As the keris developed into an art form, the sogokan also developed as art, but in the very early representation of the sogokan it is no more than a simple rudimentary triangle. You can still see this later weapons, such as tombak and pedang from periods as late the 18th-19th centuries. If an owner, rather than an artisan added the sogokan, as I believe is the case with this keris, he would simply add the symbol of Siwa, he would not necessarily strive for artistic effect.
Often we tend to overlook the fact that in both Balinese and Javanese keris, the keris is a living entity, and as with all living things it can alter over time. If we find a naga, or a singo barong that has the appearance of having been added to the blade after its completion, this is not necessarily an attempt to increase commercial value, but could be a reflection of a change in status, or in esoteric belief of a previous owner.
Similarly with kinatah work, there is the historic example of Sultan Agung honouring his commanders with entitlement to various kinatah motifs after the Pati conflict. Gonjos can come and go, for more reasons than one.
When a keris has been made, the form does not always stop exactly right there at that point.
If we see a keris that looks as if it might have been altered we need to appraise it objectively, not just automatically assume that the alteration is the work of some shonky little twister trying to screw more money out of a buyer.
|