Quote:
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Originally Posted by Bugis Keris
Prestige of the keris world has three (3 ) kinds of sense .
The first concerns the material of manufacture ; for example : meteorite pamor Luwu , nickel prestige , and prestige relatives .
Second sense it comes to form a picture or pattern forms. For example : prestige Ngulit Watermelon , Rice Wutah , Ri Wader , Adeg , and so on .
Third , concerns about manufacturing techniques , for example : mlumah prestige , prestige oblique , and the prestige of torsion .
In addition, the terms of the master's intentions , prestige pattern which could still be subdivided into two groups . If the master makes fame kris no pattern, then the pattern is called pamor prestige tiban . One would assume the shape of the pattern prestige a gift from God .
Conversely , if the master had designed the pla prominence , called prestige colleagues [ rékan is derived from the word réka = engineering ] . Example tiban prestige , for example : Rice wutah , Ngulit Watermelon , Pulo Tirta . Examples of peer prestige , for example : Udan Mas , Ron Genduru , Blarak Sinered , and Untu Walang .
There is another called surrogate or prestige prestige ceblokan , namely pamor following its manufacture , after a keris completed 90 percent . Pamor pattern following the end of the process of making the keris .
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If I understand him correctly, Bugis Keris is saying the following:
There are three aspects to pamor. The first refers to the materials used to create it (meteoric iron/nickel, terrestrial nickel, and other materials). The second refers to whether the pattern was intentional (pamor rékan) or unintentional (pamor tiban). The third aspect refers to the smithing technique required to create a particular pattern.
He also mentions pamor ceblokan (encrusted pamor) which (I believe) refers to the addition of, say, gold to enhance parts of a blade. This is a term I hadn't heard before, so I learned something.
