Rare Bhutanese short sword for comment

[tom hyle]

AFAIK it is nowhere on Earth as pronounced as with k(e)ris, the only exceptions being for work imitative of k(e)ris (either other Indonesian pamor work, or, for instance, current N American work with nickelous layered steel). That is not to say that it is nowhere deliberately controlled and displayed; the etching and display of patterns seems fairly common across the Earth, and seems to emerge as a facet of cultures where it was previously not noticed, with continuing study (ie. Moro). On the other hand, it is folk lore and my strong suspicion that the patterns had (largely secret) practical/magical/religious meanings/affects in many cultures, and some such affects may well in no way depend on being visibly distinguishable (This can be difficult for people to grasp; the modern/industrial/American fascination with show, display, image, often to the extent that these are the only motivations that can be understood or believed, is rather singular; people of most cultures have thought very differently from this....). Certainly I have seen old blades, ones I've etched or ones whose welds showed in the patina, that have meaningful or complex welded structure, and do not seem to have been originally etched (although, actually we can't tell; a light etch, despite various warnings you may encounter, is very little if any "damage" and rubs off quite easily over years of casual handling, let alone use. For instance, many old carbon steel kitchen knives are encountered on the secondary market in N America that are "sterile"; a collectors' term for unmarked, but I suggest that very few of them were truly not marked; the majority were maker-marked with light etches that are gone to routine handling, cleaning, and oxidation; such light etches are still done, and I have watched them fade with successive washings; I've seen others that can only be seen if you know where to look, only be recognized if you've seen them before......). Explaining this in any detail or coherent schema is a thing I cannot do at this time, and so far have yet to encounter anyone else who much can, either. I have theories about the structural advantages of the ladder pattern, and of course, macro welds; inlaid edges and stuff are fairly self explanatory, but patterned sides or core....?......made not to show....?.....does this make sense? and if so, how? Now, this particular piece is being described as lineal laminate with a looped tip, similar to what is seen on some PI work, yes? This is my understanding of the "hair pin" structure? It may have an inlaid or hardened edge, which might be the most interesting thing seen with an etch. One reason to etch old blades is that it is culturally appropriate for some of them (and we do not know the full list of which ones, by any means); another is to clean off oxidation; another, quite traditional and coming into popularity in current N America, is to make them more appropriate to the culture in which they currently exist (ie your culture); another is to see what you're working with, temper and welds-wise, in order to execute useful well-planned repairs; another is simple curiousity, and without the "damage" of what some might call excessive etchings, I and many others would not know what we know. Many many many blades that appear and are generally (by, mind you, collectors and academics, at that) assumed to be homogenously tempered "monosteel" prove otherwise on an etch. Many many many. And some of which otherwise is known, it has only become known to the Overculture, in even slight degree, in recent years. (for some reason, in its usual misapplication of "Occam's" razor, the "West" tends to think of monosteel, a high-tech industrial product, as the base-line material for traditional tribal production until/unless it is shown otherwise in each particular instance Kind of like treating "it's a fake" as the base-line assumption for something one hasn't seen before, if you ask me; not very logical, nor based on real odds/statistics; assumption of near-dogma status.)