Lombok keris fullers and age query

[A. G. Maisey]

It is very difficult to form an opinion on the excellence or otherwise of any work, or product, if one does not already have an understanding of the rules & standards that must be applied to that particular work or product in order for it to classified as "excellent", or as something that is rather less than excellent.

In the creation of a keris there are certain rules that must be applied to the formation of each part of a keris, and there are standards that must be applied to the work that has been carried out in order to complete the keris.

The standards that are applied to the sogokan of a Surakarta keris demand that in order for the work to be deemed to be of the highest standard the proportionate length and form of the sogokan must be within certain parameters, the individual elements of the sogokan must be executed in a way that is in harmony with the other elements of the keris, the sides of each of the channels of the sogokan must be undercut, & the base of each of those channels must be rounded --- as it was taught to me, they must be rounded "like the bottom of a cooking pot".

But this is Surakarta, and these standards are those that are applied to the work of an empu or pandai keris working at the level expected of a craftsman who produces items for royal use. In other words, these rules & standards are at the peak of excellence.

The sogokan under discussion in this thread is not subject to the same rules & standards, it is a simple keris, the product of a village or lower ranked craftsman, quite adequate for its purpose as either a weapon or an item of dress, but not expected to be a work of art. Of its type it might be thought of as an "everyman's keris", suited to its purpose & not expected to be anything other than this.

The photos shown in this post are of the base of a keris that has been made to Surakarta kraton standard, the sogokan is an example of the quality expected in a high level keris.

The sketch is of the cross section of a correctly executed sogokan, please forgive my inadequacy as an artist, but even though this sketch is decidedly rough, it does convey the form that we expect to find in a well executed sogokan.

[SidJ]

Thanks Alan, this is a perfect, easy to understand exposition of what comprises high quality work. I am grateful indeed. I was taking a bit of the mick out of my keris in my earlier comment.

[A. G. Maisey]

Nothing at all wrong with the keris that began this thread, it is fully fit for purpose, its just that it is not intended as an art work.

The keris in the photos that I just posted was intended to be the best work that the maker was capable of at the time he made it.

[JeffS]

I'm fascinated at the degree of skill that must be needed to carve steel to produce such delicate features as the upper "lip" of the sogokan, as shown in Alan's elevation view sketch, considering the limited space within the sogokan channel and the need to consistently carry that lip for the length of the sogokan.

[A. G. Maisey]

Actually Jeff, carving steel & iron is no more difficult than carving wood, in fact, in some respects it is easier because you have no grain to accommodate. Of course, if we are working with steel we anneal the material before putting tools on it.

But it does take time.

This keris that I have shown is one of the keris that I have made, I welded the forging in Solo, & I carved it back in Australia. I worked with two strikers for 3 days, about 20 or so hours, to do the hot work, then it took around 45 days at 8 to 10 hours a day to carve it.

The sogokan on each side of the blade took 4 days per side.

So yes, although there is a degree of skill involved, the really important thing is understand what needs to be achieved & be prepared to take the necessary time to achieve it.

Incidentally, I used only traditional Javanese tools to carve this keris, I did not use any electric grinders, I used only files, scrapers, cold chisels & a hammer, the files I bought, the scrapers & chisels I made.

[SidJ]

Do modern empus use modern power tools to make high end keris and if so are they considered lesser than those made using traditional hand tools? I've seen videos of dudes carving out keris details with power tools. Seems like it's cheating to me compared to the old ways but maybe it's not.

[A. G. Maisey]

All of the keris makers of the modern era whom I know or know of use modern tools & electric tools for the bench work involved in making a keris.

They are creating art and the current perception is that the end justifies the means.

Keris cost less to make now than they used to cost when traditional tools were used, & this is simply because using the old traditional tools it took a lot longer to do the work.

My teacher, Empu Suparman, used only the traditional tools. I have those tools and they are very simple hand tools.

[JeffS]

Originally Posted by A. G. Maisey

Actually Jeff, carving steel & iron is no more difficult than carving wood, in fact, in some respects it is easier because you have no grain to accommodate. Of course, if we are working with steel we anneal the material before putting tools on it.

But it does take time.

This keris that I have shown is one of the keris that I have made, I welded the forging in Solo, & I carved it back in Australia. I worked with two strikers for 3 days, about 20 or so hours, to do the hot work, then it took around 45 days at 8 to 10 hours a day to carve it.

The sogokan on each side of the blade took 4 days per side.

So yes, although there is a degree of skill involved, the really important thing is understand what needs to be achieved & be prepared to take the necessary time to achieve it.

Incidentally, I used only traditional Javanese tools to carve this keris, I did not use any electric grinders, I used only files, scrapers, cold chisels & a hammer, the files I bought, the scrapers & chisels I made.

Wow Alan, that is phenomenal. Thank you for sharing.