Ethnographic Arms & Armour - View Single Post

Boedhi Adhitya · 4th August 2006, 06:16 AM

Congratulations on your new keris, drdavid. New keris, as long as it is made properly, surely a good keris, as your does. While it was made by Maduranese, the shape takes Solo's aesthetical pattern/style, the famous 'Pakubuwono X' form, which is the most common pattern for 'high-end' modern keris made today.

As Alan explained, most modern kerises today made by Madura, especially the forging process. The 'benchwork artist', which is quite a lot (at least 15 of them competed in the 1st National Keris-shaping Competition held in Jakarta last June), might buy the keris blank from madura and do the benchworking, which is less 'risky' than the forging process, especially when you forge a sophiticated pattern such as 'ron gendhuru wengkon', which bear a lot of failure possibilities. Low-end blades might be worked by women and young villagers in Madura as a home industry.

The finest modern keris today, while the blank are forged in Madura, are mostly still came from Java, for example from Surabaya (Mr. Sukoyo/Rudi workshop), Malang (Mr. Fanani), Solo (Mr. Subandi and Mr. Sukamdi), Muntilan/Magelang (Mr. Heru), and Jakarta (Mr. Toni Yunus and Kohin). Why ? Because they may see (and have) the original fine pieces from Keraton (mostly Solo, PB IX-X), which they may copy then. Some of them would always bring vernier caliper with him, and when he has an opportunity to see a good original keris, they may take it's measures, as long as condition permits. Most Maduranese very,very rarely see or handle those fine pieces, so they cannot master the 'proper artistical' pattern. Are those artists could be called empus? keris maker is OK. But empu, as they never forge the keris themselves, except Mr. Subandi, is questionable. Not to mention other qualifications. A wise keris maker today, then, will not call himself as empu, even if he forge the blade himself, as he quite aware of his own 'qualifications' compared to the old times empus.

Today, keris in STSI is just an elective, 1 semester study in 'Seni Kriya' (handicraft art?) faculty, and the lecturer is Mr. Subandi, which as a formal, state-servant lecturer, is 'fully supported' (e.g, has sallary). The keris art gives some perspective for student in some technique on working with iron. The ISI Jogjakarta, I heard, is considering to add this elective study.

Market for modern keris is still problem today, as many Indonesian still prefer the old pieces, mostly for, you know, the 'magical' sides. But some modern collector which look for the art do exist, and the number seems growing, and appreciation for modern keris is getting better.

4th August 2006, 06:16 AM	#21
Boedhi Adhitya Member Join Date: Apr 2005 Posts: 103	Congratulations on your new keris, drdavid. New keris, as long as it is made properly, surely a good keris, as your does. While it was made by Maduranese, the shape takes Solo's aesthetical pattern/style, the famous 'Pakubuwono X' form, which is the most common pattern for 'high-end' modern keris made today. As Alan explained, most modern kerises today made by Madura, especially the forging process. The 'benchwork artist', which is quite a lot (at least 15 of them competed in the 1st National Keris-shaping Competition held in Jakarta last June), might buy the keris blank from madura and do the benchworking, which is less 'risky' than the forging process, especially when you forge a sophiticated pattern such as 'ron gendhuru wengkon', which bear a lot of failure possibilities. Low-end blades might be worked by women and young villagers in Madura as a home industry. The finest modern keris today, while the blank are forged in Madura, are mostly still came from Java, for example from Surabaya (Mr. Sukoyo/Rudi workshop), Malang (Mr. Fanani), Solo (Mr. Subandi and Mr. Sukamdi), Muntilan/Magelang (Mr. Heru), and Jakarta (Mr. Toni Yunus and Kohin). Why ? Because they may see (and have) the original fine pieces from Keraton (mostly Solo, PB IX-X), which they may copy then. Some of them would always bring vernier caliper with him, and when he has an opportunity to see a good original keris, they may take it's measures, as long as condition permits. Most Maduranese very,very rarely see or handle those fine pieces, so they cannot master the 'proper artistical' pattern. Are those artists could be called empus? keris maker is OK. But empu, as they never forge the keris themselves, except Mr. Subandi, is questionable. Not to mention other qualifications. A wise keris maker today, then, will not call himself as empu, even if he forge the blade himself, as he quite aware of his own 'qualifications' compared to the old times empus. Today, keris in STSI is just an elective, 1 semester study in 'Seni Kriya' (handicraft art?) faculty, and the lecturer is Mr. Subandi, which as a formal, state-servant lecturer, is 'fully supported' (e.g, has sallary). The keris art gives some perspective for student in some technique on working with iron. The ISI Jogjakarta, I heard, is considering to add this elective study. Market for modern keris is still problem today, as many Indonesian still prefer the old pieces, mostly for, you know, the 'magical' sides. But some modern collector which look for the art do exist, and the number seems growing, and appreciation for modern keris is getting better. Last edited by Boedhi Adhitya; 4th August 2006 at 06:50 AM.