New keris

[Freddy]

Couldn't it be that all depends on the appreciation given by the people. A man can start as 'pandai keris', but if his work is really good and a lot of people appreciate it, I guess, it's possible that he obtains the status of 'empu'. Then he is seen by all as a 'master of his craft'.

This, of course, not only goes for keris makers, it's appliable to all craftsmen.

[marto suwignyo]

I apologise for being less than clear in what I have written.

I have attempted to be very specific in my explanation of the both the word "empu", and way in which it applies to the people I mentioned.It would appear that I have failed.

I shall try again.

Empu Suparman was a part of the heirarchy of the Kraton Surakarta Hadiningrat.
He held rank within the Kraton heirarchy, the names bestowed upon him by Sinuhun indicated his calling and assigned duties within that heirarchy.
Until the time of his death he was the official empu of the Kraton Surakarta.

Empu Djeno has a name bestowed by the Kraton Yogyakarta, but which I would need to look through reference material to find. That name will incorporate components that will clearly indicate his calling and duties within the Kraton heirarchy. He will also hold a rank within the Kraton heirarchy.Additionally, Empu Djeno claims descent from a line of empus.

Pauzan Pusposukadgo was given the name "Pusposukadgo" by the Kraton Surakarta. The components of this name are "Puspo" and "su" and "kadgo". The component "kadgo" indicates his calling within the Kraton heirarchy. "Kadgo" is a Javanese literary term for "keris"; it appears in Old Javanese, Kawi, and Sanskrit, where meanings vary from "keris" to "pedang" and "sword".This name clearly identifies Pauzan as an armourer. The fact that he has chosen not to be called an empu is a reflection of his religious committment, nothing to do with the recognition of his skills. Pauzan Pusposukadgo also holds a rank within the heirarchy of the Kraton Surakarta.

Empu Mangku Wije is a heriditary empu. As I explained in my earlier post, in Bali the empus were not a part of the Kraton system, but rather members of a clan apart from the rest of Balinese society. They provided their services upon request. Empu Mangku Wije has the right to call himself "empu" because of his line of descent, and because of his membership of the Pande clan, and because of his occupation in the making of Balinese ritual implements, tools, and weapons, including keris.

There can be no question that these four men are entitled to be known as "Empu".

However, as I also advised in my previous post:- "---however, there were instances of famous empus who were not designated thus by a Kraton, but rather came to be known as empu by the wider community.---"

Of course a person who is the descendant of a line of empus cannot call himself an empu if he is in fact a bookkeeper, but if that person works as an empu, in Bali he has the right to call himself an empu. In Jawa the designation of empu should come from the Kraton, where it will be indicated by the name given by Sinuhun at the time a Kraton rank is bestowed. But it must be noted, that in historic times some people were known as empus who never worked under the aegis of a kraton.

I trust that this further explanation clarifies the matter.

[John]

Terima kasih Marto for the outstanding post and for further enhancing/clearing my understanding especially on the part of Balinese Empus not being part of the kraton system. I didn't know that. In rereading your preceding posts I realised I've missed a few salients points highlighted by you earlier. My apologies. I guess if the official kraton status of those few noted names cannot be disputed, they are Empus. Again you've also highlighted "But it must be noted, that in historic times some people were known as empus who never worked under the aegis of a kraton" which is again noted.

I'm aware of Djeno's descend claim to a line of Empus (if indeed verifiable) but not too sure of the circumstances to his kraton yogyakarta title. My saying so because things appear to be more for commercial reasons these days...

[Alam Shah]

That was informative. Thanks Marto.

[Boedhi Adhitya]

I agree with you, Marto, that "pusaka" in correct, normal, daily usage, might means heirlooms or inheritance. But I speaking about a very specific "pusaka" term, which is, I observe, used amongs keris experts in Java. So it's only exclusively used for "tosan aji", by those who understand it, and should not be extended to any other meanings. Certainly, it is not listed on the dictionary . Any "commoners" in Java, that is, non-"student-of-kerises" , might use those normal daily usage.

Many keris experts believe that it was the empus' intention which made a keris a pusaka or not. Times and changed in ownership cannot and will not change this intention inherent to the keris, but the owner certainly can change how he treats the pieces. So, I'm talking about "inherent pusaka values in the blade", not how the owner treat it, or acquire it. Someone may treats his keris(es) as pusaka while the keris itself, in fact, was not intended to be treated as so by the maker himself. But a keris which was intended to be a pusaka by it's maker, will still be as such, no matter how the owner treat it.

As the making of pusaka need a lot of effort, (materially, technically, and spiritually, not even to mentions times), which were very different to the making of other so-so kerises, any experienced keris connoiseurs should and have to be able to know, what the empu's intention really was when he hold a blade. He/she should also have to be able to judges, whether empu's intention in the blade "failed" or "succeded". In short, whether the "intention" became "reality", or not. It should shows the empu's mastery in technical and spiritual aspect. Not every intention became reality, we all know it

The traditions classified kerises' intended use as "ageman" (literally : agem =to wear, that means daily usage: for proper dressing, souvenir, exhibition,etc), senjata (literally : weapons), and "pusaka", which should bear the ageman and senjata qualities, plus a lot lot more as I mentioned in previous posting. It's oke to wear a pusaka-rated keris on daily usage, but it may cost you a lot if you loose it . But the "ageman"-rated keris should not be treated as pusaka, while it is in fact OK, but it's just "unproper", as it was not intended as so.

If we talk about Kraton's pusaka, we should consider also the political circumstances. Kraton used the pusaka as their legitimation to govern, sometimes (or always?) accompanied with a lot mystical legends and history. Well, King Arthur was doing such a thing also, wasn't he ?
Even so, the Kraton should pick their pusakas very carefully. The pusaka's quality should be so high, that no any commoner would match it. They should also employ the best living empus on their court, to add their pusakas, and thus adding the "magical powers" and then, legitimation. As Indonesia became a republic, the Kraton lost their power and thus the practices lost it's importances. Losing the power, the court also could not afford to support the living of empus and his assistant, and the support to the art was lost.

Today, Kraton Jogjakarta has no formal empu, and thus, Empu Djeno, until today, bear no name/title from Jogjakarta Court, or any court,(yes, I've verified it to my friend who is the court's servant and also keris expert when I write this post), while in fact, Sultan Hamengkubuwono IX himself personally (not on behalf of Kraton) commisioned a keris to him, using Prambanan meteor. Djeno would be the last living empu who is still practizing traditional methods, including fasting, make the offering, and chanting the mantras. Living celibate, he is now assisted by his nephew, Sungkowo. Actually, it is Sungkowo who do the "hard work", since Djeno is around 70 years old and suffering breathing difficulties, perhaps caused by breathing charcoal fumes for years. Djeno is the youngest son of Empu Supowinangun, the official empu of Kepatihan (prime minister's office) of Jogjakarta. His lineage is reliable, because the Ngenta-ngenta village is a well-known empu's village, and there are the graveyard especially devoted to empus, which many of them, are Djeno ancestors. Supowinangun also a capable empu, as his works reveal (I've seen an authentic ones). But Supowinangun never taught the "empu-hood" to Djeno on purpose. Djeno was learning by doing, assisting his father.

Just for information, the are two kind of Court Servant (Abdi Dalem) in Jogjakarta's Court, first the "Abdi Dalem Kaprajan" (praja=government), which consist of Abdi Dalems who are still active in civil/military services, the second is "Abdi Dalem Panakawan" (pana=to witness, to know, kawan=friend), which consist of Abdi Dalems with other occupation in community. The Kraton Jogjakarta ranks today are (as I recall, might miss some) : Jajar, Bekel (Raden/Mas Bekel), Lurah (Raden/Mas Lurah), Wedana (Raden/Mas Wedana), Riya (Raden/Mas Riya), Tumenggung (Kanjeng Raden/Mas Tumenggung). KRT would be the highest. For Kaprajan, the rank would be matched to his service, e.g. the Lt. Col. in military would be titled KRT ("Raden" only for those who able to show hereditary lineage to a king, commoners would be assigned "Mas"), while Panakawan must follow the order from the lowest, just like the military serice. Thus, since Djeno have not enlisted himself as Abdi Dalem, the Jogjakarta Court didn't give him any title/rank/name, until now.

Thus, any other keris makers bearing title from Kraton would be from Surakarta Court. Among them is Mas Lurah Pusposukadgo (or Fauzan, as mentioned by Marto), an antique/keris dealer who become keris maker. Today, he makes keris no more. Others are Suparman (I forgot the title), was a keris collector, Subandi (i forgot the title also), a lecturer in STSI Surakarta who teach a keris making, once a student of Fauzan, KRT Sukoyodipuro and Hartono from Surabaya, was an antique/keris dealer, and founded the Besalen Condroaji, with many students/followers in Madiun and Malang, East Java. As I could recall, while they bear the Kraton Surakarta's title (and thus a "Formal Kraton's Empu"), but they never made a pusaka commisioned by Kraton Surakarta. Some of them, buying the "saton" or half-finished kerises from Madura and just do the cold-working/finishing. By doing this, they may cut-off the forging failure (which may quite often, just ask the damascus blademakers) which may cost a lot. Most of them working on Surakarta nem-neman style, if not copying. A fine Jogjakarta style is a rarity, probably because no example for them to copy. (I will not gives a comment to "commercial", whether it's the empu, or the title itself)

In Bali, while there are some court, (Gianyar, Karangasem, Singaraja and Klungkung, amongs them) the best pieces were made in the Klungkung Court. (Balinesse collectors say this, not me. So if you need a proof, I suggest you go to Bali this summer, )

To became the master empus (not so-so empu), ones, at least, should fullfil these requirements :
1. Very sound mastery in technical aspect on making kerises/edged weapons, these including (but not limited to): choosing the materials, preparing, forging, cold working and tempering. In the old days, these knowledges might be kept as a secret (in fact, "making weapon" is still a secret today, consider the nuclear weapon. Making very fine weapons, in the old days, might be treated as such). So, It was only the direct line of descendant (preferably famous empus) or a sound apprenticeship would guarantee this.
2. Mastery on keris's symbolistic languages and philosophy. That's why some dhapur, like Nagas, are very rare. Those dhapurs were reserved for the court members only. Any Master Empus would refuse the commoners who commisioned these. In fact, Traditional Empus would always asking the date of birth, hereditary lineage, occupation and the particular wish(es) of those who commisioned the pusaka-rated keris, if he can afford to commisioned one, then match this information to one of the dhapur and pamor he considered "proper". (today, only Empu Djeno who still doing this)
3. Very sound sense of art, especially in shape's harmony/balance. Might only learn by "handling the fine pieces", which unfortunatly, held by Kraton. "Mutrani" practices (copying the fine old work) would be the way for empu to master this sense.
4. Last but not least, "spiritualy capable".
To be able to make a masterpieces, this requirement also has to be fullfiled :
5. Have an access to best materials exist. (good iron and steel might be regulated by the court, just like the uranium today . Its also cost a lot).

Thus, patronage from Kraton for master empus seems inevitable, and indeed, the kratons themselves seek the best empu exist. Any master empus who is unwilling to gave the service to the court might be considered as a dissident.
Today, to became a master empu, someone seems had to have at least a doctoral degree in metallurgy, philosophy, art and "spiritual", all at once.

Once again, cultural diffrences may apply

[Alam Shah]

Boedhi Adhitya, an enlightening comment. Lots of insights. Thanks.

[John]

Hi Boedhi, apa khabar? It's heartening to hear from members based in Java such as yourself and Marto and taking the time and trouble to share invaluable stuff/information. It's great that we put as much on the table for us to digest and perhaps cross-check/verify where possible. It's indeed stimulating, interesting as well as enlightening. Thanks.