DOEHOENG KASOENDAN (A Soenda Perspective)

[Amuk Murugul]

Hullo everybody! :)

Below is a poesaka (=heirloom) to share:

. Doehoeng Asgar

Name: Kangdjeng Wangsa Dita(=symbolises links to Limbangan and Soemedang)
Desc: Doehoeng Sampana 5 Eloek(= symbolises as belonging to the hereditary boepati-class) LIMBANGAN
Char: 5 Eloek , Kembang-katjang
Blade: LxOALxWxT=34.5x41x7.93x1.06cm. GALOEH PANGAOEBAN (=symbolises link to Galoeh)
Handle: Wood, Pralamba Jaksa Tjakra(=devastating energy)
Wt: 170g.
Sheath: Wood, Widjajan(=symbolises a very old family-tree); white-metal o/sheath w/ frontal pierced designs incl.’1813’
Comments: Taroem(=indigo) is traditionally identified with Soenda, hence the band.
16/02 1813 - British lieutenant-governor Stamford Raffles directed the regent of Limbangan to survey possible sites for a new capital city for Limbangan. Once the site and name for the new city had been determined, the Garoet Construction Committee was named.
15/09 1813 - first foundation-stone laid for construction of city of Garoet, to replace Soetji as capital of Limbangan regency.
07/05 1913 - Dutch Governor-general dissolves Limbangan regency and replaces it with a newly-created Garoet regency, w/ Garoet as its capital.

[Amuk Murugul]

00. TilamOepih Lempeng (SandangWalikat, Tjorok)

Name: Sang Kamandaka
Desc: Doehoeng Tilam Oepih Lempeng PASIR LOEHOER
Char: Oepih-rai , Elis , Lempeng
Blade: LxOALxWxT=46x53.5x9.16x1.47cm.(paksi: 0.98x7.16x0.80cm.)
Handle: Wood, Ganaisia(lord of the ganadewatas) w/ white-metal wewer & yellow-metal seloet
Wt: 513g.
Sheath: Wood, Korakoran
Comments: SandangWalikat: worn over shoulder-blade; Tjorok: can act as backup sword .


01. TilamSari Lempeng (SandangWalikat,Tjorok)

Name: Sang Sasaka Domas
Desc: Doehoeng Tilam Sari Lempeng SOENDA SEMBAWA
Char: Oepih , Elis , Lempeng .
Blade: LxOALxWxT=43x51x9.42x1.49cm.(paksi: 1.05x7.52x1.14cm.)
Handle: Wood, Ganaisia w/ yellow-metal seloet
Wt: 443g.
Sheath: Wood, Djongan


02. TilamSari Lempeng (Tjorok)

Name: Sang Banjaran Sari
Desc: Doehoeng TilamSari Lempeng TJAROEBAN
Char: Oepih , Elis , Lempeng .
Blade: LxOALxWxT=38x46x8.22x1.36cm. (paksi: 0.76x7.49x0.45cm.)
Wt: 274g
Handle: Wood, Babandolan(=tough, wild pig) w/ white-metal seloet
Sheath: Wood Saridjong w/ pressed white-metal o/sheath

[Jean]

Hello Amuk,
Thank you very much for showing us these nice and rare pieces, please go on!
I notice that you use the letters "oe" instead of "u" and "tj" instead of "c" as per the old tradition, is "tjorok/ corok" referring to a long blade?
Best regards :)

[Jean]

Hello Amuk,
The gambar/ atasan of the pusaka kris looks like a rare model from East Java/ Madura, the one of specimen 00 a model from Tegal, and the one of specimen 02 a model from East Java, are they all originating from Sunda?
Regards

[David]

I notice that you use the letters "oe" instead of "u" and "tj" instead of "c" as per the old tradition, is "tjorok/ corok" referring to a long blade?

Yes Jean, Amuk generally seems to use the old Dutch spellings that have fallen out of usage in Indonesia since the early 1970s. I do find it a bit confusing at times myself.
I assume, Amuk, that when you write "Doehoeng" you are intenting one of the alternative words for keris better known as "Dhuwung"?
An interesting collection of old keris in lesser seen dress forms regardless.
Does anyone of a translation of the writing at the top of the pendok on the first (1813) keris?

[A. G. Maisey]

David, I have no knowledge of the Sundanese language, however, I have recently made the acquaintance of a gentleman from Sunda who was a university lecturer, he tells me that "duhung" ie, Amuk's "doehoeng" is in fact not a direct equivalent to the Javanese "duwung" or "dhuwung", but rather can only be used to refer to a keris that is in the possession of an important man, somebody with some sort of government rank, or who is recognised in his community as being of high status.

If that keris were to become the possession of somebody who was not a person of importance, then strictly speaking, it could no longer be referred to as "duhung".

Thus, all these keris that Amuk has shown to us must be keris that belong at this present time to a person of some status.

[Jean]

It seems to me that Amuk is only referring the first kris (poesaka) as doehoeng but not the others.

[A. G. Maisey]

It is in the description of all the others too Jean.

[David]

David, I have no knowledge of the Sundanese language, however, I have recently made the acquaintance of a gentleman from Sunda who was a university lecturer, he tells me that "duhung" ie, Amuk's "doehoeng" is in fact not a direct equivalent to the Javanese "duwung" or "dhuwung", but rather can only be used to refer to a keris that is in the possession of an important man, somebody with some sort of government rank, or who is recognised in his community as being of high status.

If that keris were to become the possession of somebody who was not a person of importance, then strictly speaking, it could no longer be referred to as "duhung".

Thus, all these keris that Amuk has shown to us must be keris that belong at this present time to a person of some status.
Thanks for that added information Alan.

[jagabuwana]

David, I have no knowledge of the Sundanese language, however, I have recently made the acquaintance of a gentleman from Sunda who was a university lecturer, he tells me that "duhung" ie, Amuk's "doehoeng" is in fact not a direct equivalent to the Javanese "duwung" or "dhuwung", but rather can only be used to refer to a keris that is in the possession of an important man, somebody with some sort of government rank, or who is recognised in his community as being of high status.

If that keris were to become the possession of somebody who was not a person of importance, then strictly speaking, it could no longer be referred to as "duhung".

Thus, all these keris that Amuk has shown to us must be keris that belong at this present time to a person of some status.

As with Javanese, Sundanese has high and low forms, i.e. kasar (loosely translate to coarse, rough, abrasive, harsh) or halus (loosely translated to proper, polished, refine). To my understanding, "keris" is on the kasar end of the spectrum though wouldn't necessarily register as kasar if you referred to your own keris or referring to the object abstractly as "keris". Though the halus or proper term for another person's keris, especially if they were high born or were had rank or status would indeed be duhung. That's my understanding of it anyway. I think the term is relatively archaic as far as working Sundanese goes.

So in the context of this post and to what Alan's friend from Sunda said, it makes sense that in the Sundanese language that these are referred to as duhung as opposed to just "keris". You would probably not refer to your own keris as a "duhung" though, even if you were of high status.

[A. G. Maisey]

Well Jaga, you might refer to your own keris as "duhung" --- I guess it all depends upon one's opinion of oneself.

[jagabuwana]

Haha, might need more stamps in my passport to get away with that one.

I should add that the reason "duhung" is archaic in everyday Sundanese usage is likely because the keris has little to no significance to Sundanese people nowadays (where it once used to, though of course not anywhere close to its importance in Javanese culture), and therefore very few would really care or pick up on it if you referred to someone else's duhung as a "keris".

Interestingly, the only thing referred to as "duhung" at the Prabu Geusan Ulun museum in Sumedang is a badik, and the keris are just called keris.

If I recall correctly, I think Eiseman in Sekala and Niskala mentioned that it the keris , at least where he lived in Bali, was almost never referred to as "keris" but as words that were euphemisms for it, out of respect for the power and place of the object in society and culture, and that these euphemisms were "high" Balinese.

[A. G. Maisey]

It is a characteristic of Javanese & Balinese language patterns to use euphemisms to refer to anything at all that might be a little, let us say, "touchy". There are euphemisms spread right through keris terminology.

In Javanese there are a number of names for the keris, and they refer to the keris in various situations, probably so in Old Javanese as well, but we cannot be certain of this.

Language changes all the time, when we use the concept of "archaic" usage, it can be a matter of something being archaic in common usage, but utterly correct in a specific situation.

[Amuk Murugul]

Hullo everybody! :)

Further additions for sharing.

_000_Setjang Lempeng

Desc: Doehoeng Setjang Lempeng.
Char: Both edges similar, Lempeng.
Blade: LxOALxWxT=30.5x37x7.16x0.88cm. GALOEHPANGAOEBAN.
Handle: Wood Pralamba Jaksa Baradjaperdana w/ yellow-metal seloet.
Wt: 172g.
Sheath: Wood Djoengkoeng w/ pakoe-hadji motif.



_001_SampanaHiras 11Eloek

Desc: Doehoeng Sampana Hiras 11Eloek SOENDAPAKOEAN.
Char: Kembang-katjang , Kotjop , 11 Eloek .
Blade: LxOALxWxT=36x42.5x7.06x1.03cm..
Handle: Wood Pralamba Koewera Oepaja.
Wt: 202g.
Sheath: Wood Widjajan w/ yellow-metal o/sheath.



_002_Sampana 9Eloek

Desc: Doehoeng Sampana 9Eloek.
Char: Kembang-katjang , Kotjop , 9 Eloek .
Blade: LxOALxWxT=36x43x9.08x1.21cm. GALOEHPAKOEAN.
Handle: Wood Pralamba Jaksa Apoen w/yellow-metal wewer.
Wt: 256g.
Sheath: Wood Djoengan



_003_SampanaLeres 9Eloek

Desc: Doehoeng Sampana Leres 9Eloek.
Char: Kembang-katjang , Makoeta , Kotjop , 9 Eloek .
Blade: LxOALxWxT=36.5x44x7.07x1.05cm. SOENDAPAKOEAN.
Handle: Wood Koewera w/ copper seloet.
Wt: 176g.
Sheath: Wood Djongtjoetjoer.


_004_ Sampana 9Eloek

Desc: Doehoeng Sampana 9Eloek.
Char: Kembang-katjang , Kotjop , 9 Eloek .
Blade: LxOALxWxT=34.5x44x8.06x1.03cm. GALOEHPAKOEAN.
Handle: Wood PraLamba Jaksa Tjakra w/ seloet studded w/ clear-stones.
Wt: 171g.
Sheath: Wood Lantjaran.

[Jean]

Very nice and rare pieces as usual, thank you! I like the sarong of 000 especially :)

[David]

Agree with Jean. More nice old and unusual dress examples. Very nice.
Just curious, is there some reason you keep all your hilts facing in the opposite direction from what is generally considered the correct position? :shrug: :confused:

[Amuk Murugul]

Agree with Jean. More nice old and unusual dress examples. Very nice.
Just curious, is there some reason you keep all your hilts facing in the opposite direction from what is generally considered the correct position? :shrug: :confused:
Hullo David,

I try to avoid mentioning it; but since you asked:

The hilt faces the 'rear' as a reminder to djatisoenda to 'watch one's back'. Harks back to 1357 when treachery perpetrated by the 'Mahapatih wong-wetan', resulted in the massacre of the Soenda royal wedding-party.

Best,

[A. G. Maisey]

1357 was the year that a princess of Sunda was taken to Majapahit as a bride for the ruler, Rajasanegara (AKA Hayam Wuruk). The Mahapatih Gajah Mada wanted nothing but complete submission from Sunda and would only accept the Princess Pitaloka as a concubine. The Sundanese ruler --- who was with the wedding party --- was not agreeable to this.

The result was the Battle of Bubat, which was not much of a battle, more of a cruel massacre totally without honour for Majapahit and led to Gajah Mada's fall from grace. The Sundanese were a wedding party of at most a few hundred, the permanent soldiers and palace guards in Majapahit would have numbered into the thousands. The Sundanese fought until all were dead, the women in the party, including Princess Pitaloka took their own lives.

The Sundanese lost the "battle" but won everlasting honour.

Majapahit was disgraced because it acted without honour.

After this affair, Gajah Mada was removed from the capital and relieved of his command.

mahapatih wong wetan = prime minister of the people of the east, Majapahit is to the east of Sunda.

Javanese history is not always history as people from European societies understand history to be, but it sure does make interesting reading, I have often thought that it has a lot in common with the history of the Mafia, especially the Mafia in America.

[Amuk Murugul]

Thank you , Alan.

Best,

[jagabuwana]

Hullo David,

I try to avoid mentioning it; but since you asked:

The hilt faces the 'rear' as a reminder to djatisoenda to 'watch one's back'. Harks back to 1357 when treachery perpetrated by the 'Mahapatih wong-wetan', resulted in the massacre of the Soenda royal wedding-party.



As an urang Sunda I enjoy this for the sake of this pseudo grudge :) Though I can't say I'm about to reverse my hilts to honour the sentiment. I too much enjoy the neatness and aesthetic of it being the right way around.

This isn't something I've observed in Sunda either in public viewings or private collections, pusaka and non-pusaka alike. I think that it might be impossible to determine the chain of transmission but I do wonder where and who this convention (if it even is a convention) came from.

[David]

Here is some further info on the Battle of Bubat.
Of course, nothing is said here about this practice of reversing keris hilts. It is not something i have ever come across in my readings before. Interesting if true, but like Jagabuwana, i believe i will continue to present my own keris with the hilts in their "correct" position.

https://en.wikipedia.org/wiki/Battle_of_Bubat

[Amuk Murugul]

Hullo everybody! :)
I thought I'd balance post #2 with some "eloek' examples:

03. MahisahKerak 5Eloek (SandangWalikat,Tjorok)

Name: Sang Goeroe Hijang
Desc: Doehoeng Mahisah Kerak 5Eloek DJERBON
Char: Oepih , Oesoek , 5 Eloek .
Blade: LxOALxWxT=46x57.5x9.39x1.69cm. (paksi: 0.91x7.49x0.54cm.)
Handle: Wood Kitjaka w/ metal seloet and wewer.
Wt: 449g.


04. MahisahKerak 5Eloek (SandangWalikat/Tjorok)

Name: Sang Geusan Hoeloen
Desc: Doehoeng Mahisah Kerak 5Eloek DJERBON
Char: Oepih , Oesoek , 5 Eloek .
Blade: LxOALxWxT=43.5x50.5x9.78x1.52cm.(paksi: 0.77x6.49x0.57cm.)
Handle: Wood Ganaisia w/ white-metal seloet.
Wt: 313g.


05. MahisahKerak 5Eloek (SandangWalikat,Tjorok)

Name: Sang Koewoe Kandang Sakti
Desc: Doehoeng Mahisah Kerak 5Eloek DJERBON
Char: Oepih , Oesoek , 5 Eloek .
Blade: LxOALxWxT=45x53x9.11x1.99cm.(paksi ; 0.83x8.04x0.51cm.)
Handle: Wood Babandolan w/ yellow-metal seloet
Wt: 451g.


06. SampanaToempeng 13Eloek (Tjorok)

Name: Sang Poetjoek Oemoen
Desc: Sampana Toempeng 13Eloek GALOEH
Char: KembangKatjang , Pentil , Oepih , Djanoer , 13 Eloek .
Blade: LxOALxWxT=41.5x49x8.59x1.38cm.(paksi: 0.72x7.25x0.43cm.)
Handle: Wood Kitjaka w/ metal seloet.
Wt: 318g.

Enjoy! :)

[Jean]

Hello Amuk,
Very interesting pieces again, thank you!
Could you please explain or translate the following terms into English for our better understanding:
. Mahisah kerak
. Tjorok (corok, a long and strong blade?)
. Djerbon (Cirebon?)
. Galoeh (Galuh/ Segaluh Kingdom?)
. Oepih
. Oesuk (usuk or ada-ada?)
. Kotjop
. Kitjaka (equivalent to Dursasana/ Rajamala?)

Thank you and regards

[A. G. Maisey]

Jean, maybe English might not be possible --- it is sometimes not really possible with some Javanese words & ideas --- but if a translation into Bahasa Indonesia were to be possible, this would assist.

Even post 1972 spelling might help.

I've just a few minutes ago run this text past an educated 22 year old from Bandung who is here on holidays, and he cannot make head nor tail of it, even after I did the standard change from Dutch style spellings to English style spellings.

Amuk, what language are we looking at here? I had assumed Sundanese, but perhaps it is a dialectical variation?

[Amuk Murugul]

Jean,
Mahisah Kerak is a style/dapoer
Tjorok, mentioned in post #2, tang>0.7cm
Djerbon= trust/faith in ‘mother'; from ‘ djedjer’(=one who can be trusted/depended upon) and ‘ bon’(=mother);river/sea waters were considered ‘mother’, mountains ‘father’. It was the original name for what is now known as “Cirebon”.
Galoeh/Galuh was a kingdom whose size varied from time to time, at times covering the whole of western Java (including some of Central Java). Segaloeh is a Javanese construct; I don’t know what is meant by it except as in Javanese keris protocol.
Oepih is a palm-leaf sheath
Oesoek is a roof-batten(=ada-ada in Javanese protocol)
Kotjop is wrong, it should be Pentil(=young fruit ‘bud’)
Kitjaka was the commander-in-chief of king Wirata in Mahabarata; while Doersasana is also a character from the same epic, Radjamala is a Javanese construct who did not appear in the original

Alan,
Being born, bred and living in Bandoeng does not necessarily make one ‘Soenda’. Then, of course, there is Soenda and Soenda (just as there is Koori and Koori) ;)
Your assumption is indeed correct; I use Basa Soenda.

Best,

[A. G. Maisey]

Yes, of course you're right Amuk, but I rather think the young gentleman to whom I referred your text might be considered to be attuned to his native culture. I will not go into the reasons for why I think this to be so, but if he is indeed not genuinely committed to the history and values of his native culture, then I guess the Indonesian government has misplaced their trust.

Still, I think we can put the question of qualifications to one side. Fact is I rather enjoy reading your posts, they are certainly unique.

[Amuk Murugul]

Yes, of course you're right Amuk, but I rather think the young gentleman to whom I referred your text might be considered to be attuned to his native culture. I will not go into the reasons for why I think this to be so, but if he is indeed not genuinely committed to the history and values of his native culture, then I guess the Indonesian government has misplaced their trust.

Still, I think we can put the question of qualifications to one side. Fact is I rather enjoy reading your posts, they are certainly unique.

Hullo Alan,

I felt obliged to respond.
Forgive me if I sound a bit cynical, but experiences have left me rather disappointed (especially by those in position to make significant change). However, I am still hopeful. Especially now that there appears to be a new crop with vision and ideals as well as the courage of their convictions.
Perhaps, the time may come when:” Bila melihat dolar, mata menghijau” may be laid to rest.
BTW ..... if your friend is 'into' Soenda culture, he may have heard of a couple of my 'brothers-in-arms': Ekadjati (Bdg), Djatisunda (Skb)

I am pleased that my posts can be a source of enjoyment/mirth.

Best,

[A. G. Maisey]

Not mirth Amuk, never mirth.

I enjoy language.

The fact that you use a spelling that was officially discontinued in 1972 as well the assumption that you are using one of the Sundanese dialects --- I've been told there is:- "a different dialect for every point of the compass, and a few in between" --- makes the job of trying to understand what you are actually saying pretty interesting. I do have a few reference books on S.E, Asian language, and I have a couple of connections in the community of linguists who study Malayo-Polynesian languages, so I'm not totally bereft of resources, but still, I can normally only latch on to maybe 25% of the words you use.

So your posts do entertain me, but not in any mirthful fashion. I enjoy the puzzle of what you put before us.

As for cynicism, well, you're talking to the bloke who wrote the book. I was paid good money for many years to be a professional cynic. You remember Mel Gibson in "Taxi Driver" ? I've been told that whoever wrote that part for dear old Mel must have spent a lot of time with me.

The young gentleman to whom I referred your text is not a friend, only a relative of a friend who is visiting Oz, he and his aunt just happened to be at my house when I read your text. Apparently he has some sort of Govt scholarship that is primarily focused on the history and culture of Sunda.

Since you have been so kind as to expand your comments Amuk, could I ask just one tiny further indulgence:- what dialect do you use in your posts?

[Jean]

Jean,
Mahisah Kerak is a style/dapoer
Tjorok, mentioned in post #2, tang>0.7cm
Djerbon= trust/faith in ‘mother'; from ‘ djedjer’(=one who can be trusted/depended upon) and ‘ bon’(=mother);river/sea waters were considered ‘mother’, mountains ‘father’. It was the original name for what is now known as “Cirebon”.
Galoeh/Galuh was a kingdom whose size varied from time to time, at times covering the whole of western Java (including some of Central Java). Segaloeh is a Javanese construct; I don’t know what is meant by it except as in Javanese keris protocol.
Oepih is a palm-leaf sheath
Oesoek is a roof-batten(=ada-ada in Javanese protocol)
Kotjop is wrong, it should be Pentil(=young fruit ‘bud’)
Kitjaka was the commander-in-chief of king Wirata in Mahabarata; while Doersasana is also a character from the same epic, Radjamala is a Javanese construct who did not appear in the original


Best,

Thank you Amuk, your perspective is very interesting for us foreigners who don't clearly differentiate the Sundanese culture from the Javanese one. And your krisses are always a pleasure for the eyes!
Regards :)
PS: I know sandang walikat as a style of scabbard but what does it mean in your examples?

[Amuk Murugul]

Hullo Jean,

As explained in post #2, sandang walikat= gird over the shoulder.


Alan,

I don't see it as a dialect. It was designed to facilitate communication between confederate officials from the capital and regional officials from any part of the kingdom.
If you insist on a name for it, then it is: Basa (Soenda) Jero. Probably a bit like Kromo Inggil&Madya.

Best,

[A. G. Maisey]

Thank you very much Amuk, I now understand perfectly, a quick phone call did it for me.

Basa Jero in Basa Sunda can be understood as extremely refined language that will only be understood by a select group of people, a little bit like university undergraduates, or perhaps some members of the British upper class, who use unknown and archaic language forms to impress their fellows.

The other way it can be understood is as a refined jargon, again only comprehensible to members of the group who use that jargon.

The above is pretty much word for word how Basa Jero Sunda was just explained to me, and from what you have just told us about the reason for being of Basa Sunda Jero, then the explanation I have just been given seems to be pretty accurate, in essence it is an archaic jargon that was at one time used by officialdom.

In English "Basa Sunda Jero" can be understood as "Inside Language", in the sense of a select language not meant to be understood by everybody, as I was told, a jargon the purpose of which was to keep secret those things that outsiders should not know.

In fact, it cannot be compared to either Kromo Inggil or Kromo Madyo, which are distinct hierarchical forms of Formal Modern Javanese.

Thank you very much, I really do value knowing this, because over a very long time I have spent a very great deal of time researching some of things you have written, at times I have felt that I was getting close to solving the mystery, when I would discover a word you used in Classical Malay, or in Bahasa Madura, but these were false leads, they never went anywhere.

Now I believe I understand perfectly why these leads were all dead ends.

Again I offer you my most sincere thanks.

[Amuk Murugul]

Hullo everybody! :)

Another doehoeng just to share with anyone interested.
Enjoy!

Name: Sang Poetjoek Oemoen
Desc: Sampana Leres 9Eloek GALOEHPANGAOEBAN
Char: Koekoedoeng , djalwan , pentil , ladjer.
Blade: LxOALxWxT=36.5x43.5x8.96x1.18cm.
Handle: Filigreed white-metal w/ red-stones Pralamba Boeta Para Doeka
Wt: 163g.
Sheath: Wood Djoeng Golekan w/ embossed soeasa o/sheath

Apologies should the photo not be correct on your screen.

Best

[Jean]

Hello Amuk,
Thank you for the pic of this interesting piece again! Some comments or questions please:
. The blade looks much older that the hilt and scabbard. This type of hilt is apparently made in Lombok, or perhaps Bali or Sumbawa?
. This style of pendok overlapping on the atasan is fequently seen these days but is it an original design?
. Koekoedoeng = Kembang kacang, djalwan = jalen, pentil = pejetan, and ladjer = greneng :confused:
Regards

[Jean]

Hello Amuk,
A similar hilt to yours fitted on a new kris from Sumbawa (courtesy of PdV).
Regards

[JBG163]

Amuk, i can't pm you sadly ? Can you send me an email please ? Thanks

[jagabuwana]

Comments: Taroem(=indigo) is traditionally identified with Soenda, hence the band.

Kang Amuk, I am interested to learn more about the association between tarum and Sunda. Do you have any resources, or perhaps you can share more yourself?

[Amuk Murugul]

Hullo Alan,

"In English "Basa Sunda Jero" can be understood as "Inside Language", in the sense of a select language not meant to be understood by everybody, as I was told, a jargon the purpose of which was to keep secret those things that outsiders should not know.

In fact, it cannot be compared to either Kromo Inggil or Kromo Madyo, which are distinct hierarchical forms of Formal Modern Javanese."


To be more specific, it is the equivalent of Djawa Bagongan.


Hullo Jean,

". The blade looks much older that the hilt and scabbard. This type of hilt is apparently made in Lombok, or perhaps Bali or Sumbawa?"

The blade is the ‘heart’, so ‘dress’ is not important and may see many changes throughout the blade’s life.
The hilt COULD have been made in the lesser Soenda islands.
The main difference between your example and mine: yours appears to be more stereotypical Bugis, with a hair-clasp/bledegan and greater proportion forward-leaning.

". This style of pendok overlapping on the atasan is fequently seen these days but is it an original design?"

I may be wrong, but I don’t think that I have ever seen one from outside western Java. It was designed for practicality. It goes back to at least the 19thC.

". Koekoedoeng = Kembang kacang, djalwan = jalen, pentil = pejetan, and ladjer = greneng"

Koekoedoeng = carina~ toelale, djalwan=stamen~ djalen, pentil = fruitset~ lambej, ladjer= prop~ gandi.

Hullo jagabuwana,

Back in the day, Soenda were known for their indigo dye, Djawa for their red dye, so fabric were sent to different areas to get dyed the right colours.
Back to your question:
CiTAROEM river.
TAROEManagara kingdom.

As has often been pointed out in this forum:
To understand a product, one has to understand the language, the culture and the history of the people who produced it.

Best,

[jagabuwana]

Nuhun, Amuk Murugul. I do agree that to understand something, the language must also be understood. So I'm inclined to go further.

The reason I asked the question about the connection between Sunda and tarum (indigo) is because it is often taken to be self-evident that Sunda culture and lands have long been associated with tarum. As you mention, the river Citarum and the 5th century kingdom of Tarumanagara bear this name, and tarum means indigo in Sundanese today and likely also meant indigo in the local language in the time of Purnawarman

However I've personally only seen fairly modern sources that use the indigo colour to symbolise something Sundanese (let's say 18th century onwards) - and I seem to have trouble locating any sources that indicate the plant, dye or colour being of any symbolic relevance or even as a commodity of note. I am well aware too that we are talking about knowledges and facts pertaining to a Nusantara culture here and so historicity gives way to changing narrative and folkloric belief. Folklore, the passage of time as well as the obvious the meaning of "tarum" has perhaps lent weight to the symbolism of indigo and its connection to Sunda. But historicity in this case provides a richer understanding of the history and etymology behind the tarum in Tarumanagara or Citarum.

For this, Robert Wessing's (2011) Tarumanagara: What's in a name? (Journal of South East Asian Studies, 42:2, pp.325-327) provides a very well argued alternative for the origins of "tarum. Here are some interesting points:

-- There is no evidence to suggest that indigo as a commodity was particularly noteworthy by either Tarumanagara or to the places they exported their commodities to.

-- Tarum is not a word that exists in Sanskrit, but it probably corresponds to the tamil tarumam, which is dharma in Sanskrit. Tarumanagara then likely means something more like The State of Dharma, or Dharma Country. Wessing supports this argument through explaining that Purnawarman's court and city may have been deliberately built to be flanked by canals which were named Candrabagha and Gomati, which are sacred rivers on the Indian subcontinent.

-- Just as Candrabagha and Gomati were the names of existing rivers on the subcontinent, so too is the name "Tarum" in South India (e.g. Tarumapuram, Tarumaputtiran, Tarumaraja). It was likely that the Taruma inclusion was brought over by Tamil Hindu migrants who occupied positions of influence in Tarumanagara.

-- The understanding that the inclusion of the word tarum in Citarum or Tarumanagara originated from the word for indigo is coincidental. The word probably did mean indigo in the local language in 5th century. Indigo was known to grow freely on the banks of the Citarum, and so the double-meaning was accepted and applied.

[Amuk Murugul]

Hullo jagabuwana,

You asked and I answered. As is usually the case, what I provide is as is, to be taken or dismissed. I don’t engage in debate, I find it too taxing and time-consuming and am rather academically-challenged. I have confidence in my info, until I am provided with incontrovertible evidence to the contrary, in which case I will adjust accordingly.
To me, it ultimately boils down to a question of confidence/faith.

Best,

[jagabuwana]

I didn't intend to debate or disprove you, but to add more information and perspective that I found interesting and satisfying, with the hope that others might too.

[David]

Hullo jagabuwana,
You asked and I answered. As is usually the case, what I provide is as is, to be taken or dismissed. I don’t engage in debate, I find it too taxing and time-consuming and am rather academically-challenged. I have confidence in my info, until I am provided with incontrovertible evidence to the contrary, in which case I will adjust accordingly.
To me, it ultimately boils down to a question of confidence/faith.
Just a suggestion that you try approaching questions not as arguments or lead-ins to debate, but rather as discussion points. We are, after all, a discussion group. We all learn through conversation and sharing of ideas.
I as well consider myself to be a somewhat academically challenged collector. I hold no degrees in Javanese anthropology or any related fields. This is not to say that the academics are always correct, but it seems odd to so quickly dismiss them in favour of faith when there may, in fact, be new things we can learn from them.
Just for the fun of it, a list of academic papers pertaining to Javanese culture from Robert Wessing. ;)
https://independent.academia.edu/RobertWessing

[Amuk Murugul]

I didn't intend to debate or disprove you, but to add more information and perspective that I found interesting and satisfying, with the hope that others might too.
Hullo jagabuwana, :)

It appears that I may have been too abrupt and thus been misunderstood.
For that I sincerely apologise. I was merely reiterating what I've often said in this room. No offence was taken. After all, the device on the side-panel states: 'kandel koelit'. :)
Of course I totally agree with what you stated. I'll happily listen-in at what transpires. I am here to learn.

All the best for the new year!

[Amuk Murugul]

Just a suggestion that you try approaching questions not as arguments or lead-ins to debate, but rather as discussion points. We are, after all, a discussion group. We all learn through conversation and sharing of ideas.
I as well consider myself to be a somewhat academically challenged collector. I hold no degrees in Javanese anthropology or any related fields. This is not to say that the academics are always correct, but it seems odd to so quickly dismiss them in favour of faith when there may, in fact, be new things we can learn from them.
Just for the fun of it, a list of academic papers pertaining to Javanese culture from Robert Wessing. ;)
https://independent.academia.edu/RobertWessing
Hullo David, :)

Firstly, I generally agree with what you have stated.
However:"This is not to say that the academics are always correct, but it seems odd to so quickly dismiss them in favour of faith when there may, in fact, be new things we can learn from them."
If this is taken to apply to me, then I believe that you have misunderstood me.
By 'faith', I mean it in the generic sense.
In decades of research, I have always tried to trace data to their original source. I have found that some authors tend to have faith in their references and accept them as gospel, not checking their veracity; thus propagating any errors which occurred up the line.
So, no, I don't dismiss them. I merely check their veracity.
That's why I have confidence in my results.
I only contribute to a conversation (banter aside) if I think that it may have value, otherwise I am quite happy to sit back, watch and learn.
As an example of what I meant with faith as a bottom line:
People had 'faith' in this particular Nobel Prize scientist, until in a subsequent project, it was found that the scientist had 'manipulated'/'extrapolated' the results.
Similarly when I mention 'agama'. People immediately think 'religion'. My definition of agama: darmasiksa; traditional/holy/teaching doctrine(s).

I apologise for the rant, but I thought some clarification was needed.

All the best for the coming year!

[A. G. Maisey]

As a fully qualified and dedicated cynic I have very few heros, but Sam Arbesman is one of them. In my shortlist, he is probably #1.

[Amuk Murugul]

Hullo everybody! :)

Doing some 'house-cleaning'. Thought somebody may appreciate these background pictures before I erase them.
My apologies should they not show up too well on your screen. At least the 'info' is there.

Best,

[Jean]

Thank you very much Amuk, I noticed such a peculiar scabbard in the book "The Kris" by Edward Frey, third edition, page 57, and I wondered about its origin, so is it from West Java? The hilt is reminiscent of the Ganesha hilts from Cirebon but with some differences.
Regards :)

[Amuk Murugul]

Thank you very much Amuk, I noticed such a peculiar scabbard in the book "The Kris" by Edward Frey, third edition, page 57, and I wondered about its origin, so is it from West Java? The hilt is reminiscent of the Ganesha hilts from Cirebon but with some differences.
Regards :)
Hullo Jean, :)
I am sorry to say that I am poverty-stricken wrt bibliography; so I pretty much have to rely on 'fieldwork'. In other words, I have not had access to the book you mention.
As I have previously mentioned in this forum somewhere, the motif on the scabbards represent tree-ferns (Cyathea, bot.). They symbolise the Soenda; 'the highlanders'. So the area covered is western Java (incl. part of Central Java).
The hilt is a stylised vegetal form of Ganesja= Gana Isja= lord of the Ganas, attendants of Siwa.

Best,

[David]

Hullo everybody! :)

Doing some 'house-cleaning'. Thought somebody may appreciate these background pictures before I erase them.
My apologies should they not show up too well on your screen. At least the 'info' is there.

Best,
Thanks for showing us photos of this rare dress form before eliminating them from your date base. A lovely example. I trust you still have this beautiful keris in your custody? :)

[Amuk Murugul]

Thanks for showing us photos of this rare dress form before eliminating them from your date base. A lovely example. I trust you still have this beautiful keris in your custody? :)
Hullo David, :)

I have been rationalising all my traditional/heritage material due to reason of practicality. Whatever is no longer in my ‘core’ collection has been passed on to other koentjen (=pakoentjian=key-keepers, akin to the custodians of story-/song-lines in Australia) for safe-custody. So I still have access to everything. No doubt even the core collection will be passed on, eventually. ;)

Best,

[Sajen]

Thank you very much Amuk, I noticed such a peculiar scabbard in the book "The Kris" by Edward Frey, third edition, page 57, ...

When it is not the same keris we see here! :shrug:

[Jean]

Hullo David, :)

I have been rationalising all my traditional/heritage material due to reason of practicality. Whatever is no longer in my ‘core’ collection has been passed on to other koentjen (=pakoentjian=key-keepers, akin to the custodians of story-/song-lines in Australia) for safe-custody. So I still have access to everything. No doubt even the core collection will be passed on, eventually. ;)

Best,
Hello Amuk,
I (and probably many other Forum members) would love that you publish a book or a pictures catalog of your rare items! :)
Regards

[Jean]

When it is not the same keris we see here! :shrug:

Hello Sajen,
Of course the blades are very different but the scabbard and hilt are similar. I can post a pic if required but the original one is very small.

[Sajen]

Hello Sajen,
Of course the blades are very different but the scabbard and hilt are similar. I can post a pic if required but the original one is very small.

Hello Jean,

The blade from the first one in Amuks picture we can't see! So it could be very well the same one, who knows. :shrug:

Regards,
Detlef

[David]

Whatever is no longer in my ‘core’ collection has been passed on to other koentjen (=pakoentjian=key-keepers, akin to the custodians of story-/song-lines in Australia) for safe-custody. So I still have access to everything. No doubt even the core collection will be passed on, eventually. ;)
Good to know. The sheathed one, as has been noted, looks exactly like the example shown in Frey's book. So close that it does indeed seem to be the same keris.
Anyway, thanks for posting these unusual examples.

[Interested Party]

Hello Jean,

The blade from the first one in Amuks picture we can't see! So it could be very well the same one, who knows. :shrug:

Regards,
Detlef
No definitely different. The fronds as they radiate out of the center of the wranka are 90 degrees different. The mendaks are not the same as well. But apparently there is a style that is very closely adhered to.

Thank you AM for posting all that you do. I look forward to them. I would love for any information you want to share to get out into the world as well.

[Sajen]

No definitely different. The fronds as they radiate out of the center of the wranka are 90 degrees different. The mendaks are not the same as well. But apparently there is a style that is very closely adhered to.


Yes, you are correct. The picture by Fry is very small, after looking again with better light and a magnifying glass I see the differences. Also the fronds in front of the gandar go down instead of up. I have not the best eyes anymore. :rolleyes:

Regards,
Detlef

[Jean]

I attach the pic of the kris from Frey for reference and avoiding confusion in some posts....

[Amuk Murugul]

Hullo everybody! :)

All seems Quiet On The Western Front ….. hope it’s not a portent of the ‘new-normal’.

A light-hearted look, just for sharing. So please excuse the poor quality. Enjoy!

A SOEMBER For All Reasons ….. (OR: The Long, The Short and The Tall ….. OR: The Good, The Bad and The Ugly).

From left to right:
- ‘secret weapon’
- traditional occasion
- official occasion
- ‘I’ll show you my Pandjang’
- ‘Then I'll show you my Bangkinang’

Best,

[David]

Thanks! A lovely grouping! :)

[jagabuwana]

Wowzer that last one is just about as long as I've seen any keris. Can you tell us anything more about it?
Interesting handle too - what's the material?

[Amuk Murugul]

Wowzer that last one is just about as long as I've seen any keris. Can you tell us anything more about it?
Interesting handle too - what's the material?
Hullo jagabuwana,

This may help:

Desc: Doehoeng Soember (bangkinang variant)
Char: Oepih-rai moentir, djanoer mentjar
Blade: LxOALxWxT=56x67x7.15x1.49cm.
Handle: Green-horn malati-motif w/ white-metal seloet
Wt: 462g.
Sheath: Wood majang w/ green-horn toe

Best,

[David]

Wowzer that last one is just about as long as I've seen any keris.
According to Amuk's specs that keris panjang seems to be 56 cm. Pretty long, but not unheard of. Thought you might want another look at mine. It's blade is 58 cm, though i would not be surprised to find an even longer one. ;)
http://vikingsword.com/vb/showthread.php?t=20209&highlight=panjang

[Amuk Murugul]

Hullo everybody! :)

Doing some 'spring-cleaning'. Thought the following may be of interest.

Best,

[Jean]

Thank you Amuk, I guess that "landean" designates the hilt (landeyan in Madura), what does PwahAtji mean?
Regards

[Amuk Murugul]

Thank you Amuk, I guess that "landean" designates the hilt (landeyan in Madura), what does PwahAtji mean?
Regards
Hullo Jean,

- landean/landéan/landeyan/landaian are the same, just different spelling/accent (c.f. apotheek/apotek/apoték/ apotik =apothecary/pharmacy); means handle.
- PwahAtji literally means “celestial and inconceivable/unimaginable” i.e. the ultimate essence beyond our ken.

Best,

[Amuk Murugul]

. ..... This type of hilt is .....
. This style of pendok overlapping on the atasan is fequently seen these days .....


Hullo Jean, :)

I've changed the hilt for a 'more appropriate' one. Hope it's pleasing.
I've also attached pics of similar oversheaths from 18thC-early19thC. One was a present from Hamengkoeboewono.

Best,

[Jean]

Hello Amuk,
Beautiful pieces, thank you!
The silver hilt on the first pic is in coteng style from Patani (Thailand) so not very suitable with this Cirebon kris IMO?
Regards

[Amuk Murugul]

Hello Amuk,
Beautiful pieces, thank you!
The silver hilt on the first pic is in coteng style from Patani (Thailand) so not very suitable with this Cirebon kris IMO?
Regards
Hullo Jean,

You may be right, but I believe itto be northern coast of western Java.

Best,

[David]

Hi Amuk. Why do you believe the hilt you have placed on this keris originated on the North Coast of Western Jawa? It clearly appears to be a coteng hilt.
Do you have some provenance for this assertion. Though i believe many people have traced the evolutionary origin of coteng and tajong hilts back to Jawa the primogenitor hilts that are usually pointed to are not the fully developed coteng or tajong forms. But if you could show evidence that such hilts did exist in Jawa back then you would have an important discovery. ;)

[Jean]

This piece may be a javanese copy of a tajong hilt, see the hatched decoration especially.

[David]

This piece may be a javanese copy of a tajong hilt, see the hatched decoration especially.
Possibly. I honestly cannot judge from this one photograph. But even if made in Java to would not have been made for a Javanese keris and i am sure you agree that it is stylistically incorrect for this ensemble. While some culturally mixed keris ensembles may well have some legitimacy in ethnographic usage i would have a hard time seeing this mix of Javanese and Peninsula styles finding social acceptability in either culture.

[Amuk Murugul]

Hullo everybody! :)

Just thought I’d post about this familiar item. It feels the appropriate place. I’m sure better and more detailed pictures are available elsewhere in this room.

blade: Mahisah Toempeng 11Eloek
hilt: Wood Sang Manarah
meas.: 44x54x9cm.
sheath: Wood Djoengan Lemah Pakwan Radjapoetra
vintage: 1512

Best,

[David]

Beautiful!
No better or more detailed pictures in my part of the room i'm afraid. If you or some else has larger files i believe posting them would be appreciated. :)

[Jean]

Beautiful!
No better or more detailed pictures in my part of the room i'm afraid. If you or some else has larger files i believe posting them would be appreciated. :)

Haha, this kris is described in detail in the Krisdisk from Jensen (a precious picture reference for antique krisses) but subject to copyright.... You may see it upon your next trip to Vienna ;)

[Jean]

Copy of the page in question in the Krisdisk

[David]

Thanks Jean.
In order to take my "next" trip to Vienna i would have to have already taken my FIRST trip to Vienna. LOL! :D

[Jean]

And this is my own kris, the antique blade was unfortunately broken and shortened while piercing the body of an enemy :D
It was repaired & treated in Solo, and the scabbard was recently made by copying an old model.
Regards

[Jean]

The blade in its original condition.

[Amuk Murugul]

Hullo everybody! :)

Update for 1st picture of post #63 above.

Best,

[Gustav]

As the sheath is a perfect fit for the blade, we can consider it to have been made for the Keris and thus original.

[Amuk Murugul]

As the sheath is a perfect fit for the blade, we can consider it to have been made for the Keris and thus original.

Hullo Gustav,
As you well know, during the life of a blade, it may undergo various changes of dress. When undergone properly, of course they should always fit ‘perfectly’.
By 'original', I mean as at the time it left the ‘original owner’. So I guess what you’re saying is that THAT particular sheath came with the blade when handed over by the then owner, back in 1521.
Thank you for your input.

Best,

[Gustav]

Hello Amuk Murugul,

of course this Keris did have at least one stopover in workshops run by portuguese in ther trading facilities or colonies, where the stones in the hilt were in set in a Ceilonese fashion, and possibly the Mendak was made. The style of overpainting of the sheath is associated with a Cochin workshop.

You surely were aware of this thread with more details on this:

http://www.vikingsword.com/vb/showthread.php?t=19896&highlight=deutschordens+keris

But yes, I think the possibility this Keris originally came out of Java with this sheath is very high.

[Amuk Murugul]

Hullo again Gustav, :)

Here's another one I am sure you're familiar with.

Best of season's greetings!

[Amuk Murugul]

Hullo everybody! :)

Just thought I'd drop this one in. My take on these prevously-discussed objects. (Pardon the crypticism.)
May be of use to somebody.

Best,

[shadejoy]

Hullo Jean, :)

I've changed the hilt for a 'more appropriate' one. Hope it's pleasing.
I've also attached pics of similar oversheaths from 18thC-early19thC. One was a present from Hamengkoeboewono.

Best,

Love the warangka ladrang you have (one from Hamengkoeboewono wow)! I had never seen pendok such as that before, it looks dignified.

Thank you very much for sharing your pusakas with us!

[jagabuwana]

I had never seen pendok such as that before, it looks dignified.

Yeah I really them too. Then again I'm pretty partial to West Java/Sunda stuff.

Interestingly, this style of pendok can be seen in one of the earliest and detailed depictions of the keris we have in art.

Attached is Frans Francken the Younger's "The Cabinet of a Collector", 1617. A Dutch painter.

I know of at least one Sundanese wood carver/mranggi who is attempting to make this style of pendok for collectors of Sunda/West Javanese keris. It doesn't seem to be that common anymore.

[A. G. Maisey]

Candi Sukuh, Jawa Tengah, Circa 1440CE

[jagabuwana]

Alan - I'd like to confirm that what I'm seeing is correct because it's not so clear to my eyes.

Does the relief show a sheath that looks like a sandang walikat wrongko, and a pistol grip-shaped handle?

[A. G. Maisey]

Absolutely correct JB.

There is another relief carving in the same location and with same time & place of origin that shows this style of wrongko too, but the carving is not as clear as this one.

Across in East Jawa at Candi Panataran (Penataran), near Blitar, state temple of Majapahit, we can find a representation of a wrongko that is 100% Bugis.

When we get to digging a bit and looking at the old, original evidence we do sometimes find a few unusual things.

[A. G. Maisey]

Candi Panataran, State temple of Majapahit, about 1200AD to 1450AD

[jagabuwana]

Yeah that does look quite Bugis-like, with what appears to be a figural hilt.

In the first relief, is much known about the social class / role of the persona holding the keris?

[A. G. Maisey]

In respect of hilts and dress forms, a lot has changed in the last five or six hundred years.


Here is the stele from which the kneeling figure has been taken, it shows a man & woman kneeling in front of a priest, the kneeling figure can probably be interpreted as the priest's servant.

I think it was Callenfels who interpreted this scene as Sedewa expressing his respect to Tambapetra together with Tambapetra's daughter, Pedopo.

This stele is part of a series of reliefs on stele that tells the Sudamala story --- this refers to the Murwokolo ritual to free somebody from evil (mala) and make them pure (suda).

[Gustav]

The sheath from Candi Sukuh could also be a form similar to the Jamprahan from Bali. Such Ladrangan without Angkup we encounter also on island of Java.

On Panataran carving the overall shape of Gambar can be compared to Bugis Sampir, but Gandar is strongly tapering, very possibly with a curl at the end, in a way comparable to Piha Kaetta sheath.

[A. G. Maisey]

True Gustav, but here we are looking at roots, we are not looking at forms that developed from these roots.

[A. G. Maisey]

To expand a little on my earlier post.

In respect of the Panataran scabbard.

I have visited Panataran --- or Penataran --- three times, in 2018 I was able to spend 10 hours there, however I have not given any time to an in depth study of Panataran.

There have been a number of studies carried out of the Panataran reliefs, perhaps the most notable would be the work done by Satyawati Suleiman. However, in spite of the work that has been done by respected academics it is still difficult to affix concrete interpretations that can be universally agreed upon, to the various reliefs.

The two major stories shown in the reliefs on the main temple are the Ramayana & and the Kresnayana, but working with published data it is not very easy to align interpretations with the actual relief carvings. This could be done, but I think it would take me a considerably longer time than I have so far had available.

As Gustav has pointed out, the gandar of the Panataran scabbard has a form that is unique amongst Javanese scabbard forms, in that it resembles the tip of the Sri Lankan piha kaetta (to use the generally accepted collector term).

I know next to nothing about Sri Lankan/Ceylonese material culture, but I seem to recall that it is very difficult to place the piha kaetta at any earlier time period than the early 1600's, when they seem to have begun to be produced in the workshops of the rulers of Kandy.

The Kingdom of Kandy was, I believe, founded in the late 1400's, Candi Panataran was constructed between circa 1190 & 1455.

It might be tempting to attribute the Panataran scabbard form to an influence from the piha kaetta form, but bearing in mind the relevant dates and the possible relationships between the Kingdom of Kandy and the kingdoms of East Jawa at the relevant times, I do feel that any similarities between the material culture of Kandy and the material culture of East Jawa, might be able to be regarded as purely coincidental.

However, since this scabbard form does seem to exist in two places that would seem rather difficult to associate one with the other, perhaps --- if there is an influence --- any influence in form might be able to be attributed to a form in some other part of South Asia that predates either Kandy or the kingdoms associated with Panataran.

I have examined this scabbard relief carving in situ, and frankly I am not absolutely convinced that the form that we now see is necessarily original, to my eye it appears that the present form could be the result of past damage and then a degree of "tidying up".

In respect of the Sukuh scabbard, I believe that we can definitely attribute later Javanese & Balinese scabbard styles to this style shown in the Sukuh reliefs. In Bali the jamprahan form of scabbard was in times past only used by religious leaders, at the present time it is not a popular form.

[Gustav]

Up till now I know of three depictions of a tapering Gandar with a scroll at the end - Panataran, Kertolo statue in Museum Pusat and the photograph by Kinsbergen of the Pusakas of Pagar Ruyung. Pagar Ruyung sheath of course could be made at later date, echoing the earlier form.

Worth to notice that the tip on all three specimens scrolls out on the Gandhik side.

Just as a side note regarding Piha Kaetta, which appears always to be linked to the Kingdom of Kandy indeed, there is one interesting curiosity - Golok La Nggunti Rante, a state heirloom of Sultanate of Bima, which is a Piha Kaetta. It is depicted and described in "Court Arts of Indonesia", and with a question mark dated to the 15th cent.

[Gustav]

One more remark regarding Panataran carving.

On Pagar Ruyung Keris Gandhik doesn't protrude beyound the outline of blade, which is typical for "old style" Jalak Budho. Accordingly the sheath has no protruding part at the Gandhik side.

Keris on Panataran carving also has no protruding Gandhik.

The sheath on Panataran carving could be a similar one to Pagar Ruyung sheath, without a protruding part on Gandhik side. Because of the hand covering the "joint" place we visually have the impression of one, but actually the outline may continue at that place.

Of course the Panataran carving is quite rough.

The sheath on Kertolo statue has a different shape at that place, suggesting a blade with protruding Gandhik or perhaps even some sort feature on it.

[Amuk Murugul]

Hullo everybody! :)

Just dropping this in. May be of use to someone.

Best,


DOEHOENG Pangéran Papak (aka "Lam Lam Ha" Galeuh Pakoean / Ki Dongkol) :

Current location: reputedly with Ibrahim Adji’s extended family.

1515: gifted to Widjaja Koesoemah II / Ad. Liman Sandjaja (Limbangan) by Rk. Santang / Rj. Sangara.

1575: Upon the death of Widjaja Koesoemah II, it was passed down to his son / successor, Tmg. Wangsa Nagara and subsequently down the family line.

1863: (when these photographs were taken): in the possession of Rd. Wangsa Moehammad (Pg. Papak), of TjiNoenoek Garoet.

1899: in the possesion of inheritor/descendant Wangsa Di Nata.

1936: surrendered by Wangsa Di Nata to Sekar Madji Maridjan Karto Soewirjo of Daroel Islam (DI/TII)

1962: upon his capture, surrendered by Karto Soewirjo to Brig.Gen. Ibrahim Adji , CO of Military Region (KoDaM / DIV.) VI: SilihWangi, who by coincidence, shared the same ancestry as Pg. Papak. Exhibited as part of Operation Restore Peace during The Bandoeng Industrial Exhibition.


LANDÉAN: PwahAtji


WAROEGA:

Form: Betok Kérak


Notes:

- inscription appears to be Al Baqarah 2:255 NOT 2:256.(But then, I haven't used Arabic since infant school.)
- could not see any " Lam Lam Ha" inscribed on blade.

As usual, should there be any deficiencies or incorrect info, please DO let me know. :)

[David]

Hullo everybody! :)

Just dropping this in. May be of use to someone.

Best,


DOEHOENG Pangéran Papak (aka "Lam Lam Ha" Galeuh Pakoean / Ki Dongkol) :

Current location: reputedly with Ibrahim Adji’s extended family.

1515: gifted to Widjaja Koesoemah II / Ad. Liman Sandjaja (Limbangan) by Rk. Santang / Rj. Sangara.

1575: Upon the death of Widjaja Koesoemah II, it was passed down to his son / successor, Tmg. Wangsa Nagara and subsequently down the family line.

1863: (when these photographs were taken): in the possession of Rd. Wangsa Moehammad (Pg. Papak), of TjiNoenoek Garoet.

1899: in the possesion of inheritor/descendant Wangsa Di Nata.

1936: surrendered by Wangsa Di Nata to Sekar Madji Maridjan Karto Soewirjo of Daroel Islam (DI/TII)

1962: upon his arrest, surrendered by Karto Soewirjo to Brig.Gen. Ibrahim Adji , CO of Military Region (KoDaM / DIV.) VI: SilihWangi, who by coincidence, shared the same ancestry as Pg. Papak. Exhibited as part of Operation Restore Peace during The Bandoeng Industrial Exhibition.


LANDÉAN: PwahAtji


WAROEGA:

Form: Betok Kérak


Notes:

- inscription appears to be Al Baqarah 2:255 NOT 2:256.(But then, I haven't used Arabic since infant school.)
- could not see any " Lam Lam Ha" inscribed on blade.

As usual, should there be any deficiencies or incorrect info, please DO let me know. :)
Thanks Amuk. I am, of course, as many other here probably are, familiar with this keris, though these are some of the best detailed images i have seen to date of them, and your history of the lineage attached to the keris is very interesting.

[Marcokeris]

Hullo everybody! :)

Just dropping this in. May be of use to someone.

Best,


DOEHOENG Pangéran Papak (aka "Lam Lam Ha" Galeuh Pakoean / Ki Dongkol) :

Current location: reputedly with Ibrahim Adji’s extended family.

1515: gifted to Widjaja Koesoemah II / Ad. Liman Sandjaja (Limbangan) by Rk. Santang / Rj. Sangara.

1575: Upon the death of Widjaja Koesoemah II, it was passed down to his son / successor, Tmg. Wangsa Nagara and subsequently down the family line.

1863: (when these photographs were taken): in the possession of Rd. Wangsa Moehammad (Pg. Papak), of TjiNoenoek Garoet.

1899: in the possesion of inheritor/descendant Wangsa Di Nata.

1936: surrendered by Wangsa Di Nata to Sekar Madji Maridjan Karto Soewirjo of Daroel Islam (DI/TII)

1962: upon his arrest, surrendered by Karto Soewirjo to Brig.Gen. Ibrahim Adji , CO of Military Region (KoDaM / DIV.) VI: SilihWangi, who by coincidence, shared the same ancestry as Pg. Papak. Exhibited as part of Operation Restore Peace during The Bandoeng Industrial Exhibition.


LANDÉAN: PwahAtji


WAROEGA:

Form: Betok Kérak


Notes:

- inscription appears to be Al Baqarah 2:255 NOT 2:256.(But then, I haven't used Arabic since infant school.)
- could not see any " Lam Lam Ha" inscribed on blade.

As usual, should there be any deficiencies or incorrect info, please DO let me know. :)

Thank you very much :) :) :)

[jagabuwana]

Hullo everybody! :)


Notes:

- inscription appears to be Al Baqarah 2:255 NOT 2:256.(But then, I haven't used Arabic since infant school.)
- could not see any " Lam Lam Ha" inscribed on blade.

As usual, should there be any deficiencies or incorrect info, please DO let me know. :)


Thanks for the info, kang Amuk.

My Arabic is also rusty, but I'd like to offer an alternative. In the first horizontal photo, reading from top right I do not recognise this to be in Q2:255 , which in Islam is the Ayat al Kursi - an important prayer for many occasions but most commonly for protection against evil and, in Indonesia, for Islamic exorcism.

Instead, what I can make out is:

Allahu akbar - meaning "God is great". This could be followed by
La hawla wa la quwwata illa billah - meaning "There is no power or strength except (through/by) God".

Both of these phrases are adhkar (plural of dhikr) - words or utterances intended to be repeated as a way of remembering God. Kind of like a mantra. This 2nd one is informally called the hawqala.

The hawqala portion is not that clear to read so I welcome any correction. But it would make sense that this is included. The hawqala is a refrain used quite often as a way of reconciling that which could be taboo or forbidden, with mainline Islamic beliefs. There are plenty of Muslim Indonesians who believe in the idea that a keris can bring luck or blessings, or make them do extraordinary things. In most interpretations of orthodox Islam this is idolatry - everybody knows this. So the hawqala is used to reconcile the fact that the keris has powers, but all power is eventually from God (as opposed to its tuah as conferred to it by an mpu, for example).

The hawqala is not from the Qur'an - it is from recorded Prophetic narrations, which are an inseparable part of Muslim theology and practice.

The rest of the inscriptions are too unclear for me to make out. I might return to it to have a crack at another time. But I would not be surprised if it was more adhkar.

As for Lam Lam Ha - these are the last three Arabic letters that make up Allah, the first one being Alif. It is common in Muslim esotericism to find that individual letters (huruf) are used in this manner. I believe this stems from the Muqatta'at - the "disjointed letters" of the Quran that open some of its chapters. The only consensus about these letters in mainstream Sunni Islam is that they're deliberately mysterious and that only God knows what they truly mean. Obviously that's too enticing an invitation for a mystic. So esoteric Islam thereafter found ways of interpreting and using these letters to approach the sacred through hidden symbolism.

[Gustav]

Amuk, thank you.

[Amuk Murugul]

Hullo everybody! :)

Just dropping in these photos. They may be informative for someone.

Best,

[Amuk Murugul]

Hullo everybody! :)

Just correcting a mistake made in haste.
The second photo in my previous post is not correct. Attached is the correct one.
Best,

[Amuk Murugul]

Hullo everybody! :)

Just another photo, more often than not, misrepresented (even by those who should've known better).

Best,