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| 表面の説明 | Portrait of Yang di-Pertuan Agong Tuanku Abdul Rahman in traditional regalia at right, set within an ornate intaglio vignette with decorative scrollwork surround. The denomination "LIMA PULUH RINGGIT" is printed in bold letterpress at centre-left, above a guilloche underprint in teal and light blue tones. A facsimile Governor's signature appears below centre, with the issuer's name "BANK NEGARA MALAYSIA" across the top and the legal tender inscription to the left of the portrait. |
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| 表面の銘文 | ログイン して詳細を見る |
| 裏面の説明 | The Muzium Negara (National Museum) in Kuala Lumpur is rendered in detailed intaglio at centre, with the building's distinctive Minangkabau-style roof clearly articulated against a light background. To the left, a circular vignette encloses a sambar deer motif, while a hibiscus blossom in red appears at lower right alongside traditional Malay decorative elements and foliage. The denomination "$50" appears at upper right and lower left, with the issuer name "BANK NEGARA MALAYSIA" along the top margin and the printer's imprint "THOMAS DE LA RUE" at lower right. |
| 裏面の銘文 | ログイン して詳細を見る |
| 署名 | ログイン して詳細を見る |
| 偽造防止技術 | ログイン して詳細を見る |
| 偽造防止の説明 | ログイン して詳細を見る |
| バリエーション | ログイン して詳細を見る |
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The P#23 series marked a significant reorientation in Malaysian note design — this was among the early issues printed by Thomas De La Rue under Bank Negara's push to consolidate printing arrangements with a single major security printer after the mixed production runs of the 1970s. The 50 Ringgit denomination sat at an awkward commercial position: high enough to require careful security treatment, but not a note the public handled daily, which kept circulation wear relatively low on surviving examples.
Watermark protection alone was considered sufficient at the time, before Bank Negara began demanding more layered security in subsequent series. The series was replaced within a few years, limiting the issue window considerably.