Thanks Pak Gonjo. Yes, that association with wayang does make sense. More sense than reading it as Kawi.
Apart from which, now you remind me, I do recall some people do use karno tandhing rather than karno tinandhing.
But we still have the problem of sense.
If we consider the word "tandhing", we find that it can be read in several different ways.
It can have the sense of to match something or someone against something or someone else.
Or it can have the sense of an equal match.
It can also have the sense of a duel
The act in the Baratayudo is named in the active voice, so, taking into account the equal attributes of Basukarno and Arjuno this act title can be read as "Karno is evenly matched".
However, the act tells of a duel, so although Karno is evenly matched, he is evenly matched within the context of a contest against Arjuno.
Bearing this application of the words in mind, I rather doubt that we can draw a direct line from the name of an act in the Bratayudo and assume that the name of the keris dhapur "karno tinandhing" (or tandhing) is a direct lift from the wayang to a keris name.
However, this is not to say that there is no connection.
In the keris form karno tinandhing, or karno tandhing, we have a form in which the characteristics of the ricikan are repeated on opposing sides of the blade :- they are equally matched.
Such a dhapur could simply be named "dhapur tandhing".
But it is not, it is named "dhapur karno tandhing".
The word "ear" has been introduced.
Why?
I would suggest that the kembang kacang that are placed on each side of the blade give the impression of ears, so we have "karno tandhing" :- "equally matched ears".
This then becomes a play on words that links us back to the wayang.
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