Sunggingans

[A. G. Maisey]

Thank you very much for the additional information Gustav. All of this is in an area where I have very slight knowledge. I find particularly interesting the use of Chinese artists by the Portuguese, as to my eye the green sunggingan wrongko to a greater degree, and the tabletop to a lesser degree both display a Chinese hand.

I am not saying that I am any sort of authority on Chinese art, but I have been surrounded by Chinese art and references for most of my life, and I have a very close association with somebody who paints in Chinese style. It is impossible for me to escape the saturation effect of Chinese art.

Insofar as Javanese symbolism is concerned , the quote that
"the vertical image is concerned with the universe" can be accepted in some representations, but it would be quite incorrect to accept this as an overarching interpretation that can be universally accepted.

The dragonfly in Javanese symbolism can be interpreted in a number of ways, rather like a word that can have a number of meanings depending on the context in which it is used. It is a symbol of change, it connects air and water, it can be read as a symbol related to a warrior, but it can also be a substitution for a butterfly.

The butterfly in Hindu symbolism is a symbol of Brahma, Brahma is the creator so the butterfly can be read as creation, or in Hindu thought, as rebirth, but there is another interpretation in Hindu thought, and that is as married harmony, in fact in one of the Hindu wedding ceremonies ( I forget which one) the ceremony begins with the word "prajapati". Prajapati is equivalent to (but not the same as) Brahma, but it can also be understood as "butterfly", or as "king".

Butterflies and dragonflies cannot be understood as birds or bird substitutes, birds can be understood in a number of ways, depending on the bird. In Javanese symbolism in general, as a bridge between the upper realm and the earth, so as a line of communication with the dead, this can particularly apply with the cockatoo, but with the dove, as a symbol of love or lust --- I've always found this a bit humorous, as amongst birds, the dove is exceptionally vicious with its own kind, it is one of the few birds that will fight its own kind to the death, mostly birds only fight to achieve domination, but not the dove:- doves fight to kill.

Anyway, butterflies and dragon flies occupying the same iconographic niche as birds? No. Not in Jawa anyway.

The association of dragonflies with water is interesting when we consider the use of a dragonfly motif in association with a keris, because one of the symbolic associations of the keris is with water. The part of the keris that is most closely tied to water symbolism is the ganja, which is probably symbolically associated with Dewi Gangga, and when we enter this realm of symbolic associations we're really getting into very deep water --- so to speak. Note that the dragonfly appears at the top of an alas-alasan motif, in line with the position of the ganja when the keris is in the warangka. Note also that the butterfly can be understood as a dragonfly substitute --- and vice versa.

Lots of thought provoking stuff here. Don't have a nervous breakdown thinking about it.

The symbolism of the alas-alasan motif is that it represents the world.

In Hindu thought the whole world is a forest --- actually three different kinds of forest ---, to maintain our world we must maintain the forests, everything in our physical world is an aspect of the singularity of the Supreme Being, we respect the world and all in it, we respect the Supreme Being. The Ultimate Reality is everywhere, in everything, but in the forest representation we symbolise only this world that we live in, not the cosmos.

I've used the Hindu example here, but Hindu symbolism and thought patterns are vital in understanding Javanese thought patterns. They may not be the same, but they do seem to permeate much of Javanese culture and society.

I cannot interpret accurately the two birds symbol that we see so frequently. I have had many interpretations of this symbol given to me, and I have read many more, but there seems to be so much variation in what can be understood from this symbol that I hesitate to try to interpret it at all.

[Gustav]

Originally Posted by A. G. Maisey

The symbolism of the alas-alasan motif is that it represents the world.

In Hindu thought the whole world is a forest --- actually three different kinds of forest ---, to maintain our world we must maintain the forests, everything in our physical world is an aspect of the singularity of the Supreme Being, we respect the world and all in it, we respect the Supreme Being. The Ultimate Reality is everywhere, in everything, but in the forest representation we symbolise only this world that we live in, not the cosmos.

Alan, thank you for the explanations regarding insects and birds, and especially the Gonjo-water connection. Regarding Sunggingan Solyom writes:

"On either side of the hole where the blade enters the sheath, may be painted a four petalled flower, probably a lotus, floating on water".

So the hilt (and Pesi) is sitting in a lotus, an idea, which lives forth also in Malay Pendokok with petals.

Regarding my use of the word "cosmos" in connection with Alas-Alasan:

Alas-Alasan is described as a "cosmic model" in the essay of Rens Heringa in "Five Centuries of Indonesian Textiles" 2010, which is a quite serious publication. His reference for this was Solyom&Solyom, "Notes on Indonesian Textiles" 1979, which I don't have.

In "The World of Javanese Keris" regarding Alas-Alasan (p. 54) Solyom writes:

"The combination seems clearly to represent a universal totality."

Cosmos is an universal totality.

[A. G. Maisey]

Gustav , Garrett & Bronwen Solyom are good friends of mine. I respect their work, I have a very good idea of their understanding of the keris.

I knew their principle mentor, Goh Tik Swan (Panembahan Harjonegoro alm.) and I am familiar with the orientation of his understanding of Indonesian, especially Javanese, art.

I have owned a copy of "World of the Javanese Keris" since it was first published, and in my opinion it is the most valuable single book that has ever been written on the keris. It contains no material error, but that does not mean that I agree with everything that is written in that book. I know the way in which their book was written, I know the reasons for which it was written, I know the sources which were drawn upon to provide the information contained between its covers.

The book itself, and that which is contained in it, is essential reading for everybody who has any interest at all in the keris.

However, no matter how excellent any printed material may be, that excellence cannot guard against a misinterpretation of the writer's meaning. Garrett & Bronwen do indeed use the term "universal totality", but they do not refer to this totality as "cosmos".

Cosmos is a very fine word, and it is much favoured by elegant writers, however, as with the word "universal" it has several meanings, and in the absence of an understanding of the context in which it is used, its use can lead to a misunderstanding. The word "cosmos" can be used to mean either the universe, or the world in which we live.

In the case of the alas-alasan motif, we are looking at a symbolic representation of the world in which we live, we are not looking at a representation of the universe. However, when a symbol of the gunungan is included in any motif, that is a reference to the cosmos, so if gunungan symbolism is included in an alas-alasan motif, it is referring to the cosmos, where "cosmos" can be understood as the world in which we live. But the complete alas-alasan motif is not representative of the cosmos where "cosmos" is to be understood as "world".

It is possible that Rens Heringa intended his use of "cosmos" to mean "the world in which we live", if so then I have no quarrel with that, however, it is more likely that he was misled by a minor misunderstanding in one of the captions in "World ---".

Caption to photo 151, a photo of a sunggingan warangka, gives the interpretation of the title "Paku Buana" as "nail of the universe", in fact Sinuhun's title should be interpreted as "nail of the earth", and to be understood as "nail at the centre of the earth".

You see, in the understanding of the Javanese people who regard Sinuhun (Paku Buana) as their lord it is he who maintains the order that holds the physical world together. I have been told on more than one occasion that the order of this world is totally dependent upon the prayers and meditation of Sinuhun. The world as we know it would collapse without Sinuhun to hold it together. In Javanese understanding, Surakarta Hadiningrat is at the centre of this world, and Sinuhun is at the centre of Surakarta Hadiningrat.

But this world, even though it may be at the centre of the universe, is a part of the universe:- Sinuhun cannot be the entity which holds the Universe together, for such an arrogant stance would place him above The One God, whomever one believes that God to be. Arrogance causes adversity and failure. Sinuhun would never take an action which could endanger the world. I am repeating here Javanese belief as it has been taught to me.

Sinuhun's realm is of this world, his authority does not extend to the entire universe.

So the understanding of the alas-alasan motif depends upon the way in which two words are to be understood, these words are "cosmos", and "universal".

We have addressed the way in which "cosmos" is to be understood, but "universal" can also be understood in more than one way. In association with the interpretation of the alas-alasan motif "universal" must be understood as "including the whole of something specified or implied" (Oxford), it must not be understood as a reference to the "whole of created or existing things regarded collectively". The thing that is implied in an understanding of the alas-alasan motif is this world, it is not the whole of creation.

Once this distinction between the whole of the physical world, and the whole of all things created or existing is understood, then the understanding of the alas-alasan motif becomes clear, and that understanding is precisely the Hindu understanding, where the entire world is regarded as a forest.

[Gustav]

Originally Posted by A. G. Maisey

The word "cosmos" can be used to mean either the universe, or the world in which we live.


It is possible that Rens Heringa intended his use of "cosmos" to mean "the world in which we live", if so then I have no quarrel with that, however, it is more likely that he was misled by a minor misunderstanding in one of the captions in "World ---".

Alan, thank you very much for your explanations again.

I cannot speek for Rens Heringa, yet it seems to be possible, he used "cosmos" in its meaning "the world in which we live".

His reference wasn't "World of Javanese Keris", it was "Cosmic Symbolism in Semen and Alasalasan. Patterns in Javanese Textiles" by Solyom&Solyom in Gittinger, "Indonesian Textiles", 1979.

[A. G. Maisey]

Yes, I can see I misread the reference. Sorry.

If Rens Heringa did use "cosmos" in the sense of world rather than universe, then we have no problems.

However, I always have found this dual meaning rather strange. It is quite correct, Oxford tells me so, but I always read cosmos and universe in the larger sense unless the specific cosmos or universe are either identified or implied.

When we speak of the Gunungan as a cosmic symbol, we are speaking of all in creation, because we know that this is what the Gunungan is related to, but where there is no prior understanding of context these two words --- universe, cosmos --- can very easily be misunderstood.

Even my reference to the Javanese word "buana" can raise misunderstanding, because depending on context, buana can also be read as universe, the only reason that I know that it is our world that is meant in this context is because I have been told so.

[A. G. Maisey]

That little foray into the more serious side of things was both informative and amusing, but I didn't start this thread with the idea of getting too serious, I just wanted to get one of the more entertaining keris forms up for people to see, keris forms that are not very often seen.

So here's another one.Surakarta, ladrangan, motif is what we call "lung-lungan", a specific name for a motif of curling tendrils, "lung" means tendril or shoot.

The base colour of sea blue indicates that it is suited for wear by a penewu.

[A. G. Maisey]

David, you queried if there was a Balinese word that was the equivalent of "sunggingan".

I do not speak or understand Balinese, but my niece lives in Bali, I have just now spoken with her husband and he tells me that the equivalent word to "sunggingan" in Balinese is "laburan".