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Originally Posted by A. G. Maisey
Marius' keris belongs to the Kamardikan school, and very clearly displays its Sumenep/Aeng Tong-Tong heritage.
Contrary to the belief of many collectors who live in the World Outside Jawa, this type of keris is not produced specifically with those collectors in mind.
In Indonesia itself, this type of work is regarded as art, and regularly makes its appearance at the various keris exhibitions that are held in Indonesia.
Some collectors of keris and art in Indonesia will collect only keris from the Kamardikan classification. It is a pretty solid market.
The influence of collectors in the World Outside Jawa is not material in its impact on this market, of far greater importance is the local market in Indonesia itself. It is this local market that is targeted by the artists who produce Kamardikan keris, not the minuscule market in the outside world.
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Thanks for your input on this Alan. I am aware of all that you say, but my logic was that collectors within the Indonesian market would be more interested in Kamardikan keris that kept within the "lexicon" of accepted Indonesian iconography. Since this keris steps well outside that with its depiction of winged dragons and elephant-headed serpents i assumed it was intended for a different market of collectors.