at upper left and lower right, with a red diagonal "SPECIMEN" overprint across the central field; the note bears punch cancellation holes and the annotation "SPECIMEN No. 0.0.1" at the lower margin. |
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| 背面描述 | The reverse carries a detailed intaglio vignette of traditional Indonesian sailing vessels (pinisi schooners) moored at a wharf with figures on the dock, occupying the central and left portions of the note against fine guilloche underprint work. The issuer name "BANK INDONESIA" appears at the top center, with the denomination "5000" repeated at upper right and lower right corners, and the text "LIMA RIBU RUPIAH" along the lower margin. A large brown octagonal guilloché panel bearing the numeral "5000" is placed at the left, and red "SPECIMEN" overprint stamps appear diagonally across the central field and at lower right, with zeroed serial number "DJ 000000" printed in two positions. |
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The 1975 series marks a period when Bank Indonesia was consolidating its note designs following the catastrophic hyperinflation of the Sukarno years, which had rendered earlier denominations nearly worthless. By the mid-1970s, with Suharto's New Order government pursuing stabilization through oil revenues and IMF-aligned fiscal policy, a 5,000 Rupiah note carried genuine purchasing power again — a denomination that would have been unthinkable in the early 1960s without several more zeros behind it.
Thomas De La Rue's involvement in Indonesian currency printing stretched across multiple regimes and series, making them the dominant foreign security printer for the archipelago through much of the postwar period. The watermark remains the sole security feature — modest by later standards.