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Originally Posted by Boedhi Adhitya
Mas Ganjawulung, I don't think that there would be much differences in keris making between Jogja and Solo. Style, perhaps. But even so, I remember Empu Djeno once told me that his father used to sold his keris (gramen) in Pasar Gede, Solo. His father, certainly working under Jogja's school. And at the time he was living, there were much more 'keris literate' people in Solo than today, and the shadow of rivalry between Solo and Jogja should be much more felt than today. But he managed to sell it.
I don't understand the Solo School much. But I get impression, until now, that the Solo school emphasize on learning the technical aspects and details. OTOH, I get impression, until now, that Jogja school emphasize on learning about the 'perfect metal', mainly the iron (tosan) and 'overall appearance'. Under the Jogja school, it is the tosan (iron) which makes an iron object such as keris qualified as 'tosan aji' or not. Other things like dhapur, details/ricikan, pamor motif and tangguh come later. However, after the tosan meets the standart, those factor then come into account. But I must admit, it is practiced under a very limited circle only, mainly kraton-linked. It doesn't mean that Solo neglect tosan, and Jogja neglect the technical and detail. I've found Solo kerises which has good iron, too. It is just a different priority on keris appraisal.
Unaware of this different approach would certainly result in unnecessary endless debate, and possibly harasment.
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Dear Mas Boedhi,
I am Solonese, born in Solo, grown up in Solo. But yet, admire much the Jogjanese "nom-noman" (keris with "young" tangguh, Hamengku Buwanan for instance). Sri Manganti keris, (and) "ping piton" (The Seventh, to mention keris with tangguh Hamengku Buwana VII -- 1877-1921) are the ones of my admiration. You may compare with the Solonese "nom-noman" from about the same era, of Solonese Paku Buwana IX (1861-1893) or Paku Buwana X (1893-1939). I cannot describe the details, because it is a matter of "visual and rasa or feeling appreciation".
If I'm not mistaken (please correct me if I'm misled with my understanding), "nom'noman" of Hamengku Buwana style is more "mataram" style, while the Paku Buwanan are "new style" -- in form of ganja, and the whole appearance of the blade.
According to you, which Hamengku Buwanan style is more specific? The seventh? Or the older Hamengku Buwana? What is the most specific characteristic of Sri Manganti, Mas Boedhi?
Ganjawulung