Next keris from Polish Museum

[tom hyle]

Originally Posted by BluErf

Everyone can make an attempt to make a simple form, but whether it is done well is another different matter....To people who have not gained a deep appreciation of the art, the hilts made by a tukang and a master all look alike. To the connoisseur, it can mean thousands of dollars in price difference. Its all in the "air tangan" (Malay: literally "hand water". crudely translates into 'x-factor in carving') of the carver.

To add to nechesh's request, apart from attempting to carve this Durga hilt, maybe Tom could attempt to carve the Bugis handle I have posted, with all the surface lines, especially the u-turn double line on the back of the hilt. I would gladly supply more photos. Also, another good experiment would be to carve the inverted v sheath bottom. Again, I also emphasize this is not a spiteful challenge; I believe that the proof of the cake is in the eating, and in this case, the proof of mastery (or not) is in the ability to carve. I'm not trying to put you down Tom, but carvers in Madura have been trying to copy the Bugis keris hilts and they have not been able to do it convincingly, and these guys are professional carvers who carve every day.

OK, Rubbing my head in consternation, but once more to try to explain: A/ I don't do nothing to prove nothing to nobody; I don't care that much what you think; I do not enjoy obsessive carving, especially the polishing; and you nor anyone else has nor is welcome to try to exercise such power over me. Is that hard to understand in some way?
B/ The one I said I could ALMOST carve under ideal conditions is the Durga one, not the stripey Bugis one: What I said about the two is that they are quite different, and I would think that in the absense of any further comment the implication that I make no claims regarding the Bugis hilt would be obvious. Both the angling and the parrallel lines might be hard, though I would make the parrallel lines with jigs or a special knife of some kind I'd probably have to invent if for some reason I had to make them perfect-perfect; then again I might be able to pull it off with a gun checquering knife. In any event, what I can make, what I have made for hire (for instance, perfectly flat lacquered wood surfaces, which are indeed difficult), and what I enjoy making or choose to make are vastly different; I am a designer; I am interested in structure. The acts of polishing and precision of decoration in producing plastic art are not things I enjoy. That's not because I'm incapable of them; it's because they're boring and painful.
C/ I don't know from spite, but I'm not feeling like all this is real mannerly or respectful of my eye and knowledge, but I'm used to that from humans and not too excited over it; as for my "mastery" I have never ever ever ever ever ever ever ever made any such claim in any feild! Ever ever ever ever. In fact, I cited the fact that I could probably carve the Durga statue as evidence that it does not require a master.
D/ Not sure what was supposedly improper about the Eric Clapton line of metaphor, but I see that, with no further promting from me, the subject is still art.
E/ While I can understand the concept of hiding errors in a profusion of detail, I don't know that I agree with it; first, the more details there are the harder it is OF COURSE for them all to be perfect; second, it is my experience as a craftsman that if you can't do an intricate decoration right you are far better off to not do it at all. Flat flat is indeed hard to make, but other than that flats and surfaces are certainly not harder to make than details; they are easier. This does not impugn the beauty or subtlty that can be expressed in them in any way. The concept that highly detailed carvings are done to hide a lack of skill seems to somehow fit the same myth structure (urban sword legend, anyone?) as the concept that carvings on Japanese blades are done (only or principally) to hide/eradicate forging flaws. Both may have some truth. Certainly, and with full consideration for the artistic traditions of simplicity/form that exist in both Japan and Indonesia, neither is correct as a hard and fast rule.