[Gustav]

I can understand quite well a blade in Ngentho-Entho style is esthetically very far away from Surakarta canon, and this blade is a textbook Ngentho-Entho, a very good one at that.

It is also not mine favorite blade style, but I very much appreciate the coherent, clear stylistic idiom this blade embodies, together with the surface workmanship and a nearly perfect distribution of Pamor over the body of blade, on both sides. This blade really is alive, a true Keris.

On Keris renaissance and Jitar. For the years starting with 1973 until beginning of 80ties the more important of the brothers, head of the family, and one can say, the true master, also in quality of Keris making, was Yosopangarso. Of course they all worked together, but Yosopangarso left his character on blades they produced, an old style Javanese person. No wonder Keris making process Solyoms documented was done by Yosopangarso. Later Djeno started his own thing and was clearly more interested and talented in promoting his work.

Sadly even some of these early blades, which sometimes are almost impeccable, are now known as made by Djeno. This is a very good example for how a later fame overwrites and changes the past.