Ethnographic Arms & Armour - View Single Post

A. G. Maisey · 29th August 2011, 03:49 AM

Rick, there is a body of very good craftsmen, and some of these men are still young, however, within the trade it is acknowledged that in Sumenep there is really only one supreme carver, he is an elderly man and it is not easy to get work from him.

The younger carvers do produce excellent work, but in my experience their work is unreliable and quality is patchy --- sometimes superb, sometimes ordinary.

In Bali there are whole villages of carvers who carve keris hilts as well as other forms. Some are good, some are ordinary, and the product can vary according to what the man had for breakfast.

In Central Jawa there are a lot of people who can carve hilts, but in Solo, only two who can be relied upon to do consistently excellent work. As I have said, one of these men prefers to go fishing, the other --- who is probably the best of these two --- lives in a kampung in very, very deprived circumstances, but living in a kampung means that he is subjected to being pulled this way and that by the necessities of his neighbours. His production is very limited.

As Alam Shah has said, there are competent people emerging. This has been the case for at least 40 years to my certain knowledge, however, although there is always a population of people who can do first quality work, most of these people drop out of the game when better opportunities present. I personally know a number of first class craftsmen who have moved away from making craft work and art work to accept positions in offices, factories, workshops, or as commercial representatives.

Again, as Alam Shah has told, the very best work is gone before it ever hits the open market. This applies to everything to do with keris, and also in other art and craft fields such as batik.

Many of the best craftsmen are essentially under contract to powerful dealers. Others have their work spoken for by buyers when it is only half finished. Others sell within a restricted field of buyers. The only way to get top quality work is to have the right connections, and these connections can take years to develop --- if they ever do.

The mendak situation is that particular forms of the well known Central Javanese granulated mendak have been the product of only one family for a very long time. I was told by Go Tik Swan ( Harjonegoro) in about 1986 that the entire production of these mendak came from only one man. This man died some years ago, and his son followed him, but that son has now passed away.

Old forms go, new forms appear. The art of the keris is very far from dead, it is alive and well, and judging by the prices paid at the top of the field, it is very healthy. Well, at least in Jawa it is.

David.

I have only once seen old examples of these comical wayang figure hilts, and that was more than 30 years ago.I have not ever seen them as photos in books, but I have seen drawings recording them. I am not talking about a form that is precisely the same as your hilt, I am talking about a type of hilt that is based on a comical interpretation of the wayang form.

Gustav.

No, David's hilt, and others of the same type, are not interpretations of the Rojomolo.

The rojomolo hilt form comes from the figure head of the royal barge of the Susuhunan of Solo. Traditionally these figure heads were carved for the barge by the crown prince. One figure head has been preserved in the Museum Radyo Pustoko in Solo, and another in the Museum Karaton in Solo. Both are spiritually powerful objects. The rojomolo is the spirit of the Bengawan Solo. The royal barges were used to travel from Surakarta down the length of the Bengawan to Surabaya, and then across to Sumenep in Madura. I think --- from memory--- the rojomolo figure head in the Radyo Pustoko was carved for PB IV by the crown prince, and that this barge was then used to go to Sumenep to collect the crown prince's official first wife. All this is memory and could be confused. I'll check it and correct if necessary.

I do have photos of these figureheads, but at the moment I cannot upload them.

Gustav, you would be utterly amazed, possibly struck dumb, by the figures that occur in some genuinely old--- pre-WWII--- keris hilts. We can have no preconceptions in this field. Yes, certainly the well known forms are seen again and again, but there must be millions of variations and the one-off or rare variations are very seldom seen.

29th August 2011, 03:49 AM	#13
A. G. Maisey Member Join Date: May 2006 Posts: 6,992	Rick, there is a body of very good craftsmen, and some of these men are still young, however, within the trade it is acknowledged that in Sumenep there is really only one supreme carver, he is an elderly man and it is not easy to get work from him. The younger carvers do produce excellent work, but in my experience their work is unreliable and quality is patchy --- sometimes superb, sometimes ordinary. In Bali there are whole villages of carvers who carve keris hilts as well as other forms. Some are good, some are ordinary, and the product can vary according to what the man had for breakfast. In Central Jawa there are a lot of people who can carve hilts, but in Solo, only two who can be relied upon to do consistently excellent work. As I have said, one of these men prefers to go fishing, the other --- who is probably the best of these two --- lives in a kampung in very, very deprived circumstances, but living in a kampung means that he is subjected to being pulled this way and that by the necessities of his neighbours. His production is very limited. As Alam Shah has said, there are competent people emerging. This has been the case for at least 40 years to my certain knowledge, however, although there is always a population of people who can do first quality work, most of these people drop out of the game when better opportunities present. I personally know a number of first class craftsmen who have moved away from making craft work and art work to accept positions in offices, factories, workshops, or as commercial representatives. Again, as Alam Shah has told, the very best work is gone before it ever hits the open market. This applies to everything to do with keris, and also in other art and craft fields such as batik. Many of the best craftsmen are essentially under contract to powerful dealers. Others have their work spoken for by buyers when it is only half finished. Others sell within a restricted field of buyers. The only way to get top quality work is to have the right connections, and these connections can take years to develop --- if they ever do. The mendak situation is that particular forms of the well known Central Javanese granulated mendak have been the product of only one family for a very long time. I was told by Go Tik Swan ( Harjonegoro) in about 1986 that the entire production of these mendak came from only one man. This man died some years ago, and his son followed him, but that son has now passed away. Old forms go, new forms appear. The art of the keris is very far from dead, it is alive and well, and judging by the prices paid at the top of the field, it is very healthy. Well, at least in Jawa it is. David. I have only once seen old examples of these comical wayang figure hilts, and that was more than 30 years ago.I have not ever seen them as photos in books, but I have seen drawings recording them. I am not talking about a form that is precisely the same as your hilt, I am talking about a type of hilt that is based on a comical interpretation of the wayang form. Gustav. No, David's hilt, and others of the same type, are not interpretations of the Rojomolo. The rojomolo hilt form comes from the figure head of the royal barge of the Susuhunan of Solo. Traditionally these figure heads were carved for the barge by the crown prince. One figure head has been preserved in the Museum Radyo Pustoko in Solo, and another in the Museum Karaton in Solo. Both are spiritually powerful objects. The rojomolo is the spirit of the Bengawan Solo. The royal barges were used to travel from Surakarta down the length of the Bengawan to Surabaya, and then across to Sumenep in Madura. I think --- from memory--- the rojomolo figure head in the Radyo Pustoko was carved for PB IV by the crown prince, and that this barge was then used to go to Sumenep to collect the crown prince's official first wife. All this is memory and could be confused. I'll check it and correct if necessary. I do have photos of these figureheads, but at the moment I cannot upload them. Gustav, you would be utterly amazed, possibly struck dumb, by the figures that occur in some genuinely old--- pre-WWII--- keris hilts. We can have no preconceptions in this field. Yes, certainly the well known forms are seen again and again, but there must be millions of variations and the one-off or rare variations are very seldom seen.