Anglo-Saxon Keris for Comments
 

Recently, I comissioned new sarung for a Malay keris inspired by Anglo-Saxon motifs from an medieval stone cross (Peakirk Cross):

https://www.theguardian.com/science/...on-stone-saved

I hereby attach pictures for comments.

Do you also see cultural links between the anglo-saxons and the Bugis people?
Still not my thing Alex, but if it makes you happy it is, of course your keris and your choice. :shrug:

Can someone comment on the keris blade. Is it Malay, Bugis, Sumatran or Javanese in origin? The blade was acquired from the USA, before the sarung was commissioned.

My knowledge of this type of blade is not adequate to permit me to comment.

My comments on the dress can be taken to be similar to those I made in respect of the Viking keris:- Sumenep, Surabaya, Pasar Turi, craft/art.

IMVHO Bugis

Original motifs that inspired me
 

I enclose pictures of original ivory handles and sampir/wrongko that also inspired the "Anglo-Saxon" keris.

These motifs were purported to be Minangkabau.

Can someone comment whether these motifs carved on ivory are traditional Minangkabau designs or a recent artistic expression?

Also, is it traditional for a Minangkabau keris to have carvings on the batang (stem) portion of the sarung, as shown in the picture of the bone keris?

Hello,
The top kris is a nice and original Minangkabau piece but the bottom one with bone fittings is a recent replica with a very common design.
Regards :)

Will you please start new threads when you change the subject of your enquiries.

Well Rick, to be fair, he didn't really change the subject completely with this last entry. If you look you will see that this "Anglo-Saxon" sheath that Alexish has commissioned is the same exact profile form as the authentic ivory Minangkabau sheath that he shows us in this post.
Of course, now we have a Bugis keris in a Minangkabau style sheath (shape) with Anglo-Saxon motifs...my head is spinning just a little bit... :eek: :)

Carved batangs (stems) of Minangkabau kerises for comments
 

I enclose more examples of carved batangs (stems) of Minangkabau kerises for comments. Are these traditional designs?

You're casting a rather large net on these forums Alexish. What are you hoping to catch?

Novelty, uniqeness and rarity of sarung designs
 

As you can infer from my posts, I am particularly interested in rare sarung forms, which I would like to commision from Indonesian carvers.

As a collector, I see that the typical sarung forms of the kerises from the various regions appear to be too commonly focused on a few sterotype designs.

For example in the case of Javanese kerises, 80% to 90% of kerises for sale have sarungs in either the Gayaman or Ladrang Solo form.

Likewise, in th case of Malay or Bugis kerises, more than 90% have sarungs in the typical plain rectangular "Tebeng" form with no floral motifs.

Hence, I am particularly interested in novelty, uniqeness and rarity of sarung designs.

Hello Alexish,

Maybe there is a reason why the majority of Javanese Kerises have similar sarungs... like the common cultural background they share as they are deeply rooted in the Javanese culture?! :shrug:

It is up to you to decide what you like and what you want to collect. But if uniqueness is such an important criteria, I am sure that a Keris with a Mickey Mouse sarung would be exclusively unique, as it would be one with the McDonalds logo. :p

Hello Alexish,
It is up to you and perfectly acceptable to look in priority for novel sarung designs; however for traditional collectors like the majority of us in this forum, these are considered as art pieces and outside the scope of our collections, and many of these new pieces are poorly designed or made.
On the other hand I have no problem to commission a new sarung if required, provided that it be made according to the required local standards, and of course to collect an old and rare sarung if it appears legitimate (see example).
Regards

I agree with Jean here. I will add, before the word gets used again, that the sheath Jean shows here, while rare, is hardly "atypical". It is a very traditional style from it's time. The reason it is rare today is that those traditional styles evolved over time and wooden sheaths, being made of a relatively delicate material, simply do not tend to survive enact over the many centuries.

I seem to recall recently that many of the wrongko contemporary to the one shown by Jean were also decorated with sunggingan.
At the moment I'm reading Jensen's Krisdisk, so I probably got it from there. If so, then it seems likely that the above applied to pieces commissioned by nobililty.

Hello Alexis,

I'd quibble that the Tebeng form comes in quite a lot of local variants and that the market share of Yogya and Madura scabbards is more than 10-20%.

I do see your point though... A good part of the apparent uniformity comes from the fact that the originating cultures heavily stress conformity. As a member of a close-knit group, you most certainly don't want to stand out or look special - any such behaviour would be taken as a kind of insult! Of course, such a restriction doesn't apply to foreign collectors...


I certainly understand your interest; I'd consider quality of carving and quality of the wood as of paramount importance. Quality of carving can be based on fine nuances of the flow of lines if one follows the traditional approach. Quality of wood is something which carvers nowadays have a very tough time to compete with above-average antique examples due to exhausted supplies.

I believe that collecting genuine antique fittings that are damaged beyond repair and patching would be a sensible focus for collectors. In keris-bearing societies these are considered to be unfit for continued use. Thus, rescuing such examples from destruction and keeping them for future study might be a valuable contribution of preserving examples of material culture and old traditions!

Regards,
Kai