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Originally Posted by A. G. Maisey
nyawati > diwangun > ngilap > ngleseh > diwangun > ngleseh > diwangun (and a further 20 more steps:- ndudut kembang kacang, ngisi jalen, ngeluk KK, mekak pidakan, ngleseh, diwangun, ngluroni, natah sogokan, natah tikel alis, natah sraweyan, diwangun, nglempeng ada-ada, diwangun, followed by the gonjo work)
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You are correct, we are not seeing the same sources, while both sources claimed for quoting it from the same sources (Empu Djeno).
On my note are :
Nyilak Waja kapisan (1) > Ngilap (1)> Ndudut pesi > Nyawati (Silak Waja 2) > Mapaki+Kewangunan (1) > Ngilap (2) > Nyawati (2) > Kewangunan (2) > Ngluroni (1) > Ngleseh (1) > Kewangunan (3) > Ngluroni (2) > Ngleseh (2) > Kewangunan (4) > Kembang kacang and jalen works > Ngluroni (3) > Ngleseh... and so on..
While the sequence differs, the essential principle are the same.
Quote:
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Originally Posted by A.G. Maisey
Keris competitions.
Keris are art.
Art should not be measured subject to artificial time constraints, nor should it be done under public gaze.
By staging competitions open to the public and subject to time constraints the making of a keris has been reduced from art to a manufacturing process and is measured by commercial viability rather than artistic parameters.
Public, timed keris carving exhibitions are garbage that can do nothing but damage the art.
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Yes, it is. But sadly to say, most new kerises are made with commercial intention in mind. Specialization and division of labor that we see in Madura today can be seen as 'mass-production'. Keris has become commodity. Very limited keris makers work on behalf of art, not to mention spiritual tradition. Thus, 2005 Keris Competition was only a logical step from this situation. I'm not happy with it.