Yes, Pak Alan, I understand your point. We are on the same train, and if there are some minor differences, surely because we see through a different angle, as you are sitting on the different seat. You are not sitting on my lap, aren't you ?
Let's moving forward...
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Originally Posted by ganjawulung
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
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I agree with Pak Alan, that PB didn't make a 'new from the scratch' style. It was hard, even today, to 'invent' a new style. Keris aesthetical standart has developed as such that it has strict senses on what is acceptable and what isn't. Thus, PB was adopting another standart which already exist. We must also bear in mind, that there was a time when Jogja and Solo shared the same style. Thus, the differences between the two courts follow an evolutionary path. What we see today is the latest development, mainly come from late-19 C - early 20 C, that is, when PB IX-X and HB VII-VIII reigned.
What style PB did adopt, therefore, debatable, as there is no clear documentation about it. But from my limited knowledge on PB blades, I always feel it has some Madura influences. I make my conclusion mainly on the 'global proportion' of the blade, mainly between the high/length of gandhik, the width of sraweyan and wadidang slope compared to the overall length of the blade. I didn't take account of the details/ricikan, as it might come in various way, and most straight Madura's blade has very limited detail. Please don't mix it up with new Madura's blade. The old one is a good blade. Well define and having bold, strong character. Madura has many famous and powerful empus, which has made keris at least since Majapahit eras, and even earlier. Even in some way, the HB I blade also has some Madura influences, among other. HB I also an admirer of Madura's bravery. He composed a dance for it, named Beksan Lawung Trunajaya. (Trunajaya was Maduras Prince, which in fact, attacked and caused the fall of Mataram under Amangkurat I)
Historically, Solo has a tight connection to Madura. Some Madura's princesses were married to Solo royal families, if not the Susuhunan himself. Not to mention, the famous Empu Brajaguna came from Madura, and the family of Brajaguna worked for the court for the long time. Wasn't it possible, that there was another empus who also emigrated to Solo ? Through Bengawan Solo river, Madura was easily reached.
My objection to Pak Alan conclusion is simply because the what-so-called Banten blade was very likely unknown in late 18c. in Java. Serat Centhini, which was composed in early 19c, has already described tangguh Majapahit as we would accept now, as a light and slightly small blade. But if we use only the blumbangan as the indicator, it might be true. But I think Madura's blade also has an elongated blumbangan too.
Yogyakarta, in the other hand, claiming themself as an inheritor of Mataram, and in fact, located in Mataram, surely would adopt the Mataram style. But not without modification, though.
HB I is some kind of the mixture between Mataram, Madura and Tuban/Pajajaran. It's unique features is a very deep and wide blumbangan. It is very rare.
HB V is a mixture of Majapahit and Mataram. It has 'tight' (kenceng), but calm and confidence in appearance. Keris, in HB V eras who reign during and after Dipanegara war, was an important tool to support his legitimacy. He withdrew all pusakas which belong to old Pangerans, to suppress their influence. He made and gave pusakas to those who support him. No room for error. It's also known as Tangguh Srimanganti, as it was forge in Srimanganti hall, inside the court. The most noticeable feature is it's pamor. It is incredibly tight/lembut, without losing it's line. It also shows chatoyancy effect. In some blade, it literally look like peacock feather. It is regarded as the best Jogjakarta's blade ever made, but unfortunately, it is rare. I haven't seen the pictures of the real HB V's blade ever published.
HB VII, on the other hand, made quite a lot of kerises, in some grade of qualities. The high quality blade only bestowed to the Princes, while the lower one to the lower rank servant, accordingly. It has a mixture of Tuban and Mataram style, and slightly bigger than HB V. Pamor comes in vary.
HB VIII's blade was almost the same with HB VII, as the same empus was employed. The most noticeable difference are the blade is very slightly smaller and the pamor is more coarse.
Here, I attached the pictures of K. Tamansari, which was published in Keris Magazine and Haryono Guritno's book.
www.heritageofjava.com/keris
It is a well-published keris, but regarded as Mataram. According to some in Jogja, it is HB VIII. The material, kinatah and pamor style doesn't fit the Mataram Tangguh. It is a good example of HB VIII keris. Tamansari is the Water Castle, built during the reign of HB I. Once a very beautiful garden with under water tunnel, man-made island, etc, but now only ruin. It's beauty depicted in batik's motif, and also in this keris' kinatah.
Other pictures in the comparison between Madura and Surakarta keris. It can not, however, replace the real blades.