New keris

[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.

[marto suwignyo]

I accept that as a member of a keris society based in Yogyakarta Bapak Boedhi Aditya has presented the meaning of the word "pusaka" as it is used by members of the society to which he belongs.

I regret that I am unable to agree that the term "pusaka", when applied to a keris is in fact widely accepted in Jawa as a term to indicate quality in a keris.

The pusaka keris could be expected to be of superior quality, as in its cultural context as a binding agent, the necessary qualities would only be able to have been brought into the keris by a maker fully conversant with the required ritual, however, simply because a keris is of adequate quality to allow it to be on a par with the expected quality in a pusaka keris, this does not make it a pusaka keris.

I do not challenge the right of any group of people to initiate their own jargon to simplify discussion of a shared interest, however, that jargon only has value and meaning within the group which has adopted its use. The meaning carried by that jargon within the group cannot be extended to the wider cultural or societal context.

It may be accepted that within the group of which Pak Boedhi Aditya is a part, the word "pusaka", as applied to a keris, or other item of tosan aji, carries with it the measure of quality. However, in spite of the claim that this is general usage throughout Jawa by all adequately educated students of the keris, in my experience , this is not the case. It may be so in Pak Boedi`s group. It may even be so in Yogyakarta. It is not so in some other places.

The qualification used by Pak Boedhi of "inherent pusaka values in a blade" I find quite acceptable.
This clarifies that the term "pusaka" as used within Pak Boedhi`s group has a meaning that relates to quality.
But again, this level of quality does not make a keris a pusaka:- what it makes it is a keris with inherent pusaka values, that is, a certain level of quality, both physical and perhaps esoteric.

My quote of Pakubuwana I in my previous post tells us exactly what a pusaka is:- it is something that binds the current custodian of the pusaka to his forebears, and to members of his kin group who are still living. In 1708 this was understood by Pakubuwana I , and would equally have been understood by the Javanese people whom he ruled. In the cultural decline which has occurred since 1708, this meaning has been lost, and now we have the term being used in some places as a measure of quality.

It is a phenomenon of societal development that this development seems to almost invariably go together with the erosion of cultural values.Bearing this in mind, it is understandable that the concept of "pusaka quality" could easily replace the true meaning of pusaka, and that the true spiritual meaning of exactly what a pusaka keris is, be forgotten.

In respect of the status of Djeno Harumbrojo, I stand corrected.
I had assumed that he had entered the heirachy of the Kraton Yogyakarta, and thus had been given rank and title. Apparently I was wrong. I apologise if my misstatement of fact has caused any inconvenience . I can only excuse this by saying that my base of knowledge and experience is not Yogyakarta.

In respect of Pauzan, he was not an antique dealer, prior to becoming a maker of keris, he was a night bus driver. His wife was, and is an antique dealer, and he assisted his wife on a part time basis when the antique business was begun, in , I think 1973 or 1974. Currently the correct form of address for Pauzan is Bp. KRT.H. Pauzan Pusposukadgo.It is many years since he carried the rank of lurah. I have known Pauzan as a good friend for more than thirty years.

Bp. KRT. Suparman Supawijaya (almarhum), was not a keris collector. He started life as a shoemaker, he became a soldier, then a dealer in precious stones and wesi aji, finally he became a maker of keris and other wesi aji, I had the good fortune to be a close friend of Bapak Suparman for the 14 years immediately preceeding his decease.

Subandi is one of the "anak-anak ASKI". The others are Yanto, Pandi, Widodo, Kamdi, Bagio, and of course, Yantono.The STSI was the ASKI, prior to its status being changed in the mid 1980`s.

I could be wrong, but my current information is that Subandi is not employed as a lecturer. He was certainly never taught by Pak Pauzan.

When the keris school was set up in the ASKI, as a part of the faculty of plastic arts (ie, sculpture), and under the leadership of Pak Yohanes Yantono, both Pak Parman and Pak Pauzan were approached to act as lecturers. They both agreed, however, neither were ever called to lecture. This is something that made both men feel slighted and has caused ill feeling until today within the keris community in Solo.

In fact, the only teacher of keris art is Pak Yantono, and he has not had a pupil in years.Pak Yantono could never be considered an empu; he is of the Katholic faith and by definition is culturally unsuited to be considered as an empu.
The total number of people who have graduated as makers of keris could be counted on the fingers of two hands, and none currently ply their trade, but prefer to use their qualification to work in other pursuits, as factory managers, salesmen , pigeon breeders, and so on.
Pak Yantono still makes the occasional keris, but he is now over fifty years of age, and is the head of his faculty, and prefers work more in accord with his changed status.

I do not know Pak Sukoyodipuro or Pak Hartono personally, and I have not heard mention of either of these gentlemen from my friends within the Surakarta Kraton community, nor from people within the keris world in Solo, except that I do know of Pak Sukoyodipuro as a maker of keris.
My knowledge in this respect could be flawed, and I will certainly follow through on this question.
It seems incredible to me that Pak Sukoyodipuro could have achieved the rank of KRT in such a short space of time, and especially whilst not living within Surakarta; it normally takes many years to achieve this rank.
Of course, since the decease of Pakubuwana XII, there has been a considerable amount of confusion in Kraton affairs in Surakarta.

Regarding Bali, the distinction between "in the Kraton", and "for the Kraton" is important.
I repeat:- the empus of Bali were not members of the heirarchy of any kraton. They were members of the Pande clan , having their own priests, and outside the Balinese system of caste. This is well documented in the literature.



To recap on the core matters under discussion, which I understand to be:-
1) the meaning of "pusaka keris",
2) the meaning of "empu"

In respect of pusaka keris.
I accept that Pak Boedhi Aditya and his group of keris fanciers in Yogyakarta have attached a meaning to "pusaka keris" that equates this term to a measure of quality.
I do not accept that within the context of Javanese culture this is a correct interpretation of the term.

In respect of empu.
My original definition stands, and I complement Pak Boedhi upon his expansion of my definition by provision of a further explanation of the qualities required of an empu.