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The works of Supowingangun and more
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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 :) |
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. |
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? |
The spirit of sharing
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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. |
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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. |
Thanks
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 |
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. |
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... |
John,
Great idea. While we are at it, could somebody shed some light on those made in Peninsular Malaysia and Patani as well. ;) |
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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 |
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Hi Alam Shah. You are right, I guess, if we do the finding and kraton people do the helping. :)
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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 |
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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 |
In Decline?
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 . |
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? :) |
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. |
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. :)
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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. |
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. :) |
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. |
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. |
Blade qualify as pusaka...
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How do we see/know whether the blade qualify or not as a pusaka? :confused: Any tips/pointers that you can share with us? ;) |
I'd like to wish you all good luck finding your next keris pusaka on eBay! ;) :D
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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 |
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Hi Boedhi,
Thank you for the interesting piece of information.;) Quote:
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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. |
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 |
Book info...
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. |
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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...hread&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. |
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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. |
Hi John. Shiva lingam does not even look like keris. How does keris resemble it?
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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.
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