New keris

[Freddy]

Just got this one this morning. It's a newly made keris, but I think it's a beauty. It has a Yogyakarta dress (gayaman style).

According to my (humble) opinion the dapur is 'Tilam Upih'. I was told it was dapur Jalak Dinding. So this is my first question, who can tell me the difference ? I think these two dapur are very similar.

My second question is concerning the pamor. I know this is a difficult item, but nevertheless. Could this be pamor 'Ganggeng Kanyut' or does anyone recognize it as another pamor ? :confused:

Here are the pics :

http://img.photobucket.com/albums/v158/keris_hanuman/eb195f.jpg

http://img.photobucket.com/albums/v158/keris_hanuman/eb195d.jpg

http://img.photobucket.com/albums/v158/keris_hanuman/eb195c.jpg

http://img.photobucket.com/albums/v158/keris_hanuman/eb195e.jpg

Total length is 50 cm, length of blade is 36 cm

[Alam Shah]

According to my (humble) opinion the dapur is 'Tilam Upih'. I was told it was dapur Jalak Dinding. So this is my first question, who can tell me the difference ? I think these two dapur are very similar.

My second question is concerning the pamor. I know this is a difficult item, but nevertheless. Could this be pamor 'Ganggeng Kanyut' or does anyone recognize it as another pamor ? :confused: Dapur Jalak Dinding have a gusen, pejeten and tingil. This keris does not have a tingil, but it does have a gusen and ada-ada. Therefore, it is not Dapur Jalak Dinding.

Dapur Tilam Upih does not have a gusen. Therefore, it is not Dapur Tilam Upih.

From the features of the keris, it should be Dapur Jalak Ruwuh. It have a pejetan, gusen and ada-ada. Jalak Ruwuh looks similar to Tilam Upih or Brojol except that the blade is thicker in the centre.

The pamor does looks like Ganggeng Kanyut. It is said that this pamor pattern can enhance the owner's popularity, easily making friends.

Hope that answers your questions. ;)

[Rick]

Hi Freddy ,
I'm a fan of new keris also .
Some of the work coming out of Madura these days is quite good .
Also when I purchase a new example I know what I'm buying and it's not "the story" or some contemporary piece artificially mangled to look old .

[Freddy]

Thanks for your help. :)

I looked it up in the 'Ensiklopedi Keris' and you're quite right. I thought it was 'Tilam Upih' because it lacked the 'tinggil'.

But perhaps you could help with the explanation of 'gusen'. I tried to translate the text concerning this dapur in the above mentioned book , but it's not easy. I (am beginning to) have an understanding of Bahasa Indonesia and can translate some of the written text with the help of my dictionnairies, but everything is not always clear to me.

Am I right in stating that the 'gusen' is the narrow border running alongside the edge of the blade ?

[Alam Shah]

Hi Rick,
Nice Pamor Uler Lulut you have there. ;)

But the hilt is unique. I haven't seen this type of hilt before.
Any idea what type of hilt is it? :confused:

[Alam Shah]

Thanks for your help. :)
Am I right in stating that the 'gusen' is the narrow border running alongside the edge of the blade ?
Yes, you're right. :D

[Freddy]

Nice keris, Rick. Mine also comes from Madura, according to the info I received from the seller.

What's the pamor ? And can we have a close-up of the handle. Looks intresting to me.

But I also like the older ones. I don't mind if the blade is not 100 %. That's part of their beauty.

Here's a nice example :

http://img.photobucket.com/albums/v158/keris_hanuman/Afbeelding1272.jpg

http://img.photobucket.com/albums/v158/keris_hanuman/Afbeelding1273.jpg

Dapur Carita Luk sebelas ?

[Alam Shah]

Nice keris, Rick. Mine also comes from Madura, according to the info I received from the seller.
But I also like the older ones. I don't mind if the blade is not 100 %. That's part of their beauty. Dapur Carita Luk sebelas ?...Or what's left of it. It had seen better days.
It takes a lot of ... to appreciate a piece like that.
Well, beauty is in the eyes of the beholder... ;)

[Alam Shah]

I have a madura piece too. Click here (http://www.kampungnet.com.sg/modules.php?set_albumName=album38&op=modload&name=gallery&file=index&include=view_album.php) to have a look.
Estimated to be around late 20th century. Simple piece.:)

[Rick]

Very nice example Alam Shah !
Beautiful!

Pamor Uler Lulut , the beautiful worm . ;)
The ukiran is a rare form but it is traditional to Jawa and was a type favored by a legendary folk hero IIRC . The style is called Imam Bonjol .
I believe you can see an example of this ukiran in the Mangkunegaraan Musium collection in Solo . Also , if you notice the wrongko is faceted rather than the usual smooth curved sides .

[John]

Although not quite a fan of new kerises (blades) collectionwise, I immensely enjoy seeing some of the beautiful craftsmanship/aesthetics of the new works.

I thought the "shades" of the uler lulut pamor of Rick's blade skillfully executed giving the 3 dimensional look and I guess more profoundly so at certain angles.

All beautiful pieces in their own right. However Freddy's blade appears to have an overwhelming spread of black stain on it's surface (or is it the photos?). I've had some new Madurese pieces like this stained by black motor oil which may not be the case here.

[Boedhi Adhitya]

Gusen (java)word come from "gusi" (indonesian/java/malay?), which means the teeth's gum. Gusen might means "looks like the teeth's gum". In the keris terminology, it means the beveled edges. the bevel might looks like the gum, if we look the sharp edge as the tooth :) I do agree with Pak Cik Alam shah that the dhapur is Jalak Ruwuh, or some people in Java might spell, Jalak Nguwuh. Determining the dhapur sometimes a little bit tricky, because the ricikan (details) of some kerises might not exactly the same as the written ones on the book. In this case, we may choose the closest-related dhapur possible, which has the same ricikan/details most.

About the old blade attached, IMHO, it has 13 luks. The dhapur might be Sengkelat. It was a good one, and I believe, it is still a good one for you, Freddy. Counting luks might be frustrating on heavily corroded blades. Some keris experts in Java propose counting luks on it's concave sides, not the convex, hilly sides. That is, if you hold a keris (which has luks certainly :D ) on your right hand, and the sirah cecak and gandik side facing left side, you might start counting the concave-sides luks with your left thumb and index finger. The first luk is just upside of the gandik/sekar kacang on the left side of the blade, counted with your left thumb, and the second luk is counted with your left index finger. Continue counting by alternating the thumb and index finger through the whole length of the blade, on the concave sides. Now come the important part : The luk MUST ended on your thumb, if the keris' luk is still intact. That means, the tip/point of the blade MUST be directing to your left side. If not, the point of the blade might has gone because of corrosion or altered by someone. In case of corrosion, you may add 1 to make the luk odd (luk's counting always odd). I found this method much more easier and more reliable, especially if we count the luks on the spear heads and heavily corroded kerises.
In the case of the old blade attached, if we count the luk using this method, the luk might ended on your left index finger, and the point turn to the right side. The counting is 12, so if we add 1, the blade was 13 luks. Since corrosion may not change the dhapur, then the blade still called as having 13 luks, while in fact, it has 12 luks.

wish I add something to this forum (not confusion certainly :D )

[Alam Shah]

The ukiran is a rare form but it is traditional to Jawa and was a type favored by a legendary folk hero IIRC . The style is called Imam Bonjol .
I believe you can see an example of this ukiran in the Mangkunegaraan Musium collection in Solo . Also , if you notice the wrongko is faceted rather than the usual smooth curved sides .
Ah! now i remember where I've seen it.
From the picture of Ali Basah Sentot Prawiradirja, one of the leading warrior of Pageran Diponegoro. He was wearing a keris whose hulu and warangka is similar to yours.

The ukiran is built up of 5 balls. Pageran Diponegoro, son of Hamengko Buwono the third, has been depicted on several engravings carrying a keris with a hilt resembling yours. :)

[Freddy]

Thank you for the elaborate explanation, Boedhi Adhitya.

I counted the luk on the old blade in the way you described, and I ended with 12 luk (at my index finger). So you are probably right in stating that the blade used to have 13 luk.

Alam Shah, I appreciate your comment on my kerises, but I wonder why you are so negative about the old keris blade. True, it's not in perfect condition. But I feel that this old blade still has something. I don't know what attracted me to it.
By repeatly washing the blade, it's a natural process that the blade becomes thin and starts losing some 'ricikan', don't you think so ? People in Indonesia, cherish their old family kerises. I've seen pictures of kerises in the same condition, which were and are respected for their age. :)

[Rick]

Keris collecting seems to be a very subjective activity .
Freddy I have an old example that is in the same general condition as yours along with several other old examples all collected from trusted sources .
I enjoy them immensely for their antiquity and the fact that they were used within their culture .

What really floats my boat in keris collecting is seeing well executed , unusual and complete pamor patterns and I find for the most part that they can only be affordably found in new work .

[rahman]

Ah! now i remember where I've seen it.
From the picture of Ali Basah Sentot Prawiradirja, one of the leading warrior of Pageran Diponegoro. He was wearing a keris whose hulu and warangka is similar to yours.

The ukiran is built up of 5 balls. Pageran Diponegoro, son of Hamengko Buwono the third, has been depicted on several engravings carrying a keris with a hilt resembling yours.
Yes, but Pangeran Diponegoro's keris was quite small (keris pandak) that he wears tucked into his belt. This one's full size -- and a real beauty!

[Alam Shah]

Alam Shah, I appreciate your comment on my kerises, but I wonder why you are so negative about the old keris blade. True, it's not in perfect condition. But I feel that this old blade still has something. I don't know what attracted me to it.
By repeatly washing the blade, it's a natural process that the blade becomes thin and starts losing some 'ricikan', don't you think so ? People in Indonesia, cherish their old family kerises. I've seen pictures of kerises in the same condition, which were and are respected for their age. :)
Negative? On the contrary, I think it's nice that you could appreciate such antiquity. (Not many people can.)

As Rick said "Keris collecting seems to be a very subjective activity."
Many people collect for different reasons.

I do have an old piece which I had grown attached to over the years.
This piece, I had kept for more than a decade (16 years.) Click here (http://www.kampungnet.com.sg/modules.php?set_albumName=album40&op=modload&name=gallery&file=index&include=view_album.php) to see.

Sorry, if I didn't make myself clear. I have handled pieces in worse state than yours. Family heirlooms, almost to a point of disintegration and some are so fragile that if you exert a little force, it tends to crumble.

I agree with your comments above. Older blade have this 'x' factor which can draw one's attention. :D

[Alam Shah]

Yes, but Pangeran Diponegoro's keris was quite small (keris pandak) that he wears tucked into his belt. This one's full size -- and a real beauty!Yes rahman, I know that Pangeran Diponegoro's keris was quite small.


I was talking about the ukiran and not the size of the keris when I made reference to Pangeran Diponegoro's keris.

As for ukiran and warangka of a full size piece, see the picture of Ali Basah Sentot Prawiradirja. He was wearing a keris whose hulu and warangka is similar to Rick's piece.

[Freddy]

As Rick said "Keris collecting seems to be a very subjective activity."
Many people collect for different reasons.

I agree with your comments above. Older blade have this 'x' factor which can draw one's attention. :D

You are right, keris collecting, and in fact all collecting, is very subjective. I can appreciate the workmanship in a new keris. Sometimes I wonder how it's possible to 'create' the intricate pamor motifs.

But still, with an old keris I feel that there's a story behind the piece. That would be the so-called 'X' factor, no ? Unfortunately, the story is mostly lost as the keris goes from hand to hand before it comes in our possession. And this is especially true for old kerises in Western collections. :(

[Rick]

You are right, keris collecting, and in fact all collecting, is very subjective. I can appreciate the workmanship in a new keris. Sometimes I wonder how it's possible to 'create' the intricate pamor motifs.

But still, with an old keris I feel that there's a story behind the piece. That would be the so-called 'X' factor, no ? Unfortunately, the story is mostly lost as the keris goes from hand to hand before it comes in our possession. And this is especially true for old kerises in Western collections. :(

Freddy, I think you have expressed exactly why I tend to collect new pieces . ;)

[nechesh]

Interesting discussion. Forgive me for stating the obvious, but it needn't be an either/or decision in terms of old vs. new keris. I must admit a strong tendency towards older keris, keris that have truly seen use as ethnographic objects. My interest in keris is not necessarily a technical one, but one of sociologic and anthropologic study. I am drawn towards the keris for it's magickal/mystical qualities. While i can certainly appreciate the technical aspect i will probably never be able to give anyone more than a cursory explanation on the metalurgy of keris. At the same time i also recognize Freddy's lament, the story is lost and so much more. Still, that "X" factor allure remains, though i do not fool myself into thinking that merely acquiring an old keris automatical opens oneself up to the (possibly) generations of magickal/mystical intention and charge that accumulate in a true ethnographic keris. I am afraid i am of the belief that pusaka ceases to be pusaka once it is "collected" and the generational chain is broken. This isn't to say that energy work can no longer be done with such a keris, but it is surely not the same as when the great-great grandson of the original owner works with the keris. You do not acquire magick merely by acquiring a magickal object. There is a lot more work involved than that. ;)

On the other hand there is the "B" factor (Beauty), which i have certainly fallen prey to. I own a beautiful Madurese keris that was probably made in the 1980s for the collectors market (not the same as the "tourist" market). The style and execution of this piece i could probably never afford in an old keris. It caught my eye and called to me and so i bought it. It probably won't be the last time i buy a new keris. It's also important to understand that, like it or not, these newly made high level "art" keris are the evolution of the keris form. For the most part the keris as a spiritual/mystical/magickal ethnographic object is past in the Indonesian society. Yes, there are a VERY FEW empus who still know all the old tricks, or at least claim they do, but the call for their work is not increasing as time passes. These high level "art" keris are the future of the keris form. I suppose that if all collectors were to shun them that the art form itself would die out all together and that would be a real shame. :(

[Alam Shah]

But still, with an old keris I feel that there's a story behind the piece. That would be the so-called 'X' factor, no ? Unfortunately, the story is mostly lost as the keris goes from hand to hand before it comes in our possession. And this is especially true for old kerises in Western collections. :(Freddy, the 'x' factors are more towards the 'mysterious', esoteric elements, ...the spiritual nature of the pieces. From a technical viewpoint, it would be the metal composition used, the natural blade aging, the patina of the dressing...etc.

The rule of thumb that I employ to make a decision would be my gut feeling.
If I feel connected or have the 'calling' to get the piece, I'll go ahead and get it, whether new or old. I like new for the artistic beauty.

As most had said before, some rare old pamor patterns and dapurs are hard to come by (even in the olden days). You can see new pieces sporting the rare pamors and dapurs. Click here (http://www.kampungnet.com.sg/albums/albun16/IMG_0072.jpg) for an example. It's a good sign. :)

[Boedhi Adhitya]

Now we came to discuss a subject some traditional keris expert reluctant to discuss. It's the isoteric subject, or the "X" factor.

What makes a keris "pusaka" while others are not ? Nechesh had made a good point, one of them is Family Heritage / Heirloom. But heritage isn't the only way for someone to own a pusaka-rated keris. Sultan Hamengkubuwono V (reign early 19th C.) in Jogjakarta known for buying some kerises and made them as Court Heirlooms. The "Kyai Pamungkas", once a keris pusaka belongs to Prince Tejokusuma, were acquired by buying it for 1000 gulden (early 20 c.). Sure, family heritage heirloom might had a long story, but in fact, every keris had it's own story, isn't it ? So, what the "pusaka" really is ? IMHO, pusaka might be interpreted as "Masterpiece". In keris's world, it MUST fulfill BOTH the exoteric and isoteric criterias. It were the Empus who really made some kerises rated as "pusaka" or "ageman", and only Master Empus who able to made such (considered) "powerful" pusaka. (In fact,most of the court in Java consider a spear/lance as their most powerful pusaka, not the keris). According to Java's tradition, pusakas were named Kyai (male)/Nyai (female) ..<something>. Usually, Kyai/Nyai is a title given to respected elder or spiritual teacher. The name isn't only a form of admiration to the art, but in fact, the pusakas itselves are really "teaching" a lesson and the empu's intention to the owner/spectators, in symbolic languages. Only those who understand the language might learn the precious lesson the pusaka (ultimately, the Empus) tried to convey. Treating pusaka as only an amulet is really a derogating way, if not considered as humiliation to the Empu. But treating it as an ordinary blade with no respect at all might also do so.

Thus, in old days, looking at someone's pusaka might reveal his philosophical view and intentions, knowledges, and also his identity. For many Javaneses, it might felt like naked. So, they try to "hide" this, by very selectively showing their pusaka, and also, by using the "ganja wulung". But today, it might means nothing, because there is so little keris owner who understand the language, and I'm afraid, many of this symbolic languages had lost.

But in the end, it is the owner who makes the decision, whether his keris is pusaka or not. What ever the owner decides, any wise spectator should treat it as a pusaka.

So, how could we tell ones is pusaka while other isn't ? As I mentioned before, a pusaka must fulfill both exoteric and esoteric criterias. Exoteric very much related to quality, those are, the materials used and the workmanship, which certainly shows the empu's mastery. The esoteric is much more difficult, as Alam Shah already said, just use your gut feeling :D Sorry, seems I give no help at all. But for the hints : pay attention to the iron. Old book say "the steel gives the sharpness, the iron gives the power, the pamor gives the glow/shine". Contrary to popular belief, pamor should be considered only as a "book cover/title", where the empu put his title to his intention. It is the iron, which really contains "the power". No named pusaka (that is, pusaka which bear a name, "Kyai") I've already seen had bad, rough and porous iron. In fact, many of them just show a minimalistic pamor, scattered-rice type (beras wutah), which convey a high-degree philosophical lesson. Good understanding on keris making process and metallurgy will show why.

Last but not least, I must admit that what I've been saying is only from Jogjakarta's view. Surakarta might say something differently, because of the different philosophical approach. Bali, Makasar/Bugis and Malay will certainly say something else.

[Alam Shah]

Last but not least, I must admit that what I've been saying is only from Jogjakarta's view. Surakarta might say something differently, because of the different philosophical approach. Bali, Makasar/Bugis and Malay will certainly say something else.
Boedhi, thank you for sharing Jogjakarta's philosophical approach. I agree with you, different regions have different philosophical approach. The Malay/Bugis approach is different. :)

[Rick]

Well , I guess this brings up another question (at least for me) ; When does a Panday become an Empu ?
Is this strictly a spiritual matter ?

[marto suwignyo]

Prior to continuing with comments relevant to this thread, I wish to make it known that ten years ago today, on Sabtu Wage, 28 Juli 1995, Bapak Suparman KRT. Supowijoyo, known as Empu Suparman, departed this realm. Today is the tenth anniversary of the death of Empu Suparman.



The question of exactly what the word "pusaka" conveys, is able to be answered in several ways, dependent upon the intent of the person using the word.

In colloquial use in present day Java it can serve as a substitute for the specific name of an item of wesi aji, that is, a keris blade may be referred to as "pusaka", or a tombak blade , or a pedang blade. In colloquial use it can be used to refer to all these items.

In modern Javanese it carries the meanings of :-1-an heirloom, a revered object passed down from an ancestor; 2- an inheritance (krama inggil for warisan); 3- a ricefield owned by one family through several generations.

The word has come into Indonesian, and in this language it carries the meaning of "heirloom".

As applied in correct usage, to a keris, it can only mean a keris that has been inherited from one`s forebears.

From the above it will be understood that the word pusaka does not apply only to keris and other items of wesi aji. It applies to any material object which is inherited from one`s ancestors.

In traditional Hindu/Javanese society, the possession of the royal pusakas were deemed to be essential to legitimise the right of the ruler to rule, however, the events following the surrender of Amangkurat III to the Dutch in 1708, demonstrate that a ruler could hold his position in the absence of the royal pusakas.One of Amangkurat III`s conditions for surrender to the Dutch was that he be permitted to retain the pusakas of the realm of Kartasura. Pakubuwana I (PB I), who ruled Kartasura following Amangkurat III was very upset by this loss of the pusakas, the more so because these pusakas were no longer even in the Land of Jawa, but had gone to Batavia.However, as disturbed as PB I was, he said to Cakrajaya, his chief councillor :-

"It is my feeling, Patih,that even if all the pusakas of the Land of Jawa are taken to Batavia, those that are the pikes and kerises,it concerns me not just as long as there are still the graveyard of Kadilangu and the mosque of Demak. Yea, know that these two are the pusakas of the Land of Jawa which are essential, there are no others."

PB I may well have been trying to validate his right to rule and in effect saying that the royal pusakas other than the mosque and graveyard were not important, but in the context of our present discussion, I believe that this usage of the word "pusaka" clarifies exactly what is meant by the word when used correctly in the Javanese language.

By the time PB I declared that the only pusakas that were really essential were a mosque and a graveyard, Islam had already assumed a dominant role in Javanese society, and in effect, PB I was maintaining the traditional cultural values by his stance that these two things were all that were essential, but he was maintaining the values in an Islamic fashion. In the Balinese cultural tradition, which can in many respects be regarded as a continuation of the culture of pre-Islamic Java, the pusaka keris binds the current custodian of that keris to his ancestors, and to members of his kin group who are still living. This is the cultural role of the keris pusaka. PB I substituted the Mosque of Demak, and the Graveyard of Kadilangu for the keris pusaka, as the things which bound him to his ancestors, and to his kin group, and thus bestowed upon him the right to rule.

So, in a cultural context, not only is a keris pusaka one that has been inherited from one`s ancestors, it is also the physical object that binds the present possessor of that keris pusaka to his ancestors, and to the other members of his kin group.

Regarding the use of the word "empu".
Empu is the title bestowed upon an outstanding poet, writer, artist, or armourer.
In Java, normally one could expect that this title would be bestowed by a Kraton, however, there were instances of famous empus who were not designated thus by a Kraton, but rather came to be known as empu by the wider community. Whereas a Kraton appointed , Javanese empu might be regarded as a part of Kraton heirarchy, and carry a Kraton rank, the empus of Bali were not a part of the Kraton heirarchy, but rather members of the Pande caste, having their own priests, living within their own community, and serving both the common people and the Kraton, upon request.

A pandhe is a blacksmith; this is Javanese usage.
A pandai is a craftsman in metal; this is Indonesian usage.
A pandai besi is a blacksmith (Indonesian).
A pandai keris is a keris craftsman.(Indonesian)

A pandai keris in Java could become an empu if invited to join the heirarchy of a kraton, and given a rank within that heirarchy.

[John]

Regarding the use of the word "empu".
Empu is the title bestowed upon an outstanding poet, writer, artist, or armourer.
In Java, normally one could expect that this title would be bestowed by a Kraton, however, there were instances of famous empus who were not designated thus by a Kraton, but rather came to be known as empu by the wider community. Whereas a Kraton appointed , Javanese empu might be regarded as a part of Kraton heirarchy, and carry a Kraton rank, the empus of Bali were not a part of the Kraton heirarchy, but rather members of the Pande caste, having their own priests, living within their own community, and serving both the common people and the Kraton, upon request.

A pandhe is a blacksmith; this is Javanese usage.
A pandai is a craftsman in metal; this is Indonesian usage.
A pandai besi is a blacksmith (Indonesian).
A pandai keris is a keris craftsman.(Indonesian)

A pandai keris in Java could become an empu if invited to join the heirarchy of a kraton, and given a rank within that heirarchy.

Salam Marto and good to have you on board. Have been enjoying your interesting/informative posts.

On the subject of Empu, I was once told it's a title bestowed by the Kraton in those days and if so wouldn't it be true there's no Kraton appointed Empu presently? I'm not exactly sure how the late Suparman and Djeno got their Empu titles and perhaps you could enlighten. Would it be more appropriate to call ALL present day keris (blade) makers pandai?

[marto suwignyo]

Empu Suparman was a part of the heirarchy of the Kraton Surakarta Hadiningrat, and his designation as empu came from that source.

I imagine Empu Djeno would have a rank within the Kraton Yogyakarta and would be designated as empu from there.

Bp.H.Pauzan Pusposukardgo followed Empu Suparman in the Kraton Surakarta, but Pauzan himself has always rejected being called an empu, even though he has the right to the claim, and when he was working preferred to style himself as "Pandai seni keris".

In Bali , in Kusamba , near Klungkung, there was Empu Mangku Wije, but I am not sure if he is still with us or not.

These people aside, I do not know of any other people entitled to call themselves "empu", in the modern era.

Lately you may have noticed that keris are being sold on ebay and marketed as the product of a gentleman living in Surabaya, and probably of Madurese extraction or origin. The claim is being made that this gentleman is the current empu of the Kraton Surakarta. I suggest that this claim may not be supportable.

[nechesh]

It should also be noted that Empu Djeno has not actually made keris for some time, his apprentices do, though he may oversee the work. So the short list of working empus is really even shorter. :(

[John]

Empu Suparman was a part of the heirarchy of the Kraton Surakarta Hadiningrat, and his designation as empu came from that source.

I imagine Empu Djeno would have a rank within the Kraton Yogyakarta and would be designated as empu from there.

Bp.H.Pauzan Pusposukardgo followed Empu Suparman in the Kraton Surakarta, but Pauzan himself has always rejected being called an empu, even though he has the right to the claim, and when he was working preferred to style himself as "Pandai seni keris".

In Bali , in Kusamba , near Klungkung, there was Empu Mangku Wije, but I am not sure if he is still with us or not.

These people aside, I do not know of any other people entitled to call themselves "empu", in the modern era.

Lately you may have noticed that keris are being sold on ebay and marketed as the product of a gentleman living in Surabaya, and probably of Madurese extraction or origin. The claim is being made that this gentleman is the current empu of the Kraton Surakarta. I suggest that this claim may not be supportable.

Thanks a lot Marto. I'm hoping if we could collectively nail the issue of Empu in the proper context. Assuming that Suparman, Mangku Wije and Djeno are all not direct Kraton authorised but just part of a downline of an Empu proper, wouldn't it be improper to consider them to be an Empu proper? Something like a son/apprentice of an Empu shouldn't be called an Empu if he's not kraton authorised. I'm just making a hypothetical point here hoping to see what some others may think. Perhaps there may be not a single Empu left after all... Thoughts?

[Freddy]

Couldn't it be that all depends on the appreciation given by the people. A man can start as 'pandai keris', but if his work is really good and a lot of people appreciate it, I guess, it's possible that he obtains the status of 'empu'. Then he is seen by all as a 'master of his craft'.

This, of course, not only goes for keris makers, it's appliable to all craftsmen.

[marto suwignyo]

I apologise for being less than clear in what I have written.

I have attempted to be very specific in my explanation of the both the word "empu", and way in which it applies to the people I mentioned.It would appear that I have failed.

I shall try again.

Empu Suparman was a part of the heirarchy of the Kraton Surakarta Hadiningrat.
He held rank within the Kraton heirarchy, the names bestowed upon him by Sinuhun indicated his calling and assigned duties within that heirarchy.
Until the time of his death he was the official empu of the Kraton Surakarta.

Empu Djeno has a name bestowed by the Kraton Yogyakarta, but which I would need to look through reference material to find. That name will incorporate components that will clearly indicate his calling and duties within the Kraton heirarchy. He will also hold a rank within the Kraton heirarchy.Additionally, Empu Djeno claims descent from a line of empus.

Pauzan Pusposukadgo was given the name "Pusposukadgo" by the Kraton Surakarta. The components of this name are "Puspo" and "su" and "kadgo". The component "kadgo" indicates his calling within the Kraton heirarchy. "Kadgo" is a Javanese literary term for "keris"; it appears in Old Javanese, Kawi, and Sanskrit, where meanings vary from "keris" to "pedang" and "sword".This name clearly identifies Pauzan as an armourer. The fact that he has chosen not to be called an empu is a reflection of his religious committment, nothing to do with the recognition of his skills. Pauzan Pusposukadgo also holds a rank within the heirarchy of the Kraton Surakarta.

Empu Mangku Wije is a heriditary empu. As I explained in my earlier post, in Bali the empus were not a part of the Kraton system, but rather members of a clan apart from the rest of Balinese society. They provided their services upon request. Empu Mangku Wije has the right to call himself "empu" because of his line of descent, and because of his membership of the Pande clan, and because of his occupation in the making of Balinese ritual implements, tools, and weapons, including keris.

There can be no question that these four men are entitled to be known as "Empu".

However, as I also advised in my previous post:- "---however, there were instances of famous empus who were not designated thus by a Kraton, but rather came to be known as empu by the wider community.---"

Of course a person who is the descendant of a line of empus cannot call himself an empu if he is in fact a bookkeeper, but if that person works as an empu, in Bali he has the right to call himself an empu. In Jawa the designation of empu should come from the Kraton, where it will be indicated by the name given by Sinuhun at the time a Kraton rank is bestowed. But it must be noted, that in historic times some people were known as empus who never worked under the aegis of a kraton.

I trust that this further explanation clarifies the matter.

[John]

Terima kasih Marto for the outstanding post and for further enhancing/clearing my understanding especially on the part of Balinese Empus not being part of the kraton system. I didn't know that. In rereading your preceding posts I realised I've missed a few salients points highlighted by you earlier. My apologies. I guess if the official kraton status of those few noted names cannot be disputed, they are Empus. Again you've also highlighted "But it must be noted, that in historic times some people were known as empus who never worked under the aegis of a kraton" which is again noted.

I'm aware of Djeno's descend claim to a line of Empus (if indeed verifiable) but not too sure of the circumstances to his kraton yogyakarta title. My saying so because things appear to be more for commercial reasons these days...

[Alam Shah]

That was informative. Thanks Marto. :)

[Boedhi Adhitya]

I agree with you, Marto, that "pusaka" in correct, normal, daily usage, might means heirlooms or inheritance. But I speaking about a very specific "pusaka" term, which is, I observe, used amongs keris experts in Java. So it's only exclusively used for "tosan aji", by those who understand it, and should not be extended to any other meanings. Certainly, it is not listed on the dictionary :). Any "commoners" in Java, that is, non-"student-of-kerises" :), might use those normal daily usage.

Many keris experts believe that it was the empus' intention which made a keris a pusaka or not. Times and changed in ownership cannot and will not change this intention inherent to the keris, but the owner certainly can change how he treats the pieces. So, I'm talking about "inherent pusaka values in the blade", not how the owner treat it, or acquire it. Someone may treats his keris(es) as pusaka while the keris itself, in fact, was not intended to be treated as so by the maker himself. But a keris which was intended to be a pusaka by it's maker, will still be as such, no matter how the owner treat it.

As the making of pusaka need a lot of effort, (materially, technically, and spiritually, not even to mentions times), which were very different to the making of other so-so kerises, any experienced keris connoiseurs should and have to be able to know, what the empu's intention really was when he hold a blade. He/she should also have to be able to judges, whether empu's intention in the blade "failed" or "succeded". In short, whether the "intention" became "reality", or not. It should shows the empu's mastery in technical and spiritual aspect. Not every intention became reality, we all know it :D

The traditions classified kerises' intended use as "ageman" (literally : agem =to wear, that means daily usage: for proper dressing, souvenir, exhibition,etc), senjata (literally : weapons), and "pusaka", which should bear the ageman and senjata qualities, plus a lot lot more as I mentioned in previous posting. It's oke to wear a pusaka-rated keris on daily usage, but it may cost you a lot if you loose it :). But the "ageman"-rated keris should not be treated as pusaka, while it is in fact OK, but it's just "unproper", as it was not intended as so.

If we talk about Kraton's pusaka, we should consider also the political circumstances. Kraton used the pusaka as their legitimation to govern, sometimes (or always?) accompanied with a lot mystical legends and history. Well, King Arthur was doing such a thing also, wasn't he ? :D
Even so, the Kraton should pick their pusakas very carefully. The pusaka's quality should be so high, that no any commoner would match it. They should also employ the best living empus on their court, to add their pusakas, and thus adding the "magical powers" and then, legitimation. As Indonesia became a republic, the Kraton lost their power and thus the practices lost it's importances. Losing the power, the court also could not afford to support the living of empus and his assistant, and the support to the art was lost.

Today, Kraton Jogjakarta has no formal empu, and thus, Empu Djeno, until today, bear no name/title from Jogjakarta Court, or any court,(yes, I've verified it to my friend who is the court's servant and also keris expert when I write this post), while in fact, Sultan Hamengkubuwono IX himself personally (not on behalf of Kraton) commisioned a keris to him, using Prambanan meteor. Djeno would be the last living empu who is still practizing traditional methods, including fasting, make the offering, and chanting the mantras. Living celibate, he is now assisted by his nephew, Sungkowo. Actually, it is Sungkowo who do the "hard work", since Djeno is around 70 years old and suffering breathing difficulties, perhaps caused by breathing charcoal fumes for years. Djeno is the youngest son of Empu Supowinangun, the official empu of Kepatihan (prime minister's office) of Jogjakarta. His lineage is reliable, because the Ngenta-ngenta village is a well-known empu's village, and there are the graveyard especially devoted to empus, which many of them, are Djeno ancestors. Supowinangun also a capable empu, as his works reveal (I've seen an authentic ones). But Supowinangun never taught the "empu-hood" to Djeno on purpose. Djeno was learning by doing, assisting his father.

Just for information, the are two kind of Court Servant (Abdi Dalem) in Jogjakarta's Court, first the "Abdi Dalem Kaprajan" (praja=government), which consist of Abdi Dalems who are still active in civil/military services, the second is "Abdi Dalem Panakawan" (pana=to witness, to know, kawan=friend), which consist of Abdi Dalems with other occupation in community. The Kraton Jogjakarta ranks today are (as I recall, might miss some) : Jajar, Bekel (Raden/Mas Bekel), Lurah (Raden/Mas Lurah), Wedana (Raden/Mas Wedana), Riya (Raden/Mas Riya), Tumenggung (Kanjeng Raden/Mas Tumenggung). KRT would be the highest. For Kaprajan, the rank would be matched to his service, e.g. the Lt. Col. in military would be titled KRT ("Raden" only for those who able to show hereditary lineage to a king, commoners would be assigned "Mas"), while Panakawan must follow the order from the lowest, just like the military serice. Thus, since Djeno have not enlisted himself as Abdi Dalem, the Jogjakarta Court didn't give him any title/rank/name, until now.

Thus, any other keris makers bearing title from Kraton would be from Surakarta Court. Among them is Mas Lurah Pusposukadgo (or Fauzan, as mentioned by Marto), an antique/keris dealer who become keris maker. Today, he makes keris no more. Others are Suparman (I forgot the title), was a keris collector, Subandi (i forgot the title also), a lecturer in STSI Surakarta who teach a keris making, once a student of Fauzan, KRT Sukoyodipuro and Hartono from Surabaya, was an antique/keris dealer, and founded the Besalen Condroaji, with many students/followers in Madiun and Malang, East Java. As I could recall, while they bear the Kraton Surakarta's title (and thus a "Formal Kraton's Empu"), but they never made a pusaka commisioned by Kraton Surakarta. Some of them, buying the "saton" or half-finished kerises from Madura and just do the cold-working/finishing. By doing this, they may cut-off the forging failure (which may quite often, just ask the damascus blademakers) which may cost a lot. Most of them working on Surakarta nem-neman style, if not copying. A fine Jogjakarta style is a rarity, probably because no example for them to copy. (I will not gives a comment to "commercial", whether it's the empu, or the title itself)

In Bali, while there are some court, (Gianyar, Karangasem, Singaraja and Klungkung, amongs them) the best pieces were made in the Klungkung Court. (Balinesse collectors say this, not me. So if you need a proof, I suggest you go to Bali this summer, :D )

To became the master empus (not so-so empu), ones, at least, should fullfil these requirements :
1. Very sound mastery in technical aspect on making kerises/edged weapons, these including (but not limited to): choosing the materials, preparing, forging, cold working and tempering. In the old days, these knowledges might be kept as a secret (in fact, "making weapon" is still a secret today, consider the nuclear weapon. Making very fine weapons, in the old days, might be treated as such). So, It was only the direct line of descendant (preferably famous empus) or a sound apprenticeship would guarantee this.
2. Mastery on keris's symbolistic languages and philosophy. That's why some dhapur, like Nagas, are very rare. Those dhapurs were reserved for the court members only. Any Master Empus would refuse the commoners who commisioned these. In fact, Traditional Empus would always asking the date of birth, hereditary lineage, occupation and the particular wish(es) of those who commisioned the pusaka-rated keris, if he can afford to commisioned one, then match this information to one of the dhapur and pamor he considered "proper". (today, only Empu Djeno who still doing this)
3. Very sound sense of art, especially in shape's harmony/balance. Might only learn by "handling the fine pieces", which unfortunatly, held by Kraton. "Mutrani" practices (copying the fine old work) would be the way for empu to master this sense.
4. Last but not least, "spiritualy capable".
To be able to make a masterpieces, this requirement also has to be fullfiled :
5. Have an access to best materials exist. (good iron and steel might be regulated by the court, just like the uranium today :D. Its also cost a lot).

Thus, patronage from Kraton for master empus seems inevitable, and indeed, the kratons themselves seek the best empu exist. Any master empus who is unwilling to gave the service to the court might be considered as a dissident.
Today, to became a master empu, someone seems had to have at least a doctoral degree in metallurgy, philosophy, art and "spiritual", all at once.

Once again, cultural diffrences may apply :)

[Alam Shah]

Boedhi Adhitya, an enlightening comment. Lots of insights. Thanks. :)

[John]

Hi Boedhi, apa khabar? It's heartening to hear from members based in Java such as yourself and Marto and taking the time and trouble to share invaluable stuff/information. It's great that we put as much on the table for us to digest and perhaps cross-check/verify where possible. It's indeed stimulating, interesting as well as enlightening. Thanks.

[marto suwignyo]

I accept that as a member of a keris society based in Yogyakarta Bapak Boedhi Aditya has presented the meaning of the word "pusaka" as it is used by members of the society to which he belongs.

I regret that I am unable to agree that the term "pusaka", when applied to a keris is in fact widely accepted in Jawa as a term to indicate quality in a keris.

The pusaka keris could be expected to be of superior quality, as in its cultural context as a binding agent, the necessary qualities would only be able to have been brought into the keris by a maker fully conversant with the required ritual, however, simply because a keris is of adequate quality to allow it to be on a par with the expected quality in a pusaka keris, this does not make it a pusaka keris.

I do not challenge the right of any group of people to initiate their own jargon to simplify discussion of a shared interest, however, that jargon only has value and meaning within the group which has adopted its use. The meaning carried by that jargon within the group cannot be extended to the wider cultural or societal context.

It may be accepted that within the group of which Pak Boedhi Aditya is a part, the word "pusaka", as applied to a keris, or other item of tosan aji, carries with it the measure of quality. However, in spite of the claim that this is general usage throughout Jawa by all adequately educated students of the keris, in my experience , this is not the case. It may be so in Pak Boedi`s group. It may even be so in Yogyakarta. It is not so in some other places.

The qualification used by Pak Boedhi of "inherent pusaka values in a blade" I find quite acceptable.
This clarifies that the term "pusaka" as used within Pak Boedhi`s group has a meaning that relates to quality.
But again, this level of quality does not make a keris a pusaka:- what it makes it is a keris with inherent pusaka values, that is, a certain level of quality, both physical and perhaps esoteric.

My quote of Pakubuwana I in my previous post tells us exactly what a pusaka is:- it is something that binds the current custodian of the pusaka to his forebears, and to members of his kin group who are still living. In 1708 this was understood by Pakubuwana I , and would equally have been understood by the Javanese people whom he ruled. In the cultural decline which has occurred since 1708, this meaning has been lost, and now we have the term being used in some places as a measure of quality.

It is a phenomenon of societal development that this development seems to almost invariably go together with the erosion of cultural values.Bearing this in mind, it is understandable that the concept of "pusaka quality" could easily replace the true meaning of pusaka, and that the true spiritual meaning of exactly what a pusaka keris is, be forgotten.

In respect of the status of Djeno Harumbrojo, I stand corrected.
I had assumed that he had entered the heirachy of the Kraton Yogyakarta, and thus had been given rank and title. Apparently I was wrong. I apologise if my misstatement of fact has caused any inconvenience . I can only excuse this by saying that my base of knowledge and experience is not Yogyakarta.

In respect of Pauzan, he was not an antique dealer, prior to becoming a maker of keris, he was a night bus driver. His wife was, and is an antique dealer, and he assisted his wife on a part time basis when the antique business was begun, in , I think 1973 or 1974. Currently the correct form of address for Pauzan is Bp. KRT.H. Pauzan Pusposukadgo.It is many years since he carried the rank of lurah. I have known Pauzan as a good friend for more than thirty years.

Bp. KRT. Suparman Supawijaya (almarhum), was not a keris collector. He started life as a shoemaker, he became a soldier, then a dealer in precious stones and wesi aji, finally he became a maker of keris and other wesi aji, I had the good fortune to be a close friend of Bapak Suparman for the 14 years immediately preceeding his decease.

Subandi is one of the "anak-anak ASKI". The others are Yanto, Pandi, Widodo, Kamdi, Bagio, and of course, Yantono.The STSI was the ASKI, prior to its status being changed in the mid 1980`s.

I could be wrong, but my current information is that Subandi is not employed as a lecturer. He was certainly never taught by Pak Pauzan.

When the keris school was set up in the ASKI, as a part of the faculty of plastic arts (ie, sculpture), and under the leadership of Pak Yohanes Yantono, both Pak Parman and Pak Pauzan were approached to act as lecturers. They both agreed, however, neither were ever called to lecture. This is something that made both men feel slighted and has caused ill feeling until today within the keris community in Solo.

In fact, the only teacher of keris art is Pak Yantono, and he has not had a pupil in years.Pak Yantono could never be considered an empu; he is of the Katholic faith and by definition is culturally unsuited to be considered as an empu.
The total number of people who have graduated as makers of keris could be counted on the fingers of two hands, and none currently ply their trade, but prefer to use their qualification to work in other pursuits, as factory managers, salesmen , pigeon breeders, and so on.
Pak Yantono still makes the occasional keris, but he is now over fifty years of age, and is the head of his faculty, and prefers work more in accord with his changed status.

I do not know Pak Sukoyodipuro or Pak Hartono personally, and I have not heard mention of either of these gentlemen from my friends within the Surakarta Kraton community, nor from people within the keris world in Solo, except that I do know of Pak Sukoyodipuro as a maker of keris.
My knowledge in this respect could be flawed, and I will certainly follow through on this question.
It seems incredible to me that Pak Sukoyodipuro could have achieved the rank of KRT in such a short space of time, and especially whilst not living within Surakarta; it normally takes many years to achieve this rank.
Of course, since the decease of Pakubuwana XII, there has been a considerable amount of confusion in Kraton affairs in Surakarta.

Regarding Bali, the distinction between "in the Kraton", and "for the Kraton" is important.
I repeat:- the empus of Bali were not members of the heirarchy of any kraton. They were members of the Pande clan , having their own priests, and outside the Balinese system of caste. This is well documented in the literature.



To recap on the core matters under discussion, which I understand to be:-
1) the meaning of "pusaka keris",
2) the meaning of "empu"

In respect of pusaka keris.
I accept that Pak Boedhi Aditya and his group of keris fanciers in Yogyakarta have attached a meaning to "pusaka keris" that equates this term to a measure of quality.
I do not accept that within the context of Javanese culture this is a correct interpretation of the term.

In respect of empu.
My original definition stands, and I complement Pak Boedhi upon his expansion of my definition by provision of a further explanation of the qualities required of an empu.

[Mick]

I am happy to see Boedhi Adhitya and Marto Suwignyo bringing more precise information to the Forum in regard to the meaning of the word Pusaka in the Malay world (I use this term to include more of the people in the entire area rather than just the people of Java who were the people from whom I learned what little I know of this topic.)

This topic has been addressed before in the past by both Dave Henkel and I who are both really outside of the culture although Dave now and I at one time had some close contact with it. Dave, in addition, brought up the fact that this term is spread over more objects than only the keris which sometimes gets lost in discussions concerned with that specific object and that, besides the Kraton quality material and that of the other members of the court, the term permutes throughout all members of the culture down to the village level. This is as it should be as the Kraton has traditionally set the standards for the rest of the population.

I think that with more information available, members will begin to get a better sense of the real meaning of the term and thus use it more discriminately in the future.

[Boedhi Adhitya]

Pak Marto, I absolutely agree with you. The meaning of "pusaka", as I mentioned before, should not and cannot be extended to a wider cultural or social context. This is not, as Pak Marto said, a correct term within the Javanese culture context. Any sane sociologist or anthropologist should not use the pusaka's meaning as I described before on their work :D In fact, I suggest they should find their own meaning, since it is still an interesting subject.

Once again Pak Marto is correct. What I really want to describe was "the qualities of which keris rated as pusaka, should have". This might be a general guidelines for traditional keris "collectors", as described by Mr. Haryono Guritno as "Tuh - Si - Rap - Puh - etc,..etc,..." In fact, only a very-very little "real pusaka keris" (that is, kerises which are really treated as pusaka by their owner) belong to Javanese peoples which may meets such tight requirements. Most of them, belongs to the kraton's families or associated with them. To find one of this pieces really pain in the ass. If you find one, just jump and get it :D But to recognize it, you should have some knowledges, don't you ? Without knowledges, the pusakas may only pass you by.

It is correct that pusaka term as I describe may only applied to "very inner circles", that is, keris experts who have access and have seen by themselves the examples of keris pusaka belongs to kraton, or at least, some pusaka belongs to Kraton families which once belongs to Kraton. Without seeing ones (or twos, the more the better :) ), the meaning hardly being understood. Even so, those who have access, not necessarily understand. As I mention before, consider the pusaka as a book. The ones who is "illiterate", will never be able to "read" it. Mr. Sugeng Wiyono, a Kedaulatan Rakyat newspaper's reporter, write a book entitled "Jimat Ngucap, Pusaka Kandha", which might means "If you have an amulet (=Jimat), then you have to cast a mantra/spell (=Ngucap=to speak) to make it "work", but if you have a Pusaka, the Pusaka itself will teach you a lesson(=Kandha=to tell). You just have to sit, and "watch/listen" " The Pusaka mentioned here means a keris, not other pusaka such as a gamelan or ricefields :) He gains his understanding on pusaka, he claims, by studying under the direction of the elders.

"Tosan Aji" might means "worthy Iron" or "honourable/respectable/adorable iron". It MUST have such qualities to became worthy/respected ones, not only depends on it's history. The very carefull and cautious traditional collector would then examine the keris history, especially by examining the "fate" of the owner before him. Were the owner life in prosperity or were they doomed with bad luck, living unharmoniously, or eventually, having a disease and death. Once it pass the qualification, then it worth to be called and treated as a Pusaka. That is, we can take "a lesson or benefit(=tuah)" or any spiritual meaning from them, whether it's philosophically, spiritually, or even more, "magically". This lessons/benefits are REAL (now I'm really talking about esoteric ;) ). Any who didn't qualified, while it worth preserving/collecting, should not be treated as pusaka, since they have nothing to share, and thus, no benefit/lesson could be taken. If we receive it as an inheritance, but didn't pass "the exam", then, we should treat it as inheritage, something that connect us to the pass or families or something else, but we shouldn't expect "the lesson/benefit" from them.
This argument may only be understood and accepted with an example and wide explanation, which I think, may take a lot of bandwidths, and should not be tried. Even in the old days, this explanation/understanding would only be teached privately (and still that way today), while the commoners would be only consuming "the myth" and "legends" .

Today, only a very limited traditional keris collectors/lovers/connoiseurs/or fancier (as Pak Marto said), might exercise this understanding. Even in Jogjakarta. Most of the peoples, if not nearly all, who pay attention to kerises (in Java particularly) expecting for magical/ mystical or spiritual benefit keris might brought. Thus, they would be a subject of fraud by irresponsible "dukun" or "paranormal elders". I've seen a lot of victims, some of them brought newly made keris being told as Majapahits, some brought a pieces of brass, cast like keris, some even brought a pieces of iron plate from an oil drum, shaped like keris, and they call it "pusaka". I've even met a local official brought newly made keris with certificate stating that his keris is a Majapahit made and was a kraton surakarta heirloom, signed by a KRT. He himself saw the keris was taken from the "gedong pusaka" (heirloom's hall) of Kraton Surakarta, then was given to him. It is very sad to say, most of Javanese today do not understand about kerises/tosan aji. They even don't know what it's look alike, especially among the youth. Many are very afraid to the kerises as such, that even to open the cupboard containing the keris they're really in fear, not to mention to draw it from the scabbard.

Unfortunately, many of those who really knows has passed away, and those who didn't understand claim to be understand. I don't claim myself to be understand, not even an expert. I just conveying what I've learnt, and realizing that there are even more to learn. And fortunately, The Great Empus had left us The Book, that is, their great works. Like the elders said "Trust no one, just read The Book"

Well, cultural differences may apply.

Best Regards to all

[Boedhi Adhitya]

The first keris is the work of Supowinangun, the father of Empu Djeno Harumbrojo, the last living empu today. The keris was commisioned by KRT Puspodiningrat, The son of Prince Puspodiningrat, around 1930. Inherited by the owner today. (the owner certainly not me ! I'm just a "commoner" :) )
Dhapur : Sinom Wora-wari
Pamor : Ron gendhuru sungsang wengkon (gendhuru leaves, inverted, within border.)
Tangguh : Ngenta-ngenta (the village where Supowinangun came from).

The second is a keris once belongs to KGPA Mangkubumi, the eldest brother of Sultan Hamengkubuwono VII. It was commissioned by the Mangkubumi himself, and the work is done in his own workshop. Thus, the tangguh is Mangkubumen, ca. late 19 c. Inherited by the owner today.
Dhapur : Jalak Sangu Tumpeng.
Pamor : Tri-warna (three color, that is, three different pamor in a blade)
Tangguh : Yogyakarta HB VII - Mangkubumen.

The third is a keris once belongs to GPH Hangabehi, the eldest son of Sultan Hamengkubuwono VIII. Even so, this keris was made in Kraton Yogyakarta, commisioned by the Sultan Hamengkubuwono VII himself.
Dhapur : Naga Siluman
Pamor : Ron gendhuru wengkon (Gendhuru leaves, within border)
Tangguh : Yogyakarta HB VII ca late 19 c.

I do sorry for the qualities of pictures. Pictures of older pusaka very hard to get. But I will try to manage it :)

[marto suwignyo]

Thank you for your clarification, Pak Boedhi.

It would seem that after all we are both reading from the same page.

I would, however, like to make the distinction between a Royal Pusaka and the pusaka of those of us who are less than Royal.

I agree totally that the Royal pusakas, which were made with the intention of becoming pusaka, would be made by a leading empu, and would acquire spiritual power as a part of the process of manufacture.

However, many families may have their own private pusaka which was made by a lesser empu, or which was perhaps not even made with the intention of becoming a pusaka, but which has acquired that power through acceptance of its status as pusaka , by the members of the kin group.

This acquisition of power is not unknown amongst even Royal pusakas. It is my understanding that Kyai Plered only became Kyai Plered after he was used to kill Kapt. Tack.

The overwhelming, defining factor in the assignment of pusaka status to a keris in particular, is that it is accepted by a kin group as the binding agent that brings together all members of a kin group, both past and present.

I admit, that in present day Jawa, this function of the keris pusaka no longer applies. It did apply until very recently in Bali, and may still, of this I am uncertain, however, there can be no doubt that this function of the keris pusaka did apply in Hindu Javanese culture, and when we consider the previously quoted statement of Pakubuwana I on the relative importance of pusakas, it is clear that in 1708, this function of the pusaka keris was still recognised in Jawa.

However, in respect the use of the term "pusaka" by keris cognoscenti, I would make the point that while people who are very advanced in the study of the keris, and who live in Yogyakarta, or who are under the influence of the Yogyakarta school of keris study, may use the term "pusaka" as you detail, not all very advanced students of the keris comply with, or accept this usage.

In this matter of usage, I feel that there is perhaps room for some people to follow one road and other people to follow a different road.
Especially when it comes to describing the percieved properties of an item of tosan aji.

I do not believe that this is a case of "correct", or "incorrect".

It is simply that as with many things in the world of the keris, there is a lack of uniformity of opinion.

Similarly, it is important that we do not confuse the essence, or the talismanic power of a keris with its function as a kin group binding agent, or in the case of a Royal pusaka, its function as a legitimiser of right to rule.

In the case of the esoteric power of talisman or essence, perhaps only a very few psychically sensitive people are able to know or suspect the nature of a keris---although it would seem that a great number of people would like to lay claim to such power.

However, with the kin group pusaka, the power of the pusaka rests in the kin group, and its acceptance of the pusaka in its role.

A pusaka keris can only be a pusaka keris when it is accepted by those to whom it is pusaka, as pusaka.

Thus, a Royal pusaka cannot be pusaka and will lose its power as this, if the people of the realm fail to accept that it is pusaka.

A family pusaka will not be pusaka if the members of the kin group forming that family fail to accept that it is pusaka.

The unseen quality of the pusaka keris flows from God, through God`s creation, man.

[marto suwignyo]

It would seem that our posts have crossed, Pak Boedhi.

These are very well made, elegant keris.

Have you posted these pictures in order to make a point?

[John]

The first keris is the work of Supowinangun, the father of Empu Djeno Harumbrojo, the last living empu today. The keris was commisioned by KRT Puspodiningrat, The son of Prince Puspodiningrat, around 1930. Inherited by the owner today. (the owner certainly not me ! I'm just a "commoner" :) )
Dhapur : Sinom Wora-wari
Pamor : Ron gendhuru sungsang wengkon (gendhuru leaves, inverted, within border.)
Tangguh : Ngenta-ngenta (the village where Supowinangun came from).

The second is a keris once belongs to KGPA Mangkubumi, the eldest brother of Sultan Hamengkubuwono VII. It was commissioned by the Mangkubumi himself, and the work is done in his own workshop. Thus, the tangguh is Mangkubumen, ca. late 19 c. Inherited by the owner today.
Dhapur : Jalak Sangu Tumpeng.
Pamor : Tri-warna (three color, that is, three different pamor in a blade)
Tangguh : Yogyakarta HB VII - Mangkubumen.

The third is a keris once belongs to GPH Hangabehi, the eldest son of Sultan Hamengkubuwono VIII. Even so, this keris was made in Kraton Yogyakarta, commisioned by the Sultan Hamengkubuwono VII himself.
Dhapur : Naga Siluman
Pamor : Ron gendhuru wengkon (Gendhuru leaves, within border)
Tangguh : Yogyakarta HB VII ca late 19 c.

I do sorry for the qualities of pictures. Pictures of older pusaka very hard to get. But I will try to manage it :)

Pak Boedhi, it's indeed a pleasant surprise to have the privilege of seeing those keris pictures and complimenting the discussion. Thanks for the treat although sayang the qualities of the pictures couldn't do justice for pieces as those. Would you be able to take clearer pictures to post? This would be a first work of Empu Supowinangun I've seen and up to now, I've not seen any works of Pak Pauzan or Pak Parman etc... Thanks to the generosity of members as yourself, some rare/hard to see items are surfacing...

BTW, I'm enjoying this discussion immensely and learning from you and Pak Marto, the men on the spot. I've been made aware Pak Pauzan has ceased keris making a while back and that his wife deals with keris and has clients out of Indonesia. A humble and pleasant gentleman I have been told.

[Boedhi Adhitya]

Yes, Pak Marto, it seems we both reading the same pages.

I agree with you, in the end, pusaka is a very subjective matters. There is no "right" or "wrong" answer. And "pusaka" term may applied to anything which has a very special values to the owner, no matter how high or low the qualities are.

Honestly, I didn't post the pictures to make a point. In fact, I prepared it long before. I just feel "unpolite/guilty" to the forum, while I insisted on the importance of studying the good examples, I've never post any of them :D

Since the royal courts were the center of art and cultures of Javanese peoples in the ancient time (and still today, in a lesser extent), any serious keris collectors should understand "the unspokken/unwritten standards" set by the royal courts, but not necessarily follow it. Without understanding the standards, it's very likely that we might became very confused, because there are too many blades (especially here in Java), too many myths and legends, and too many "knowledges" to follow.

It is also our responsibilities (I think) to recognize the masterpieces left by the Master Empus, and do the reservations as much as we could.

S. Lumintu, one of the Jogja's keris experts, once said, to properly studying kerises, ones should do at least three things :
1. Studying the kerises itself by handling its personally.
2. Read the good books about kerises.
3. Discuss your knowledges with others.

This forum certainly serves as a good discussion forum :)

Pak John,
Once again, I'm deeply sorry for the pictures. I took it with a Nokia handphone. Until I find a good affordable digital camera, just prepare to see this "eye-poking" pictures. These are ones of them :D

This is a very rare dhapur, with elephant head wearing a crown as it's gandhik. I've only seen one and other piece reported to be exist in Jogjakarta Court, named "Kyai Gajahendra".
This blade has a "minimalistic style" beras wutah pamor. The luks seem too "deep" for Tangguh Mataram, but the iron, pamor and all the works tend to be Mataram, ca. 17 c. The lower left sides (wadidang / tungkakan) shows heavy worn out (about 3-5mm) caused by repeated etching in lime juices for years.
Dhapur : Naga liman (=liman=gajah=elephant), 7 luks
Pamor : Beras wutah
Tangguh : Mataram, ca 17 c.

"Naga" not necessarily connected to the naga serpent, in dhapur term. There are Naga Kikik and Naga Keras, other then Naga Liman, which carry the Naga name, but without the naga serpent at all.

[Freddy]

Pak Boedhi and Pak Marto, I totally agree with John. Both of you are offering us, Westerners, an insight in the study of 'keris' which comes from the people who cherished (and still cherish) these weapons.

Thanks for showing us master pieces from renowned empus. Most of our pieces are of far lesser quality and by unknown empus, I am afraid. Nevertheless, I think it's important that keris enthousiasts, as myself, care for their kerises. For us, perhaps they can become 'pusakas'. Who knows, perhaps at one time I will give one of my better kerises to my son ? Isn't this the first step to becoming a family heirloom ?

I appreciate your contributions to the forum and I am eager to read some more. ;)

Freddy

[marto suwignyo]

Pak Boedhi, I believe we may have reached the end of our discussion on the meaning of the word "pusaka". A rereading of the views we have exchanged on this matter will demonstrate that the term "pusaka" can have different meanings, for different people, dependent upon the value system being used.

I believe it is fair to say that the value system applied by yourself has its roots in the physical properties of the keris; the value system that I have applied has its roots in Javanese culture.

As you say, the whole thing in its final analysis is subjective, however, although application may be subjective, the values governing the subjective application must remain objective.

In respect of the comments attributed to Pak Suwarsono Lumintu, I would agree that his recommendations would assist in an understanding of craftsmanship in a keris, however, there is much more to the keris than only the skill of the maker.

In order to reach some understanding of the place of the keris in Javanese culture, study on a much wider base is required. It is regretable, but unavoidable, that Javanese culture has undergone change, and that much of the tradition and belief of Jawa has been altered or modified by contact with other cultures, societies, and belief systems.

I would suggest that although our primary interest may be the keris, that interest cannot exist in isolation from an interest in Javanese culture and history.

It is my firm belief that to understand the keris , we must have an understanding of Javanese culture, history, and society; such understanding can only be gained from serious and consistent study in the relevent fields.

Pak Boedhi, the academics are always telling us that correct usage of the Javanese language will be dead within a very short space of time, some people are claiming that within 20 years the only people who will be able to speak Javanese correctly will be professors in universities.

I will not comment as to whether I agree with this , or not, however, I think that this demonstrates that unless those of us who do maintain an interest in Javanese culture, take a serious and studious approach to the preservation of that culture, eventually the unique features of the culture will be forgotten.

It is one thing to appreciate and preserve a cultural icon. It is something else entirely to understand the place of that icon within the culture.

Because of this, my own approach to the study of the keris is a culturally based approach, rather than an approach rooted in craftsmanship.

I thank you for sharing your photographs of these superior keris.

[John]

Empu

Whilst we've basically covered for Empus in Java and Bali, wonder if more light could be shed pertaining to areas like Celebes (Sulawasi) and Sumatra? eg like if those areas have had smiths addressed as Empus and their local unique circumstances, customs/traditions to which they may have been appointed as such etc...

Can you help Pak Marto, Pak Boedhi? Almost breaks the heart to see some of those great old Bugis, Sumatran and all the rest of it of course and knowing so little of those great craftsmen who once made them...

[Alam Shah]

John,
Great idea. While we are at it, could somebody shed some light on those made in Peninsular Malaysia and Patani as well. ;)

[purwacarita]

What makes a keris "pusaka" while others are not ? Nechesh had made a good point, one of them is Family Heritage / Heirloom. ...IMHO, pusaka might be interpreted as "Masterpiece". In keris's world, it MUST fulfill BOTH the exoteric and isoteric criterias. It were the Empus who really made some kerises rated as "pusaka" or "ageman", and only Master Empus who able to made such (considered) "powerful" pusaka.
Hi Boedhi Adhitya. I'm confused here, is pusaka, keris with historical values though without exoteric & isoteric criteria fulfilled, or keris with both exoteric & isoteric criteria fulfilled though not yet inherited through generations? I recall that Kyai Klerek is treasured for its historical values instead of what called yoni.


(In fact,most of the court in Java consider a spear/lance as their most powerful pusaka, not the keris).
Sorry if I compare it to (hi)story of battle of Arya Penangsang with keris Setan Kober and lance Kyai Pleret and how the lance could only wound him very badly, and it was the keris said which did the kill.

It is said too that keris (or X-keris) is only used to end a fight instead of used during a fight, sometimes it is also used for executing extra-ordinary casualties of war. I don't know if it's true, was it always keris or lance was sometimes also used?

I'm sure the court in Java have many good reasons. Please verify if I'm wrong. Btw, I read in newspaper that several pusaka of kraton Surakarta are indicated missing. I feel sorry about that, do kraton people have documentation of their pusaka and photograph of the missing ones? I hope that spreading the photo could help finding.~IBS

[Alam Shah]

Btw, I read in newspaper that several pusaka of kraton Surakarta are indicated missing. I feel sorry about that, do kraton people have documentation of their pusaka and photograph of the missing ones? I hope that spreading the photo could help finding.~IBSIt's sad that these things happens (missing). :( Spreading the photos (if any) with intent to help find it could instead cause more confusion. Instead of helping to find it, we would probably find replica copies of it made by forgers. :eek:

[purwacarita]

Hi Alam Shah. You are right, I guess, if we do the finding and kraton people do the helping. :)
"Tosan Aji" might means "worthy Iron" or "honourable/respectable/adorable iron". It MUST have such qualities to became worthy/respected ones, not only depends on it's history. The very carefull and cautious traditional collector would then examine the keris history, especially by examining the "fate" of the owner before him. Were the owner life in prosperity or were they doomed with bad luck, living unharmoniously, or eventually, having a disease and death. Once it pass the qualification, then it worth to be called and treated as a Pusaka. That is, we can take "a lesson or benefit(=tuah)" or any spiritual meaning from them, whether it's philosophically, spiritually, or even more, "magically". This lessons/benefits are REAL (now I'm really talking about esoteric ). Any who didn't qualified, while it worth preserving/collecting, should not be treated as pusaka, since they have nothing to share, and thus, no benefit/lesson could be taken. If we receive it as an inheritance, but didn't pass "the exam", then, we should treat it as inheritage, something that connect us to the pass or families or something else, but we shouldn't expect "the lesson/benefit" from them.
This argument may only be understood and accepted with an example and wide explanation, which I think, may take a lot of bandwidths, and should not be tried. Even in the old days, this explanation/understanding would only be teached privately (and still that way today), while the commoners would be only consuming "the myth" and "legends" .
Hi Boedhi Aditya. I'm among whom have witnessed magical things done with keris. How a keris could influence the life of the owner and overthrown the fate and prosperity of the bearer, delicately indicates how people fate sometimes falls before by some keris categorized pusaka. I must disagree and I believe, that, we, human, are the ones who should conquer keris and not vice versa.

From what I know keris as remark of remembrance, is accepted by the bearer, also only if the bearer is willing to do so. There are messages verbally transmitted from the owner to the bearer before the hand over, call it again, mahar, and the bearer is given an opt. It is the decision of the bearer to accept the keris or not and at the same time accept/fulfilled the consequence/mahar. How a keris could decompose the fate of a determined man, where in the positive civilized world of mahar culture could've not been deconstructive, except money? :D

The words Jimat Ngucap, Pusaka Kandha. Should it be ...Amulet speaks, Keris tells, or ...Amulet and please speaks, Keris and so tells? I think the words context is different of the word lingga, which by necesh referred as mark, where if it's true it means either ...marks or ...marked or ... mark in different contexts. ~IBS

[purwacarita]

It is my firm belief that to understand the keris , we must have an understanding of Javanese culture, history, and society; such understanding can only be gained from serious and consistent study in the relevent fields.

Pak Boedhi, the academics are always telling us that correct usage of the Javanese language will be dead within a very short space of time, some people are claiming that within 20 years the only people who will be able to speak Javanese correctly will be professors in universities.

I will not comment as to whether I agree with this , or not, however, I think that this demonstrates that unless those of us who do maintain an interest in Javanese culture, take a serious and studious approach to the preservation of that culture, eventually the unique features of the culture will be forgotten.
Hi marto suwignyo. I was told a legendary gurindam before the war between kingdom Sriwijaya and Singasari. King Sriwijaya sent a messager to king Singasari to deliver a roll of plain paper with one corner wripped off. However the messager himself did not know the meaning of it and could not answered king Singasari's questions about the will of king Sriwijaya. As that time Singasari influence was developing both in economics and politics far to Malacca strait, this mild sarcastic message was read as Sriwijaya would like to take over sort influence one by one, and it meant a declaration of war. Inspite of that, the messeger was still kept alive and treated descently, he was released to trip back to Sriwijaya after his head had hair cut and shaved very smoothly. This was meant so king Sriwijaya could see the message only when the messager bowed his head to the king, and so read as the humility of Singasari people to avoid war, yet the spears of Singasari which symbolized in the smooth short shaved hair, are always ready to welcome Sriwijaya.

I was about to disbelieve that the symbolic language, also in keris, is about to lost. I feel like the language itself is the spirit of people of Indonesia from ancient time to todays. But as I see the crisis of twin kings of PB and how Indonesia is having a continuous stress under economic pressure which force people to busily do what they do for living, ...and a murder committed by royal family of Bali. I think you are right! This unique feature will be forgotten, not because we have less interests in it, ...but because whoever maintains interests in Javanese/Balinese culture and takes a serious and studious approach to the preservation of these cultures, does not have the power to drive a living energy to the culture. Bali is a little lucky as the driving power is vastly held in traditional spiritual religion of Hindhu, but in Java where kraton is the stronghold of keris culture instead of Islam religion, ...I hope HB of Jogjakarta at least could do something about the crisis, more than any authoritive people outside kraton.

Though I think that culture approach is slight less important than to understand to energy which dwells inside keris, losing the culture is losing the self. But as powerless citizen, I am among those who only could hope that authoritive people could appreciate the culture itself and respect symbolic language both national and traditional. Like the symbolic language of Bhinneka Tunggal Ika, which reflected in Upacara Bendera in country palace. ~IBS

[Raja Muda]

Salam hangat Mas Purwa,

Despite the active efforts of enthusiasts and collectors throughout Nusantara, as well as our brethren in the rest of the world, I can't help but fear for keris culture's survival in the next 100 years or so. Already, the number of empus are declining in Java, so the ancient spiritual elements linked to the keris might be lost.
At least, there are efforts to teach the art systematically there.
I would be interested to know if the same decline is happening in Sumatera and Makkasar, if any of the practitioners of the keris arts are still plying their trade. I know Brunei sponsors the making of keris but I have never seen a contemporary Brunei forged keris to judge the quality of the workmanship.
In Malaysia, I guess we're having a somewhat similar predicament. Unlike in Java, there is a dearth of books on pakem in the Malay tradition, things are often passed down by word of mouth, or based on real examples of keris made by past masters.
The ranks of the Pandai Besi are fast thinning and I guess you could count less than 10 active ones in the east coast states of Kelantan and Terengganu, and perhaps many, many more tukang ukir adept in constructing the sarung and hulu. Amogst these you have people who are able to forge a fairly beautiful contemporary melela, with reasonably refined skills in forging and cold working (though I regret to say that I've seen one resorting to power tools on TV, to expediate the process, no more tedious filing :o ) but there are those who stick to making the cheap, low quality keris (called keris kahwin locally, since their chief function is to be worn at weddings) with the recognisable bicycle chain pamor.
I doubt that even the keris kahwin makers would survive if there is no support from the greater public. Too often they have turned to making gardening tools and farming implements, despite the competition from cheap, mass produced imports from China since kerises aren't selling. I know the bias among collectors leans towards antique pieces but I guess if you have some funds to spare, it's still a good idea to acquire a well made new piece as your contribution to preserving the art. Of course, passing something new as antique is a no no in my books :D .

[purwacarita]

Hi Raja Muda. Contribution sounds @#$%&* in preserving the art.:D It is the culture we are talking about where art is only a part of it.

I guess the spirit of education, which reflected in symbolical words of hing ngarsa sing tuladha, hing madya mangku karsa, tut wuri handajani, is a good start to solve the cultural problem culturally when not just implied in formal education fields. It's a theorical good driving force, don't you agree? Any knows how to convert theory to practise? :)

[marto suwignyo]

Pak Purwa
Yes, we can set an example, we can try to influence, we can try to teach, and we can start with our children as soon as they begin to understand, but have you noticed that the members of each new generation invariably know more, and are wiser than their parents?

Perhaps in a rural, or a village situation, the traditional Javanese heirarchy may still survive, but in the towns and cities, there is little use for heirarchically structured language. Bahasa daerah may be taught in SMP, but the teaching of Krama Inggil , or Madya, remains a family thing, and time spent on learning this can seem to be time wasted in today's ultra competitive environment. Some of the non essential trappings of culture can hardly compete with the necessity to earn a living.

Theory and practice.....

When I wrote:-

"unless those of us who do maintain an interest in Javanese culture, take a serious and studious approach to the preservation of that culture, eventually the unique features of the culture will be forgotten."

I was writing emotionally, rather than logically. As we grow older I believe many of us become conservative in the way in which we view the world that is passing from us, and we tend to regret that things are not able to stay forever as we have known them.Change, and new ways seem to be foriegn to us and to lack the integrity of the ways with which we are familiar.The ways in which a society handles the problems which face it must change in order to allow the society to cope with the changing world around it, just as the ways of the individual members of a society must change to allow each of those people to survive as circumstances change.As the societies within a culture change, these societal changes must inevitably impact upon the cultural values that are held at the time of change, and eventually, the change in society, is reflected in a cultural change.

Javanese culture and society is not the same in the year 2005, as it was in 1905, or 1605, or 1305.

The Javanese language itself is primary indicator of this ongoing change. Prior to the rise of the Mataram dynasty, the Javanese language did not appear to contain the multi level structure which became the dominant feature of the language as it has existed for the last couple of hundred years. However, although this use of language is a primary indicator of the nature of the society as it exists at any time, it may be argued that language of and by itself is not a core value of a culture, but merely a reflection of the values of the moment, within the culture.

This change in the use of language is not unique to our own language, but applies across the entire expanse of all language, with the exception of those languages which are recognised as being dead. If we live, we change. If a language does not change, it will die. Language, reflecting culture provides the same tale in respect of any culture:- where a culture is unable to change, that culture will die.

A core value of Javanese culture is its ability to absorb from other cultures and societies those things that will benefit the society, and to discard those things which will weaken it. When Java has taken from an outside source, she has invariably synthesized that which which she has taken, and remoulded in her own image, so that something which was originally Hindu, Chinese, Dutch or Portuges re-emerges as something which has taken on the form, colour or structure of Java, but which has built upon a foriegn foundation. This characteristic of our culture is at once its strength, and its weakness.

The culture of Java may not be able to return to the agricultural roots of Mataram and Majapahit, but the ability of the Javanese people to select the best from other cultures and societies , and then to reshape these things in ways that will benefit and strengthen Javanese and Indonesian society, and re-inforce Javanese culture, is the very reason why Javanese culture will never be absorbed into any "world culture", but rather will continue to retain its own unique identity.

So, although our professors warn us that the Javanese language is all set to disappear, what they really mean is that the Javanese language forms that our ancestors needed to survive in a heirarchical society, will disappear.In modern Indonesia the tiered societal structure that our grandfathers were familiar with is becoming flatter with every passing day. Our language will inevitably change to reflect this flattening structure. But the language will not die, it will live , as the culture of Java will continue to live, because both language and culture are strong enough to change.

If we are to identify a single value as the defining value of Javanese culture, then from a historical point of view this value must be the ability to absorb, synthesize, recreate.The history of Javanese culture and society is one of adaption and survival.As an icon of Javanese society the keris has also changed through the years , and because of its ability to change it survives today, and will continue to survive as long as it can continue to change to fulfil the needs of the changing society and culture of which it is a part.

In my previous post I wrote emotionally, this time I have attempted to write logically.

Javanese society, culture, and the blossoms of the culture will survive, simply because the nature of the culture is to change with the change of seasons.

[nechesh]

Very well put Marto. Change is the nature of ALL living things. It applies to entire cultures as well as people. The days of the empu are gone and the culture of keris is changing. Personally, i see no problem with a smith using power tools to help him create a keris at this point. It is merely the tool. What's important is how it is used. In fact, i think the smith might be a bit foolish not to explore the best possible tool for any particular job and an electric powered one might just be the ticket. Keris making is EVOLVING, for better or for worse. But i will say that some of the keris being made today are probably of the highest quality on a pure technical scale than have ever been made before.BTW, there are some very high quality keris being made these days that are never seen outside Jawa. They are being made for select group of Javanese buyers. And as was just pointed out to me just recently, many of the finest keris in museums in Europe were actually new when they were collected. :)

[John]

Can one not say ever since the "big bang"...since single celled organism appeared...changes, evolution have been in motion...the limitlessness of duality in play as the way of the universe?

The word culture has been used a lot but what would the true definition of "culture"? No doubt every sword was once new whatever influences, "form/s of the moment" they took on the moment they did.

[nechesh]

Hi John. I'm not so sure there is a "true" definition of ANY word, including "culture". Words are mallible things and open to the interpretation of the people using them. And definitions, like everything else, are also constantly evolving.
That being said i'm not really sure what you are trying to say here. I can't tell whether you are agreeing with me or not. My point about the finest examples of keris in European museums being collected as new was merely meant as an encouragement for people to consider the collection of new keris, since some of them are at an extremely high level of keris art and will no doubt find themselves in some museum somewhere 200 or 300 yrs. from now. :)

[John]

That's what I'm implying - culture or tradition are not something that are static but transitory.

New kerises; based on the law of supply and demand, the flow of supply no doubt will not cease as long as there are demand, appreciation of these new ones whether with encouragement or otherwise.

[Boedhi Adhitya]

I apologize to all forumities, since I've been away for a while and hence, not answered the questions which was addressed to me.

Mr. Purwacarita, as I discussed before with Mr. Marto Suwignyo, pusaka would mean a lot, but as I insist, it was the empu's intention, which made some blade pusakas or not. The empus used the whole process, not only the physical appearance of the blades, to show their intention, in symbolistic languages. Hence, the good pusakas should be able to show this intention. But as the blade handed down from generations, whether by inheritances or trading, the owner would treat it differently, but the empu's intention, would always be the same. And once again, this intention might be "read" by those who understand the symbolistic language used. Then, no matter how you acquire it, the pusaka is a pusaka, even if you bought it on e-bay :D

About history of the blades, IMHO, it should be considered as "added value". In Kraton, the history would be important, but only after the blades qualify for "pusaka qualities" as I describes before. As I've been told by the "abdi dalem pusaka", all the kraton pusaka have best iron and steel possible at the time it was made, including the Kyai Klerek, which was belongs to Prince Mangkubumi's servant/soldier. This dapur cacing kanil lance suffered a little chipping on his point while he pierced Clereq's armour. (for information, Kyai Klerek named after Major Clereq, a Dutch officer which was killed by this lance, ca. 18 C.). Other example is Kyai Mangunoneng, a sword, pedang suduk pamor tambal, which was belong to Tumenggung Mangunoneng, a considered rebellious Tumenggung. This sword was used by Prince Mangkubumi / Sultan Hamengkubuwono I to kill his own master, as a warning to any rebels. Now it is always carried by women servant on ceremonies involving the sultan in his full formal-dressing. Kanjeng Kyai Kopek, the most honoured keris in heirlooms array of Kraton Jogjakarta, in fact, was a gift from Sunan Pakubuwono III on Sultan Hamengkubuwono I coronation. It is said that KKA Kopek was belongs to Sunan Kalijaga, and hence, symbolize the unity between the Ulama (religion leader) and Umaro (the goverment/king). You may see the picture of KKA Kopek and others in "Jogja Heritage", the official book of Kraton Jogjakarta. Some errors occur on naming and pictures (reversed) thought.

Yes, it was keris Kyai Setan Kober itself who kill it's own master, while Kyai Plered only injured Arya Penangsang badly. According to the legend, Arya Penangsang was a very powerful Adipati of Jipang, who was considered rebelious to Pajang. He would only be killed by his own keris, Kyai Setan Kober, a fiery keris. In a fight against Danang Sutawijaya (which then known as Panembahan Senapati, the first king of Mataram Islam, ca 16 c), Arya Penangsang suffered a wide wound on his abdoment, causing his intestine to felt out. Disturbed by his own hanging intestine, Arya Penangsang tied it to his keris handle, and continue fighting. In the end of the fight, Sutawijaya, which was a young boy and no match to Penangsang, felt down to the ground and not able to continue the fight. Penangsang then drew the fiery Setan Kober to kill him, and incidently, Setan Kober cut Penangsang intestine which was tied to the handle. This "fatal" wound, killed Penangsang instantly. To commemorate this, according to the folklore, Panembahan Senapati then asking all the bridegroom to put jasmines-on-the strings (melati rinonce) on their keris handle to mimic the intestine and symbolizing the bravery, on wedding ceremony.

Today, the Jogjakarta court, claiming as inheritance of Mataram, sees Kanjeng Kyai Ageng Pleret as "a legitimation to govern" for the court. The lance is honoured more than the Sultan himself. Only Sultan himself who clean it on cleansing ceremony. The servants are forbidden to come close and see it on purpose while it is cleaned. Other pusakas may only cleaned after the cleaning of KKA Pleret finished. From those who has seen it incidently, KKA Pleret has exotericly pusaka qualities. The Surakarta court has Kanjeng Kyai Ageng Baru as a match.

About the Kraton's pusaka, In Jogjakarta court, there are 8 servants who specialized on maintaining and documenting the pusaka, all of these servants are court member / royal families. Detail documentation has been done since around 2000 and still on progress, but sadly, without photographs. There are nearly 150 keris kept on Gedong Pusaka/Pusaka main hall (known as Bangsal Prabayeksa), and documentation of others pusaka which is kept in another building still in progress. Lances, would be the most abundant pusaka, counting around a thousand. Once again, according to the servant which I know personally, all of the keris which is kept in Prabayeksa had a "pusaka" grade quality. History of many of them are unknown and some of them were bought by the Sultan / Court.

So, I conclude, historical values may be an important things, but it is not a main consideration. The main consideration, IMHO, would be the exoteric and isoteric qualities, which also show the ability of the empu to put his intention on the blade properly while he made the keris. What I really mean about isoteric isn't "tuah" or magical properties, but something more philosophically. How did we acquire it, might have a little values, as long as you didn't steal it :D So, for me, you may buy kerises on e-bay and call it pusaka, as long as the blades qualify :)

Sorry, I got to go, and I would post more sharing on "Jimat ngucap pusaka kandha" and how the "isoteric" things work tomorrow :)

best regards.

[Alam Shah]

So, for me, you may buy kerises on e-bay and call it pusaka, as long as the blades qualify
Dear Boedhi Adhitya,
How do we see/know whether the blade qualify or not as a pusaka? :confused:
Any tips/pointers that you can share with us? ;)

[nechesh]

I'd like to wish you all good luck finding your next keris pusaka on eBay! ;) :D

[Boedhi Adhitya]

To assess/judge quality of something, we must understand how those things were made, the material and process used, and what the really purpose of those things. This also apply to keris. Contrary to common belief, judging a pusaka keris, firstly, is a very rational process. After that, you should use your own "feeling". No dukuns and incenses involved :D

First of all, about the making process and materials used.
One of the important processes in keris making is "mewasuh besi". wasuh=basuh=cuci=to wash/clean. This is the first step in forging pusaka. We all know, the ancient iron produced by smelting, and had a lot of impurities inside. The empu drove off the impurities by layering the iron (heating the bar, elongated it, fold it back, welding it, repeating the process for many times). Remember though, this process done before the iron mixed with the pamor. Basically, the empu was making a very pure iron. It takes a lot of effort and a good materials, and seem to be skipped if the empu just made an ageman keris. Empu Djeno said, it takes 12-14kg iron just to make a single keris, not to mentions the steel and pamor materials, if he followed the process used by Empu Pangeran Sedayu / Supo Mandrangi, the famous empu of Majapahit. The characteristics of clean iron, amongs others, are: withstand the high/welding temperature and giving little sparks in this bright-yellow temperature, resilient, and withstand the corrosion. Having the pure iron is very important, not only technically (that is, giving resilient and corrosion-resistant characteristics to the blade, as a weapon) but also esoterically (empu Jeno said, his prayer would be more easily "answered" and "get into" the blade if he works on this iron), and philosophically (which we may discuss later). On the finished blades, there are 3 classes/categories of this "clean" irons : Nyabak = look like sabak=batu tulis=slate, that is, smooth, clean and dense iron. This would be the minimal iron's quality for pusaka keris; Nyerat=serat=fibrous iron, better quality blades ; gulali = look like gula-gula/candy/melting sugar, the best quality iron/blades. Identifying this "clean iron" would be the most important point in assessing pusaka. Just remember then, the assessor must be able to discriminate the smooth-clean characteristic caused by polishing or by the iron itself.

After passing the "Iron exam", then we should examining how the pamor integrated to the iron. I believe, in better quality keris, the pamor material would also be "washed", just like the iron. The earthly iron symbolize the human, in this case, the owner of keris. Pamor then symbolize the heavenly fate, no matter where it came from (celestial or terrestial). Before "catching" and "unite" with the heavenly fate, the human-being should be "clean" spiritually. That why the "clean iron" is important philosophically. Pamor, in other case, should be integrated "properly" to the iron, according to the empu's intention. Many times, the empu fail to do it properly, just like Monet painting his water lotus series. While he painted over 200 paintings, only a few of them, he himself thought, as "properly" showing his intention.

Other exam would be the "garap", that is, how the ricikan (details) were made, and "guwaya", the overall looking of the keris. This exam involve your "feeling". Pusaka keris should have "personality". Haryono Guritno classified keris in 10 grades. the best would be "mahanani", came from "ana"=being, that is, a keris which is when unsheathed, the "aura" or "character" would be easily felt by any attendants in the room. Just like a good painting changing the "aura" of the room. Once again, need no dukun or incense here. Just your feeling.

Wish may help. Handling a pusaka by ourselves might means thousands words

Good hunting ! :D

[Alam Shah]

Hi Boedhi,
Thank you for the interesting piece of information.;)

Haryono Guritno classified keris in 10 grades. the best would be "mahanani", came from "ana"=being, that is, a keris which is when unsheathed, the "aura" or "character" would be easily felt by any attendants in the room.
Is there pictures of these that you can share or point to other references? Is there any "Iron Exam" references to recommend? It would be useful to be able to identify them. :)

[Boedhi Adhitya]

Dear Mr. Alam shah,
I'm afraid I can not show you the pictures. Sorry. I've only seen 3-4 kerises with, I consider as having, "mahanani" qualities. None of them is mine :D I'm also afraid that the pictures will not "catch" the "mahanani" qualities, only the beauties. But I will try to manage to have those pictures.
Until now, I've found no book/chapter discussing specifically on iron exam. I've learnt the iron under guidance of elders. They show me a pieces, then they say "this what our ancestor called as 'nyabak' and this is 'nyerat'. Just look carefully and learn, then we discuss". If they didn't have the example, they would refer to others who have it, by saying "just go to Mr. X, and ask his permission to look at the Kyai Y. It has 'gulali' iron. watch carefully". Well, good and perfect pusakas are very rare. It takes years just to find one of them that being sold.

But internet is a powerful tools, you might learn something about ancient iron and steel manufacturing and some metalurgy, and you might also compare the katana-making process and keris-making process. Haryono Guritno himself now in process of publishing his book entitled "Keris Jawa, Antara Mitos dan Realita" (Javanese Keris, between the myth and reality). I believe this book will discuss many aspect of Java keris. IMHO, Guritno is wise enough by not trying to cover all keris cultures from archipelago / nusantara :). Btw, 4 kerises' pictures I attached on previous posts might be considered as having "nyabak" iron. Hope this may help.

Since I've promised to share about how the esoteric works, then I would pay my "debt" now :)
esoteric consist of 3 aspects : philosophy, "tanjeg" and "tayuh". Philosophy would be the "bridge" between the exoteric and esoteric. "tanjeg" is the interpretation of keris's intention, as the empu intended to when he made the blade, by "feel"-ing the exoteric properties. "tayuh", is a "forum" where the owner could "feel" the keris "intention" (=power, if you wish), for example, by dreaming. I would only discuss the philosophy and tanjeg. no tayuh, please :D

Say, we have a common Tilam Upih keris, with the famous "Udan Mas" (golden rain) pamor, with good, black and shiny "nyabak' iron and perfect pamor. No flaw likes "nerjang landhep" (the pamor lunging/go through the steel edge) or "pegat waja" (broken steel/iron) or "pegat pamor" (broken/interupted pamor). It has a luwes (suppel) and calm-polite (sopan) looking/appearance (guwaya). Some worn out or corrosion is acceptable, though :)

Philosophically: the pesi (tang) symbolize the phallus, the ganja (with it's hole :D ) symbolize the yoni. Pesi and ganja thus symbolize the fertily or birth. That is, the beginning of life (of the owner, of course). The pejetan symbolize the "seed of life". Some also interpret it as "hard working" or "the job that had been done". Tikel alis ="folded eyebrow" = 2 eyebrows became one. How comes? It takes two person, man and woman, preferably :D If you find your partner, stick your eyebrows, and see what else you've been doing. Tikel alis symbolize loyalty and affection. Tilam=alas="bed sheet", upih=pelepah=might means "branch of a tree", likes coconut leaves. Tilam upih means = "sleeping with/on a 'pelepah' as a bed sheet. = to live a modest and humble life. Tilam upih might also call Tilam Pethak(=white)= white bedsheet = to live an honest life.
The blade itself symbolize the owners "path of life". Straight blade symbolize the straight, honest life. Luks means that the owners should avoid/evade every life's hindrance and temptations wisely. The point/tip is the owners end of life, the times when we meet our Creator (if you believe in one). The odd luk means "only your Creator know your fate. It is He who made it even"
Now, we can read this "book" : "May you have the prosperity in your life by works hard and living in a modest and humble life. Be honest and loyal for always. Show your affection to others and always remember and praise your Lord, The Creator. Just remember, all the living will dead, and so do you".

By looking to this keris, the owner who can read the messages, will understand. By look and watching it's beauty again and again, the owner will be suggested to practices "The Teaching". In the end, he may lives in a prosper life. That is a real "tuah" of keris.

If we treat it only as an amulet but never "read" it properly, we may only burnt the incense and spelling mantras likes "O, Great Kyai Tilam Upih, please bring prosperity to my life". But if treat it as "pusaka", we may unsheathed it, and let "the spirit/the teaching" of keris "absorbed" into our own spirit/mind. That's would be the meaning of "Jimat Ngucap, Pusaka Kandha".

The Tanjeg then, the overall interpretation of this keris derived from exoteric properties. In this case : "this tilam upih keris with pamor udan mas will help the owner to have a prosper life".
Please remember that I don't have all the answer. Many keris symbolistic language have lost, and it is a "living culture" which evolves all the times. I do not claim that this interpretation would be the same as the Majapahit era. And cultures, also, may vary.

Wish this post may help you.

Best regards,

Boedhi Adhitya.

[jor-el]

Dear Boedhi Adhitya,

i am glad that i read these lines. Somehow, i do not know why (perhaps due to spiritual and mind excercises from different aspects) i think this is the correct path. Many thanks for the posts.

BR,

Themis

[Alam Shah]

Dear Boedhi Adhitya,

Thank you for the thought provoking info. :D
It somehow makes sense. Thanks for sharing.

I'll be looking out for the book by Haryono Guritno. Do let us know when it's published.

[John]

Some interesting perspectives Boedhi and I'm particularly interested in your elaborations on certain keris parts/attributes like the peksi, ganga, tikel alis, tilam upih etc. Apparantly we're also along the same line in this respect at another forum which barely have progressed but perhaps you could also help in expanding the list and fill more. I guess there are further resources (brains) here to draw (pick) on too. :)

http://www.kampungnet.com.sg/modules.php?op=modload&name=XForum&file=viewthread&tid=1395

I'd agree the peksi represents the phallus and the ganja the female part and as a unit may be a representation of the Shiva lingam. If so, I'd say this is a representation of the absolute, call it God of you like for Shiva is the destroyer and the destroyer transcends duality represented by mergence of the male/female, positive/negative attributes. Brahma is more associated with birth, hence my reasoning opposite to that of yours since it's not Brahma oriented if indeed so. At this juncture, I'd say it's still a conjecture on my part.

Here's an example of the shiva lingam.

[purwacarita]

Btw, 4 kerises' pictures I attached on previous posts might be considered as having "nyabak" iron.

Nyabak = look like sabak=batu tulis=slate, that is, smooth, clean and dense iron. This would be the minimal iron's quality for pusaka keris;

...The first keris is the work of Supowinangun, the father of Empu Djeno Harumbrojo, the last living empu today. The keris was commisioned by KRT Puspodiningrat, The son of Prince Puspodiningrat, around 1930. Inherited by the owner today.

...The second is a keris once belongs to KGPA Mangkubumi, the eldest brother of Sultan Hamengkubuwono VII. It was commissioned by the Mangkubumi himself, and the work is done in his own workshop.

...The third is a keris once belongs to GPH Hangabehi, the eldest son of Sultan Hamengkubuwono VIII. Even so, this keris was made in Kraton Yogyakarta, commisioned by the Sultan Hamengkubuwono VII himself.

...This is a very rare dhapur, with elephant head wearing a crown as it's gandhik. I've only seen one and other piece reported to be exist in Jogjakarta Court, named "Kyai Gajahendra".

Hi. Do you know why pusaka keris belongs to great people and rare one only have minimal iron's quality? Is this some sort of gurindam?

[marto suwignyo]

I wish to complement Pak Boedi upon his clear presentation of the view of the keris held by many students of the keris in today`s Java.

He has opened a window on a uniquely modern Javanese style of thought that reflects some of the traditional elements of Kebatinan that contribute to Javanese mysticism and philosophy as this has developed during the second half of the 20th. Century.

However, as Pak Boedi himself points out, the point of view which he has presented is a point of view that has evolved within a living culture.

Further, it is a point of view which is not universally held within the greater body of Javanese culture, and it does not in any way represent the demonstrable history of the keris within Javanese culture.

As I remarked in an earlier post:-
"As an icon of Javanese society the keris has also changed through the years , and because of its ability to change it survives today, and will continue to survive as long as it can continue to change to fulfil the needs of the changing society and culture of which it is a part."

Pak Boedi has demonstrated beautifully the element of change that has taken place in the position of the keris in a segment of present day Javanese society, and provided a strong case for the continued existence of the keris as a part of that society.

I complement and honour Pak Boedi and his associates for their contribution to the continued development of our dynamic culture.

[purwacarita]

Hi John. Shiva lingam does not even look like keris. How does keris resemble it?

[John]

Hi John. Shiva lingam does not even look like keris. How does keris resemble it?

Certainly not the keris but in the context of the peksi (penis) and ganja (vagina). ;)

[purwacarita]

Hi John. Very fascinating though. Regarding that keris as believed is once legendary weapon of gods and depicted if they manifest themselves into Buta when they are very angry. Wisnhu also handle weapons in his Buta manifestation and do some damages with them. Brahma also share the same nature.