Ethnographic Arms & Armour - View Single Post

A. G. Maisey · 26th February 2007, 10:44 PM

Thank you for your response, Buntyel Mayit.

Please understand that what I shall say about the matters you have raised are not my own invention, the result of my own investigations, nor my own conclusions. What I shall say is what I have been taught, and these remarks reflect a Surakarta perspective, which may not be universal.

Tangguh.

The condhong leleh of a keris blade does not form one of the parameters used to assign tangguh. Indirectly it may be considered as one of the component parts of the pawakan of a keris blade, but by and of itself it is not an indicator of tangguh.

Pakem.

The condhong leleh of a keris blade is not a consideration in the pakem of dapur. Dapur is concerned with the ricikan of a blade, not with the condhong leleh of a blade.

Appraisal or evaluation of a keris blade.

Yes, the condhong leleh of a keris blade does need to be considered in the appraisal of a blade.
A blade maker can exercise his own taste in affixing the offset of a blade, but if he is, or was working to a particular pattern that would fit within a recognised tangguh, then if that blade is to have the correct pawakan for that tangguh then the maker needs to work within the applicable parameters for that tangguh.If he fails to do this, then in appraisal the blade will be marked down because the pawakan is incorrect for the attempted tangguh.

Exact value of blade offset (skewness)

In a Surakarta blade the correct degree of blade offset can be achieved by taking a line which is at right angles to the base line of the blade and extending this line from the centre of the base of the pesi to the point of the blade. In a blade of normal length this line will be between 5 and 6 centimeters from the point. This orientation is carried out after the blak has been drawn onto the calon.This gives the broad guideline, but the actual offset will not be reached until the full form of the blade has been developed. This degree of offset is determined by the maker in accordance with the way in which that maker understands the artistic principles which govern the form of a keris, and requires constant re-evaluation and revision during the carving of the blade.

The objective of the maker should be to create a blade form that generates a feeling of peaceful harmony within the knowledgeable viewer. This feeling can be likened to the feeling that we have when somebody greets us, or pays respect to us by sembah; it can also be likened to the feeling that we may have when we see a man in a formally respectful position with his hands crossed in front of him, and his body slightly bowed forward.The keris maker should be trying to achieve an effect that will bring a feeling of deep peace and harmony into the knowledgeable viewer.

To develop this idea a little:- in the case of either the sembah, or the man in a respectful position, the body will bow forward just a little, if the body bows forward too much the person will look awkward, and may even be considered to be expressing himself in a sarcastic manner. On the other hand, if the body does not bow forward to a sufficient degree the person appears stiff, and the person's attitude might be interpreted as being arrogant, or that in his heart he does not truly have respect.In either of these cases, the feeling of the person to whom the sembah is given, or who is observing, will not be a feeling of peace and harmony. The awkward angle of the body, or the upright angle of the body will generate a feeling of perhaps slight unease, or perhaps distaste, or in some circumstances, perhaps even anger. It is the same with the condhong leleh of the keris blade:- you should not feel unease when you view it, you should feel peace and harmony.

To achieve this feeling is the most difficult single thing in the making of a keris, and it is seldom achieved perfectly. During the making of the blade constant minor adjustments need to be made to angle and proportion in order to try to reach this objective of a blade that creates the desired feeling.Very, very few makers will achieve this objective, and none will consistently achieve it.

I have heard a keris referred to as "a prayer in steel". Taken literally this can appear to be nonsense, but if we look into ourselves and find the peace and harmony that is generated by sincere prayer, then some of us may realise that this feeling can sometimes be generated by the viewing of a keris blade by a person who is able to absorb himself into that keris blade.

To return to pragmatism. A large part of the effect upon the viewer of any keris blade lays in the condhong leleh of that blade. If it is too upright it is stiff; if it is too far forward over the gandik it is awkward. Either of these effects will destroy harmony, and thus destroy the value of the blade as an art work.

26th February 2007, 10:44 PM	#6
A. G. Maisey Member Join Date: May 2006 Posts: 6,697	Thank you for your response, Buntyel Mayit. Please understand that what I shall say about the matters you have raised are not my own invention, the result of my own investigations, nor my own conclusions. What I shall say is what I have been taught, and these remarks reflect a Surakarta perspective, which may not be universal. Tangguh. The condhong leleh of a keris blade does not form one of the parameters used to assign tangguh. Indirectly it may be considered as one of the component parts of the pawakan of a keris blade, but by and of itself it is not an indicator of tangguh. Pakem. The condhong leleh of a keris blade is not a consideration in the pakem of dapur. Dapur is concerned with the ricikan of a blade, not with the condhong leleh of a blade. Appraisal or evaluation of a keris blade. Yes, the condhong leleh of a keris blade does need to be considered in the appraisal of a blade. A blade maker can exercise his own taste in affixing the offset of a blade, but if he is, or was working to a particular pattern that would fit within a recognised tangguh, then if that blade is to have the correct pawakan for that tangguh then the maker needs to work within the applicable parameters for that tangguh.If he fails to do this, then in appraisal the blade will be marked down because the pawakan is incorrect for the attempted tangguh. Exact value of blade offset (skewness) In a Surakarta blade the correct degree of blade offset can be achieved by taking a line which is at right angles to the base line of the blade and extending this line from the centre of the base of the pesi to the point of the blade. In a blade of normal length this line will be between 5 and 6 centimeters from the point. This orientation is carried out after the blak has been drawn onto the calon.This gives the broad guideline, but the actual offset will not be reached until the full form of the blade has been developed. This degree of offset is determined by the maker in accordance with the way in which that maker understands the artistic principles which govern the form of a keris, and requires constant re-evaluation and revision during the carving of the blade. The objective of the maker should be to create a blade form that generates a feeling of peaceful harmony within the knowledgeable viewer. This feeling can be likened to the feeling that we have when somebody greets us, or pays respect to us by sembah; it can also be likened to the feeling that we may have when we see a man in a formally respectful position with his hands crossed in front of him, and his body slightly bowed forward.The keris maker should be trying to achieve an effect that will bring a feeling of deep peace and harmony into the knowledgeable viewer. To develop this idea a little:- in the case of either the sembah, or the man in a respectful position, the body will bow forward just a little, if the body bows forward too much the person will look awkward, and may even be considered to be expressing himself in a sarcastic manner. On the other hand, if the body does not bow forward to a sufficient degree the person appears stiff, and the person's attitude might be interpreted as being arrogant, or that in his heart he does not truly have respect.In either of these cases, the feeling of the person to whom the sembah is given, or who is observing, will not be a feeling of peace and harmony. The awkward angle of the body, or the upright angle of the body will generate a feeling of perhaps slight unease, or perhaps distaste, or in some circumstances, perhaps even anger. It is the same with the condhong leleh of the keris blade:- you should not feel unease when you view it, you should feel peace and harmony. To achieve this feeling is the most difficult single thing in the making of a keris, and it is seldom achieved perfectly. During the making of the blade constant minor adjustments need to be made to angle and proportion in order to try to reach this objective of a blade that creates the desired feeling.Very, very few makers will achieve this objective, and none will consistently achieve it. I have heard a keris referred to as "a prayer in steel". Taken literally this can appear to be nonsense, but if we look into ourselves and find the peace and harmony that is generated by sincere prayer, then some of us may realise that this feeling can sometimes be generated by the viewing of a keris blade by a person who is able to absorb himself into that keris blade. To return to pragmatism. A large part of the effect upon the viewer of any keris blade lays in the condhong leleh of that blade. If it is too upright it is stiff; if it is too far forward over the gandik it is awkward. Either of these effects will destroy harmony, and thus destroy the value of the blade as an art work.