New keris

marto suwignyo · 28th August 2005, 11:03 PM

Pak Purwa
Yes, we can set an example, we can try to influence, we can try to teach, and we can start with our children as soon as they begin to understand, but have you noticed that the members of each new generation invariably know more, and are wiser than their parents?

Perhaps in a rural, or a village situation, the traditional Javanese heirarchy may still survive, but in the towns and cities, there is little use for heirarchically structured language. Bahasa daerah may be taught in SMP, but the teaching of Krama Inggil , or Madya, remains a family thing, and time spent on learning this can seem to be time wasted in today's ultra competitive environment. Some of the non essential trappings of culture can hardly compete with the necessity to earn a living.

Theory and practice.....

When I wrote:-

"unless those of us who do maintain an interest in Javanese culture, take a serious and studious approach to the preservation of that culture, eventually the unique features of the culture will be forgotten."

I was writing emotionally, rather than logically. As we grow older I believe many of us become conservative in the way in which we view the world that is passing from us, and we tend to regret that things are not able to stay forever as we have known them.Change, and new ways seem to be foriegn to us and to lack the integrity of the ways with which we are familiar.The ways in which a society handles the problems which face it must change in order to allow the society to cope with the changing world around it, just as the ways of the individual members of a society must change to allow each of those people to survive as circumstances change.As the societies within a culture change, these societal changes must inevitably impact upon the cultural values that are held at the time of change, and eventually, the change in society, is reflected in a cultural change.

Javanese culture and society is not the same in the year 2005, as it was in 1905, or 1605, or 1305.

The Javanese language itself is primary indicator of this ongoing change. Prior to the rise of the Mataram dynasty, the Javanese language did not appear to contain the multi level structure which became the dominant feature of the language as it has existed for the last couple of hundred years. However, although this use of language is a primary indicator of the nature of the society as it exists at any time, it may be argued that language of and by itself is not a core value of a culture, but merely a reflection of the values of the moment, within the culture.

This change in the use of language is not unique to our own language, but applies across the entire expanse of all language, with the exception of those languages which are recognised as being dead. If we live, we change. If a language does not change, it will die. Language, reflecting culture provides the same tale in respect of any culture:- where a culture is unable to change, that culture will die.

A core value of Javanese culture is its ability to absorb from other cultures and societies those things that will benefit the society, and to discard those things which will weaken it. When Java has taken from an outside source, she has invariably synthesized that which which she has taken, and remoulded in her own image, so that something which was originally Hindu, Chinese, Dutch or Portuges re-emerges as something which has taken on the form, colour or structure of Java, but which has built upon a foriegn foundation. This characteristic of our culture is at once its strength, and its weakness.

The culture of Java may not be able to return to the agricultural roots of Mataram and Majapahit, but the ability of the Javanese people to select the best from other cultures and societies , and then to reshape these things in ways that will benefit and strengthen Javanese and Indonesian society, and re-inforce Javanese culture, is the very reason why Javanese culture will never be absorbed into any "world culture", but rather will continue to retain its own unique identity.

So, although our professors warn us that the Javanese language is all set to disappear, what they really mean is that the Javanese language forms that our ancestors needed to survive in a heirarchical society, will disappear.In modern Indonesia the tiered societal structure that our grandfathers were familiar with is becoming flatter with every passing day. Our language will inevitably change to reflect this flattening structure. But the language will not die, it will live , as the culture of Java will continue to live, because both language and culture are strong enough to change.

If we are to identify a single value as the defining value of Javanese culture, then from a historical point of view this value must be the ability to absorb, synthesize, recreate.The history of Javanese culture and society is one of adaption and survival.As an icon of Javanese society the keris has also changed through the years , and because of its ability to change it survives today, and will continue to survive as long as it can continue to change to fulfil the needs of the changing society and culture of which it is a part.

In my previous post I wrote emotionally, this time I have attempted to write logically.

Javanese society, culture, and the blossoms of the culture will survive, simply because the nature of the culture is to change with the change of seasons.

nechesh · 29th August 2005, 12:17 AM

Very well put Marto. Change is the nature of ALL living things. It applies to entire cultures as well as people. The days of the empu are gone and the culture of keris is changing. Personally, i see no problem with a smith using power tools to help him create a keris at this point. It is merely the tool. What's important is how it is used. In fact, i think the smith might be a bit foolish not to explore the best possible tool for any particular job and an electric powered one might just be the ticket. Keris making is EVOLVING, for better or for worse. But i will say that some of the keris being made today are probably of the highest quality on a pure technical scale than have ever been made before.BTW, there are some very high quality keris being made these days that are never seen outside Jawa. They are being made for select group of Javanese buyers. And as was just pointed out to me just recently, many of the finest keris in museums in Europe were actually new when they were collected.

John · 29th August 2005, 03:57 AM

Can one not say ever since the "big bang"...since single celled organism appeared...changes, evolution have been in motion...the limitlessness of duality in play as the way of the universe?

The word culture has been used a lot but what would the true definition of "culture"? No doubt every sword was once new whatever influences, "form/s of the moment" they took on the moment they did.

nechesh · 29th August 2005, 06:05 AM

Hi John. I'm not so sure there is a "true" definition of ANY word, including "culture". Words are mallible things and open to the interpretation of the people using them. And definitions, like everything else, are also constantly evolving.
That being said i'm not really sure what you are trying to say here. I can't tell whether you are agreeing with me or not. My point about the finest examples of keris in European museums being collected as new was merely meant as an encouragement for people to consider the collection of new keris, since some of them are at an extremely high level of keris art and will no doubt find themselves in some museum somewhere 200 or 300 yrs. from now.

John · 29th August 2005, 06:40 AM

That's what I'm implying - culture or tradition are not something that are static but transitory.

New kerises; based on the law of supply and demand, the flow of supply no doubt will not cease as long as there are demand, appreciation of these new ones whether with encouragement or otherwise.

Boedhi Adhitya · 30th August 2005, 07:42 AM

I apologize to all forumities, since I've been away for a while and hence, not answered the questions which was addressed to me.

Mr. Purwacarita, as I discussed before with Mr. Marto Suwignyo, pusaka would mean a lot, but as I insist, it was the empu's intention, which made some blade pusakas or not. The empus used the whole process, not only the physical appearance of the blades, to show their intention, in symbolistic languages. Hence, the good pusakas should be able to show this intention. But as the blade handed down from generations, whether by inheritances or trading, the owner would treat it differently, but the empu's intention, would always be the same. And once again, this intention might be "read" by those who understand the symbolistic language used. Then, no matter how you acquire it, the pusaka is a pusaka, even if you bought it on e-bay

About history of the blades, IMHO, it should be considered as "added value". In Kraton, the history would be important, but only after the blades qualify for "pusaka qualities" as I describes before. As I've been told by the "abdi dalem pusaka", all the kraton pusaka have best iron and steel possible at the time it was made, including the Kyai Klerek, which was belongs to Prince Mangkubumi's servant/soldier. This dapur cacing kanil lance suffered a little chipping on his point while he pierced Clereq's armour. (for information, Kyai Klerek named after Major Clereq, a Dutch officer which was killed by this lance, ca. 18 C.). Other example is Kyai Mangunoneng, a sword, pedang suduk pamor tambal, which was belong to Tumenggung Mangunoneng, a considered rebellious Tumenggung. This sword was used by Prince Mangkubumi / Sultan Hamengkubuwono I to kill his own master, as a warning to any rebels. Now it is always carried by women servant on ceremonies involving the sultan in his full formal-dressing. Kanjeng Kyai Kopek, the most honoured keris in heirlooms array of Kraton Jogjakarta, in fact, was a gift from Sunan Pakubuwono III on Sultan Hamengkubuwono I coronation. It is said that KKA Kopek was belongs to Sunan Kalijaga, and hence, symbolize the unity between the Ulama (religion leader) and Umaro (the goverment/king). You may see the picture of KKA Kopek and others in "Jogja Heritage", the official book of Kraton Jogjakarta. Some errors occur on naming and pictures (reversed) thought.

Yes, it was keris Kyai Setan Kober itself who kill it's own master, while Kyai Plered only injured Arya Penangsang badly. According to the legend, Arya Penangsang was a very powerful Adipati of Jipang, who was considered rebelious to Pajang. He would only be killed by his own keris, Kyai Setan Kober, a fiery keris. In a fight against Danang Sutawijaya (which then known as Panembahan Senapati, the first king of Mataram Islam, ca 16 c), Arya Penangsang suffered a wide wound on his abdoment, causing his intestine to felt out. Disturbed by his own hanging intestine, Arya Penangsang tied it to his keris handle, and continue fighting. In the end of the fight, Sutawijaya, which was a young boy and no match to Penangsang, felt down to the ground and not able to continue the fight. Penangsang then drew the fiery Setan Kober to kill him, and incidently, Setan Kober cut Penangsang intestine which was tied to the handle. This "fatal" wound, killed Penangsang instantly. To commemorate this, according to the folklore, Panembahan Senapati then asking all the bridegroom to put jasmines-on-the strings (melati rinonce) on their keris handle to mimic the intestine and symbolizing the bravery, on wedding ceremony.

Today, the Jogjakarta court, claiming as inheritance of Mataram, sees Kanjeng Kyai Ageng Pleret as "a legitimation to govern" for the court. The lance is honoured more than the Sultan himself. Only Sultan himself who clean it on cleansing ceremony. The servants are forbidden to come close and see it on purpose while it is cleaned. Other pusakas may only cleaned after the cleaning of KKA Pleret finished. From those who has seen it incidently, KKA Pleret has exotericly pusaka qualities. The Surakarta court has Kanjeng Kyai Ageng Baru as a match.

About the Kraton's pusaka, In Jogjakarta court, there are 8 servants who specialized on maintaining and documenting the pusaka, all of these servants are court member / royal families. Detail documentation has been done since around 2000 and still on progress, but sadly, without photographs. There are nearly 150 keris kept on Gedong Pusaka/Pusaka main hall (known as Bangsal Prabayeksa), and documentation of others pusaka which is kept in another building still in progress. Lances, would be the most abundant pusaka, counting around a thousand. Once again, according to the servant which I know personally, all of the keris which is kept in Prabayeksa had a "pusaka" grade quality. History of many of them are unknown and some of them were bought by the Sultan / Court.

So, I conclude, historical values may be an important things, but it is not a main consideration. The main consideration, IMHO, would be the exoteric and isoteric qualities, which also show the ability of the empu to put his intention on the blade properly while he made the keris. What I really mean about isoteric isn't "tuah" or magical properties, but something more philosophically. How did we acquire it, might have a little values, as long as you didn't steal it

So, for me, you may buy kerises on e-bay and call it pusaka, as long as the blades qualify

Sorry, I got to go, and I would post more sharing on "Jimat ngucap pusaka kandha" and how the "isoteric" things work tomorrow

best regards.

Alam Shah · 30th August 2005, 08:58 AM

Quote:

So, for me, you may buy kerises on e-bay and call it pusaka, as long as the blades qualify

Dear Boedhi Adhitya,
How do we see/know whether the blade qualify or not as a pusaka?

Any tips/pointers that you can share with us?

28th August 2005, 11:03 PM	#1
marto suwignyo Member Join Date: Jan 2005 Posts: 52	Pak Purwa Yes, we can set an example, we can try to influence, we can try to teach, and we can start with our children as soon as they begin to understand, but have you noticed that the members of each new generation invariably know more, and are wiser than their parents? Perhaps in a rural, or a village situation, the traditional Javanese heirarchy may still survive, but in the towns and cities, there is little use for heirarchically structured language. Bahasa daerah may be taught in SMP, but the teaching of Krama Inggil , or Madya, remains a family thing, and time spent on learning this can seem to be time wasted in today's ultra competitive environment. Some of the non essential trappings of culture can hardly compete with the necessity to earn a living. Theory and practice..... When I wrote:- "unless those of us who do maintain an interest in Javanese culture, take a serious and studious approach to the preservation of that culture, eventually the unique features of the culture will be forgotten." I was writing emotionally, rather than logically. As we grow older I believe many of us become conservative in the way in which we view the world that is passing from us, and we tend to regret that things are not able to stay forever as we have known them.Change, and new ways seem to be foriegn to us and to lack the integrity of the ways with which we are familiar.The ways in which a society handles the problems which face it must change in order to allow the society to cope with the changing world around it, just as the ways of the individual members of a society must change to allow each of those people to survive as circumstances change.As the societies within a culture change, these societal changes must inevitably impact upon the cultural values that are held at the time of change, and eventually, the change in society, is reflected in a cultural change. Javanese culture and society is not the same in the year 2005, as it was in 1905, or 1605, or 1305. The Javanese language itself is primary indicator of this ongoing change. Prior to the rise of the Mataram dynasty, the Javanese language did not appear to contain the multi level structure which became the dominant feature of the language as it has existed for the last couple of hundred years. However, although this use of language is a primary indicator of the nature of the society as it exists at any time, it may be argued that language of and by itself is not a core value of a culture, but merely a reflection of the values of the moment, within the culture. This change in the use of language is not unique to our own language, but applies across the entire expanse of all language, with the exception of those languages which are recognised as being dead. If we live, we change. If a language does not change, it will die. Language, reflecting culture provides the same tale in respect of any culture:- where a culture is unable to change, that culture will die. A core value of Javanese culture is its ability to absorb from other cultures and societies those things that will benefit the society, and to discard those things which will weaken it. When Java has taken from an outside source, she has invariably synthesized that which which she has taken, and remoulded in her own image, so that something which was originally Hindu, Chinese, Dutch or Portuges re-emerges as something which has taken on the form, colour or structure of Java, but which has built upon a foriegn foundation. This characteristic of our culture is at once its strength, and its weakness. The culture of Java may not be able to return to the agricultural roots of Mataram and Majapahit, but the ability of the Javanese people to select the best from other cultures and societies , and then to reshape these things in ways that will benefit and strengthen Javanese and Indonesian society, and re-inforce Javanese culture, is the very reason why Javanese culture will never be absorbed into any "world culture", but rather will continue to retain its own unique identity. So, although our professors warn us that the Javanese language is all set to disappear, what they really mean is that the Javanese language forms that our ancestors needed to survive in a heirarchical society, will disappear.In modern Indonesia the tiered societal structure that our grandfathers were familiar with is becoming flatter with every passing day. Our language will inevitably change to reflect this flattening structure. But the language will not die, it will live , as the culture of Java will continue to live, because both language and culture are strong enough to change. If we are to identify a single value as the defining value of Javanese culture, then from a historical point of view this value must be the ability to absorb, synthesize, recreate.The history of Javanese culture and society is one of adaption and survival.As an icon of Javanese society the keris has also changed through the years , and because of its ability to change it survives today, and will continue to survive as long as it can continue to change to fulfil the needs of the changing society and culture of which it is a part. In my previous post I wrote emotionally, this time I have attempted to write logically. Javanese society, culture, and the blossoms of the culture will survive, simply because the nature of the culture is to change with the change of seasons.

29th August 2005, 12:17 AM	#2
nechesh Member Join Date: Dec 2004 Location: Cincinnati, OH Posts: 940	Very well put Marto. Change is the nature of ALL living things. It applies to entire cultures as well as people. The days of the empu are gone and the culture of keris is changing. Personally, i see no problem with a smith using power tools to help him create a keris at this point. It is merely the tool. What's important is how it is used. In fact, i think the smith might be a bit foolish not to explore the best possible tool for any particular job and an electric powered one might just be the ticket. Keris making is EVOLVING, for better or for worse. But i will say that some of the keris being made today are probably of the highest quality on a pure technical scale than have ever been made before.BTW, there are some very high quality keris being made these days that are never seen outside Jawa. They are being made for select group of Javanese buyers. And as was just pointed out to me just recently, many of the finest keris in museums in Europe were actually new when they were collected.

29th August 2005, 03:57 AM	#3
John Member Join Date: Dec 2004 Location: Land below the wind Posts: 135	Can one not say ever since the "big bang"...since single celled organism appeared...changes, evolution have been in motion...the limitlessness of duality in play as the way of the universe? The word culture has been used a lot but what would the true definition of "culture"? No doubt every sword was once new whatever influences, "form/s of the moment" they took on the moment they did.

29th August 2005, 06:05 AM	#4
nechesh Member Join Date: Dec 2004 Location: Cincinnati, OH Posts: 940	Hi John. I'm not so sure there is a "true" definition of ANY word, including "culture". Words are mallible things and open to the interpretation of the people using them. And definitions, like everything else, are also constantly evolving. That being said i'm not really sure what you are trying to say here. I can't tell whether you are agreeing with me or not. My point about the finest examples of keris in European museums being collected as new was merely meant as an encouragement for people to consider the collection of new keris, since some of them are at an extremely high level of keris art and will no doubt find themselves in some museum somewhere 200 or 300 yrs. from now.

29th August 2005, 06:40 AM	#5
John Member Join Date: Dec 2004 Location: Land below the wind Posts: 135	That's what I'm implying - culture or tradition are not something that are static but transitory. New kerises; based on the law of supply and demand, the flow of supply no doubt will not cease as long as there are demand, appreciation of these new ones whether with encouragement or otherwise.

30th August 2005, 07:42 AM	#6
Boedhi Adhitya Member Join Date: Apr 2005 Posts: 103	I apologize to all forumities, since I've been away for a while and hence, not answered the questions which was addressed to me. Mr. Purwacarita, as I discussed before with Mr. Marto Suwignyo, pusaka would mean a lot, but as I insist, it was the empu's intention, which made some blade pusakas or not. The empus used the whole process, not only the physical appearance of the blades, to show their intention, in symbolistic languages. Hence, the good pusakas should be able to show this intention. But as the blade handed down from generations, whether by inheritances or trading, the owner would treat it differently, but the empu's intention, would always be the same. And once again, this intention might be "read" by those who understand the symbolistic language used. Then, no matter how you acquire it, the pusaka is a pusaka, even if you bought it on e-bay About history of the blades, IMHO, it should be considered as "added value". In Kraton, the history would be important, but only after the blades qualify for "pusaka qualities" as I describes before. As I've been told by the "abdi dalem pusaka", all the kraton pusaka have best iron and steel possible at the time it was made, including the Kyai Klerek, which was belongs to Prince Mangkubumi's servant/soldier. This dapur cacing kanil lance suffered a little chipping on his point while he pierced Clereq's armour. (for information, Kyai Klerek named after Major Clereq, a Dutch officer which was killed by this lance, ca. 18 C.). Other example is Kyai Mangunoneng, a sword, pedang suduk pamor tambal, which was belong to Tumenggung Mangunoneng, a considered rebellious Tumenggung. This sword was used by Prince Mangkubumi / Sultan Hamengkubuwono I to kill his own master, as a warning to any rebels. Now it is always carried by women servant on ceremonies involving the sultan in his full formal-dressing. Kanjeng Kyai Kopek, the most honoured keris in heirlooms array of Kraton Jogjakarta, in fact, was a gift from Sunan Pakubuwono III on Sultan Hamengkubuwono I coronation. It is said that KKA Kopek was belongs to Sunan Kalijaga, and hence, symbolize the unity between the Ulama (religion leader) and Umaro (the goverment/king). You may see the picture of KKA Kopek and others in "Jogja Heritage", the official book of Kraton Jogjakarta. Some errors occur on naming and pictures (reversed) thought. Yes, it was keris Kyai Setan Kober itself who kill it's own master, while Kyai Plered only injured Arya Penangsang badly. According to the legend, Arya Penangsang was a very powerful Adipati of Jipang, who was considered rebelious to Pajang. He would only be killed by his own keris, Kyai Setan Kober, a fiery keris. In a fight against Danang Sutawijaya (which then known as Panembahan Senapati, the first king of Mataram Islam, ca 16 c), Arya Penangsang suffered a wide wound on his abdoment, causing his intestine to felt out. Disturbed by his own hanging intestine, Arya Penangsang tied it to his keris handle, and continue fighting. In the end of the fight, Sutawijaya, which was a young boy and no match to Penangsang, felt down to the ground and not able to continue the fight. Penangsang then drew the fiery Setan Kober to kill him, and incidently, Setan Kober cut Penangsang intestine which was tied to the handle. This "fatal" wound, killed Penangsang instantly. To commemorate this, according to the folklore, Panembahan Senapati then asking all the bridegroom to put jasmines-on-the strings (melati rinonce) on their keris handle to mimic the intestine and symbolizing the bravery, on wedding ceremony. Today, the Jogjakarta court, claiming as inheritance of Mataram, sees Kanjeng Kyai Ageng Pleret as "a legitimation to govern" for the court. The lance is honoured more than the Sultan himself. Only Sultan himself who clean it on cleansing ceremony. The servants are forbidden to come close and see it on purpose while it is cleaned. Other pusakas may only cleaned after the cleaning of KKA Pleret finished. From those who has seen it incidently, KKA Pleret has exotericly pusaka qualities. The Surakarta court has Kanjeng Kyai Ageng Baru as a match. About the Kraton's pusaka, In Jogjakarta court, there are 8 servants who specialized on maintaining and documenting the pusaka, all of these servants are court member / royal families. Detail documentation has been done since around 2000 and still on progress, but sadly, without photographs. There are nearly 150 keris kept on Gedong Pusaka/Pusaka main hall (known as Bangsal Prabayeksa), and documentation of others pusaka which is kept in another building still in progress. Lances, would be the most abundant pusaka, counting around a thousand. Once again, according to the servant which I know personally, all of the keris which is kept in Prabayeksa had a "pusaka" grade quality. History of many of them are unknown and some of them were bought by the Sultan / Court. So, I conclude, historical values may be an important things, but it is not a main consideration. The main consideration, IMHO, would be the exoteric and isoteric qualities, which also show the ability of the empu to put his intention on the blade properly while he made the keris. What I really mean about isoteric isn't "tuah" or magical properties, but something more philosophically. How did we acquire it, might have a little values, as long as you didn't steal it So, for me, you may buy kerises on e-bay and call it pusaka, as long as the blades qualify Sorry, I got to go, and I would post more sharing on "Jimat ngucap pusaka kandha" and how the "isoteric" things work tomorrow best regards.