[Ian]

Hi S.J.

For the purposes of discussion, I'm going to call the first barung that you show in Post #4 of this thread, Barung A. This one has a hilt with a silver punto (ferrule) overlaid with woven strips of jute, and a small kakatua pommel with a very minimal "crest" arising from the rear of the hilt.

The second one will be Barung B. This one has a silver punto also (but no jute wraps) and has a larger kakatua hilt with a longer "beak" and larger flowing "crest." The carving on this pommel shows graceful lines and curves which one associates with more prestigious pieces such as a datu barung.

According to Cato, the more integrated, flowing style of kakatua hilt (Barung B) is older and was prevalent on hilts made before 1900, while the appearance of a crest erupting from the back of the hilt (Barung A) came somewhat later (maybe 1920 or so), with the two styles coexisting from the early 20th C. In my opinion, the older style never died out completely but became less common post WWII.

Despite the research done by Cato, the distinctions he described have been debated and not everyone agrees with his dating although I think the general idea he proposed is probably correct.

More contentious is the attribution of tribal origin based on hilt styles. some believe that the length of the silver punto is associated with the relative dominance of the tribes in the Sulu Archipelago, a longer punto being associated with the dominant tribe, which for much of the last 200 years has been the Tausug. Shorter punto might then be associated with Samal and Yakan groups. Other factors, such as the wealth of the owner, might also come into play so I'm not sure how much store one can place on the length of the punto as a determinant of tribal origin.

Another feature thought to reflect tribal origin is the angle made between the kakatua pommel and the rest of the hilt. Mention of this has been made already in this thread. The Tausug seem to favor about a 45 degree downward tilt of the pommel, while other groups such as the Samal and Yakan, seem to have a greater degree of tilt. Other forum members may be able to give you a more precise description of this feature, and indeed may have differing views.

There are other features of the hilt that warrant mention. A silver punto offers a rather slippery grip, especially when blood is present. The woven jute strips provide a better grip of the hilt and suggest to some observers that barung with such hilts were intended for, and actually used in, combat while the plain silver versions were more for show (although no less dangerous as a weapon).

Your Barung A shows wear and discoloration of the jute wraps, with a pattern indicating it was handled quite a bit. Compare the condition and color of the wraps closest to the blade with the more distal wraps. This one appears to have been a "user."

One last comment on the type of wood used for these hilts. A common material is banati wood which I think both of your examples show. This has an interesting grain and often exhibits chatoyance when polished or wet. I think the hilt of Barung B is looking dry and cracked. It would benefit from feeding with teak oil which may encourage some of the cracks to close. I would let the oil sit for a few days, then wipe off any excess before applying some wax, such as Renaissance Wax, which can be buffed with a cloth to a nice shine and will show off the grain well. I would also give the silver punto a gentle polish.

I'm going to leave it there for now and see what our other experts think.

Ian