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YOUNGER Keris
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Dear All,
I hope this won't make you frowning. These pics are about "younger" style kerises. Or what keris-people call it, keris "nem-neman", or "nom-noman" (youngster). Two kerises -- solonese (paku buwanan style) and one with jogjanese (early hamengku buwanan style)... I hope you enjoy them Ganjawulung |
CONTEMPORARY Kerises
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Dear All,
And these pics below are about contemporary keris making in Solo. The first pic, two students from Institut Seni Indonesia in Solo (Indonesian Arts Institute) were studying making keris under instruction of Empu Subandi Supaningrat -- a young empu of Kraton Surakarta in his "besalen" in Ngringo, Karanganyar just outside of Solo. And also, a contemporary keris-maker Sukamdi with his recent creations of "keris kamardikan" (independence keris) with "two-in one" dhapur, and his very recent creation of "keris gelombang cinta" (wave of love, inspired by the recent popular plant vastly grown among people in Solo, kind of anthurium leave)... Ganjawulung |
PAUZAN'S Pamor
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Dear All,
This humble gentleman, Empu Pauzan Pusposukadgo -- also once a Kraton Empu and "mantri pande" or 'minister' of Kraton keris maker but now retired, holding his creation of pamor "kalpataru tree" (made in mid 1990-s). His other well-known creation (collaboration) of pamor making is "poleng wengkon" pamor. Poleng wengkon, consists of squarred horizontal and vertical motifs -- designed by a German Dietrich Drescher (I would ask to Ki Jaya Malela, please...). This collaboration, amazed keris people in Java too in 90-s. Bravo! (I took this picture on 5th of August 2008)... Ganjawulung |
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Another image of a kalpataru.
This is the 227th. blade completed by Pak Pauzan, and was completed in Januari 1993.Dhapur jalak sangu tumpeng. |
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Empu Pauzan Pusposukadgo even wrote a booklet about "poleng wengkon" pamor. I'm proud to say he personally gave me a copy when I visited him in 1992. :)
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Ganjawulung |
BALI
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And this picture below, is showing a Balinese keris maker Pande Ktut Mudra in Kusamba, Klungkung, North-eastern of Bali. Please look at the many sacks of charcoal from teakwood -- "imported" from Java. (Only in java -- especially East Java people are still making charcoal from teakwood that is able to burn iron material more than 1000 degree celsius?)
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Hallo Ganja
I remember the place! I was there some years ago....the keris maker had a big piece of (he said) meteoric stone ... very, very heavy (i took a photo but i don't remember where is now). I remember a nice trip by car with my family to go to Kusamba along fields and fields and fields completely full of coloured flowers (for Bali's ceremonies)...nice!! :) |
Yes, Pak Pauzan always kept records.
Some of more elaborate keris he made were superb works of art. However, no matter how good Pak Pauzan's keris work may have been, he will be remembered as one of nature's gentlemen. I have known Pak Pauzan and his wife since 1974, and I have never known him to be less than a perfect gentleman, and a most decent and honorable man. He is one of the very few people in whom I am prepared to place 100% trust. I have a copy of Pandameling Duwung too, which I had translated. In fact, I have copies of all the books on keris that are in the Mangkunegaraan Library, and those in caraka script I have had translated to Indonesian. |
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And I think you've been here too, Marco (please see the pic below). Another besalen, but in Gatak village, in Sumberagung, Moyudan, Sleman Jogjakarta. The besalen of the late Empu Djenoharumbrodjo -- the last offspring (15th descent) of Majapahit empu, Supo Anom. He died in 2006, he had not been married until his last day in this world. Now Pak Sungkowo (picture) below, his nephew, is continuing the work for the late Empu Djeno... Both -- Pande Mangku Wija in Bali and also the late Empu Djeno Harumbrodjo -- had been revived to make kerises (after the family tradition had ceased for years) by Dietrich Drescher... Ganjawulung |
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Great pictures guys. This is refreshing! Taking a younger or newly made keris up on the stage.
I understand there are keris exhibition and competition going on at Indonesia. Maybe Pak ganjawulung can show us some good pics. I received this picture from an email from Indonesian keris collectors and friends. I am very impressed by this new made betok. |
Now where have I seen that before??
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EXHIBITION -- at Bentara Budaya
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I saw that betok with "pamor poleng" in the keris exhibition in Bentara Budaya, Jakarta on last August 12-16. Yes, it was made by Pak Pauzan Puspasukadgo, but owned by a Jakarta collector. There were around 200 blades or more, exhibited in the main hall. Consists of 60 percent new era kerises, and 40 percent "reference" kerises (old kerises). But the "selling section" in two halls -- was a very special attraction too. There were more than 100 kerises "for sale" (some in normal prices, but many of them with higher prices than normal) -- in more than 16 selling tables... Unfortunately, I didn't take many photos of kerises behind the glass boxes in the main exhibition halls (not for sale). But I took some snapshots on the "selling corner" as you may see in the pics below... (The bearded gentleman with white cap, is Mr Haryono Guritno -- the writer of "Keris Jawa" book). Ganjawulung |
JAKARTA'S Keris Guests
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Dear All,
During the "new era" (kamardikan) keris exhibition in Bentara Budaya, Jakarta on August 2008, we have some special keris guests, Mrs & Mr Bronwen and Garrett Solyom (as you may see in the picture below). Of course, the authors of "The World of the Javanese Keris" (1978) gave a keris lecture to the Jakarta audience. Interesting lecture. One month earlier, Dietrich Drescher also came to Bentara Budaya -- an art Centre owned by a daily newspaper -- informal meeting with some Jakarta keris lovers. And of course, a "special" wayang gift for the German gentleman who once encouraged some "sleeping" keris-maker families in Jawa, to get up and making keris again... Ganjawulung |
KRISDISK Author
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The Danish "Kriskdisk" author, Karsten Sejr Jensen (and wife) also came to Jakarta, only a couple days before the keris Exhibition. You may see their picture, when they visited Mr Haryono Guritno -- the author of "Keris Jawa" book. Friendly conversation on a friendly visit, of course...
Ganjawulung |
New CENGKRONG
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Back to younger style of kerises, here is a new design of a keris with dhapur of "Cengkrong with luk", created by Ki Sukamdi -- solonese keris maker. Not yet stained with warangan. It is just "fresh from the oven"...
Ganjawulung |
GREAT GANJA!!!!! :)
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Most of my keris are Nem Neman; I have seven antique blades dressed and a couple of more waiting . :)
The new work can be outstanding . :) |
Another KERIS GUEST
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Another special keris guest, Mr "Big" Suhaimi from Singapore, with (first and third from left) our keris friends from Malaysia. The far right, is KRT (Kanjeng Raden Tumenggung) Hartonodiningrat -- the winner of "keris forming competition" in Bentara Budaya Jakarta 2006, from Surabaya, East Java, Indonesia.
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Ganjawulung |
I'm glad you like it Ganja; thank you . :)
Kelangan really reveals the sculptural aspects of a keris . I was drawn to the unusual and flamboyant form . ;) For me the ada ada flows just like the moving snake . |
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BTW, your deck needs sealing. ;) |
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A nice balance has been achieved in its making . I've been thinking of sealing the deck Andrew but the damn things are federally protected , not to mention very heavy . ;) :D |
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Not quite Empu Pauzan Pusposukadgo, but poleng, none the less.
There's some clever little fellers up in Aeng Tong-Tong, isn't there? |
Great stuffs.. hey!! "Mr Big Man" was there??? His a friend of mine too. It would be good also to have keris exhibition cum competition that was held at Kelantan Malaysia. Perhaps introducing one or two great local pandai (smith).
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Yes, all kelengan needs good garap. Usually keris makers makes kelengan keris with much "kruwingan" and "ada-ada", and also must be fine in finishing the smaller details... Ganjawulung |
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Those are beautiful kerises Ganja ! :)
I have 3 Kelengan kerises .... so far . ;) @ Andrew, that deck was never sealed; 23 years now . :D :D Not to mention the Grinners around here have dibs on all the little ones ... big ones too . :eek: No one argues with a White Pointer . :cool: |
NAGA to be
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This is another "kelengan to be" Rick. A new design of Naga dhapur, by Ki Sukamdi. Not yet finished, and even not yet formed. Still a "kodokan". Usually, Ki Sukamdi draws with 1:1 scale in a piece of paper to make his kerises....
Ganjawulung |
Formidable !
I hope you will be able to show us the finished work . |
This brings me to a question concerning nem neman keris; are these new evolutions of form generally approved of in the Javanese keris world ?
Are there those who believe keris making should be a static art with strict prescribed shapes that are considered the zenith of keris form ? The idea being to produce perfection within these parameters ? |
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Another question:
Are "nem neman keris" keris made after II° world war or also before ? Another question: Are keris made after II° world war keris made under western standard or something remains about the old estern classic way to make a keris? |
Western standard ?
Could you explain what you mean Marco ? :) |
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Interesting observation Marco. :)
I think of Dietrich as a force that restarted a tradition that had stalled for a moment in time . :) I don't see much that is Western about that except his name . :confused: Keris are still made traditionally by age old methods developed by the indiginous peoples of Indonesia . Yes, some of the tools have changed; still that doesn't make western influence; just modern . :) |
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It is generally accepted that the making of keris in Jawa disappeared with the occupation of Jawa by the Japanese.
It is also generally accepted that Mr. Dietrich Drescher was responsible for the re-birth of the making of keris in Jawa. Both of these things can be taken to be more or less true, in a general sense. However, although the broad tradition of keris making did disappear with the coming of WWII, and did not reappear until the well known involvement of Mr. Drescher, I personally knew one man in Jogja, who is now deceased, who by his own account was producing keris for dealers from the late 1950's. Not only was he producing keris, but he carried on his business from his father. This was probably true, as a tukang wrongko I knew very, very well, in Solo a few years ago claimed that his grandfather had helped this man in Jogja, and the tukang wrongko's grandfather was, amongst other things, a pandai keris. Additionally, a relative of my wife, who lived in Malang in East Jawa, and who was a keris collector, claimed that he had been able to have a keris made in the Malang area during the 1960's. As with many things, there is the generally accepted story, which is probably true in a broad sense, and which for one reason or another it pleases us to accept as the "True Story". Then there is reality which may perhaps not be quite so well known, nor accepted. In the case of the Jogja gentleman mentioned above, his name was not known outside the keris trade, and because of the nature of his work, he preferred it this way. The question of the techniques used to make keris cannot be answered simply. There are a number of approaches that can be used in both the forge work and the benchwork. Many, if not most, of the new generation of makers seem to be quite open in so far as their working methods are concerned, and they make no secret of the fact that they use electric blowers for forge work, electric grinders for benchwork, and in fact that they work in the most economic and time effective way in all respects. However, it seems to suit some makers to work in a traditional fashion, using traditional hand tools, when they are being filmed or observed, and to use the more modern methods when they are by themselves. I will state here that Empu Suparman Supawijaya only ever used handtools:- he did not own any electric tools of any type, and he considered their use as having no place in the art of the keris. The images are of Empu Suparman's tools. Apart from the usual forge tools, and a large file and medium sized file, these were the only tools he used to create a keris. This brings us to "The Art of the Keris". During the 1980's in Solo, the Anak-Anak ASKI held a number of exhibitions of their work. Included in this work were keris of traditional forms, and keris of new and divergent forms. I often heard the comment at that time that these new forms or keris were most certainly art, but that they were not keris. Why were they not keris? Because according to the hardcore traditionalists of that time, "Keris Art" was Karaton art. Only the Karaton could determine the correct form for a keris, it was not up to an individual maker, and most certainly not the general public to say whether a keris was a correct form or not:- that was the prerogative of the Karaton. By "The Karaton" these people meant only only one kraton:- the Karaton Surakarta Hadiningrat, which is indisputably the senior branch of the House of Mataram. If the Karaton decreed that a keris form was indeed a keris, then it was. If the Karaton did not so decree, then it was not a keris. Very simple--- well, at least from the perspective of these hard-core keris traditionalists. Now, I was taught by one such traditionalist, and I do acknowledge that my personal opinion is exactly in line with that traditional perspective. Keris Art is Karaton Art. Only the Karaton can set the parameters which must be followed in the execution of this art form. If those parameters are not followed, then the resultant creation is not a keris, but rather, a keris-like object, even though it may be superb art. I am well aware that the nation of Indonesia is in a state of flux. It has been struggling for some time now to throw off the bonds of feudalism, and to embrace the ways of the West. The old traditional rulers have lost their power, and their tax base, and are dependent upon government handouts to maintain their crumbling authority, both actual and cultural. Now we have the emergence of "Democracy", which I have been told many times by ordinary people in Solo --- people such as housewives, taxi drivers, factory workers, farmers --means that "everybody can do as they wish". In other words, Jack is as good as his master. The old restrictions of traditional allegiance, duty, obligation, both on the part of the servant, and on the part of the master, no longer apply. In such an atmosphere, is it any wonder that those same factory workers, business executives, journalists, and others of the modern world now believe that they have the right to decree what is and what is not acceptable in the world of art, and especially in respect of the "Art of the Keris"? However, the culture of any people has its roots and its strength, in solid tradition. In any culture , there are arbiters of what is, and what is not acceptable in the cultural context, and the art of any people is an integral part of that people's culture. Perhaps in time it may become acceptable for some group of persons within the Javanese cultural community to decree the acceptability or otherwise of various deviations from tradition in respect of the various forms of Javanese Court Art, or which the Art of the Keris is one. However, in my opinion, that point in time has not yet been reached. |
Thanks Mr.Maisey for your clear explanation.
But...then another question rises in my mind: who is an Empu or ... (better) : when and why a person becames Empu? From your explanation I suppose only for Kraton determination! But then....I live in a cowntry notorious :shrug: for corruption where people that have a lot of money can change the rules or can do all they want.... if, for paradox, keris art would be an italian art i'm shure a lot of Empu's title would be buy. |
There are two ways of looking at the question of who can be an empu.
Firstly we need to understand that an empu is not just a maker of keris. An empu is somebody who is an outstanding artist , or poet, or literary person, or armourer. In Old Javanese this word was usually rendered as "mpu", and it was title of respect, not limited to only those types of persons I have just mentioned.It could be broadly understood as "The Honourable". Such recognition was bestowed by a ruler, but it could also come from the common people:- thus, two ways in which to be recognised as an empu. As to when a person can become an empu, well, that is dependent upon when he is recognised by either the common people, or by his lord, as worthy of the title. I have already mentioned elsewhere that Empu Pauzan Pusposukadgo was reluctant to use this title, even though he may have been entitled to use it. This was because of his deep religious convictions, and his understanding that in terms of the keris, an empu was more than just somebody who was capable of making the physical entity that is a keris. In terms of the keris, an empu should also be able to embue the keris with a spiritual quality. The word "empu" is often thrown around in a very careless manner, with little understanding of what this word actually means, when used to describe a keris-maker. Consider this:- the two forms of Javanese culture where this title is bestowed in these latter days are in the realm of literature, and in the realm of keris production.The written word can contain magic in that it can cause visions and emotions to arise; it has the power to alter the state and perception of the reader or listener. For a man who makes keris to claim the right to use the title of empu, the keris that he makes must be more than just metal formed to a shape.The keris must exercise as great a magic in its own way, as does the written word. As for corruption, and for titles received in exchange for the payment of money, well, I will not pursue that discussion in even the slightest degree. |
As usual, a clear and thorough explanation by Alan. I learned a lot from his post.
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