Solo Keris

A. G. Maisey · 31st July 2006, 12:37 AM

Pak Mudi, of course you are correct about this blade in Dr. David`s post, it is a Madura blade, but as I am sure a man with your great knowledge of keris would be aware, a complete keris is classified according to the wrongko and handle, not according to the blade. Thus, one could have, say, a Jogja keris that had a Bugis blade, or a Surakarta keris that had a Bali blade. I have not infrequently encountered exactly these combinations in old keris.

Now, as for Dr. David`s keris, although the blade was made in Madura, it has been made to a Surakarta Kraton pattern. In fact, the people who currently make keris blades in Suminep kabupaten are the descendants of people who have produced keris in the same area for very many generations, some say back to the time of the Majapahit kingdom, and who used to export these blades to markets all over Jawa.

Regarding the dress of Dr. David`s keris, the wrongko was made by a man who is widely regarded as perhaps the most talented tukang wrongko in Surakarta today, and the ukiran was made by a tukang jejeran who retired from taking orders more than 15 years ago, but who still produces a very small quantity of ukiran every year.

The pendok is from Imogiri, not Bali.

I have some difficulty in understanding exactly why you expressed your sorrow in respect of Dr. David`s keris. It is a fine example of recent production, and I feel that to obtain a piece of similar quality might not be particularly easy. Certainly it would not be possible to obtain a wrongko from the same maker, as his work is under contract, and the wood that has been used in this wrongko is perhaps the last of its type available in Jawa.

Perhaps, Pak Mudi, you would be so kind as to name the empus who still work in Indonesia?

My own teacher , Empu Suparman Supowijaya, left this world in July 1995.

My very good friend Empu Pauzan Pusposukadgo retired several years ago.

Empu Djeno Harumbrojo recently passed away.

Empu Mangku Wije at Kusamba was already an elderly man when I met him 20 years ago, and had never made more than a very few keris at that time.In fact, I do not know if Empu Mangku Wije is even still with us.

To my knowledge these are possibly the only men in the current era who have been entitled to use the title "empu", and Pauzan Pusposukadgo himself refrained from applying the title to himself, although everybody else did, because of his religious beliefs.

Please share your knowledge with us, and name the empus who are still practicing.

Thank you for your consideration.

Andrew · 31st July 2006, 02:44 AM

Alan, please forgive my ignorance but, as you know, I'm a complete keris amatuer.

Why is it that so few Empu exist today?

A. G. Maisey · 31st July 2006, 03:32 AM

G`day Andrew,

The word "empu" is a title for a particularly talented poet, or literary person, or artist, and from the artist association, a keris maker.

It can be given by a kraton, but it can also be conferred on somebody by common usage of the ordinary people.

Why are they so few?

Until Dietrich Drescher helped bring keris making to life again back in the 1970's, it was pretty much dead in Central Jawa. At that time, there were still people working on keris, and I know of two people who were working making keris, but who were producing deliberate forgeries and who did not publicise their names. They were not known outside the inner circles of the keris trade. Both these men have now passed away.However, when keris making took off again in the 1970's and 1980's a number of new people became involved . Regretably, after the first little surge of interest from the buying public, interest dropped off, and only a few notable makers were left in the market place.

In Central Jawa the philosophy and ethic behind making a keris is somewhat different to what it is in Madura. This difference makes it a pretty expensive exercise to produce a keris in the traditional Central Javanese way, and it is not something that many people were, or are prepared to engage in with no assurance of a sale. As a consequence there are only a couple of people left in Central Jawa who are involved in keris making---plenty of people involved in the support crafts, such as making wrongkos , pendok, etc, but blades? Very, very few craftsmen left.

The market is pretty much totally locked up by the Boys from Madura who can produce very, very fine work at a fraction of the cost of comparable work from Central Jawa. You could liken the difference to that between the traditional painter, working in a traditional way and applying traditional standards---along with very high traditional prices---and a talented graduate from an art school who is able to produce a painting that looks the same as the master`s work , but lacks the 2 or 3% of finish that might take 90% of the total time.

Market forces have removed people from the market place who could legitimately have expected to become known as "empu", were they still working.

The ASKI, or as it is now known STSI, in Solo has a keris faculty, but in name only. All the recent people it has produced have used their qualification to work in some other area, such as mechanical work in a factory. I don`t think there has been a graduate from the kereis school for perhaps 5 years or more.The original half dozen people from the old ASKI have moved into other areas such as sales, or raising pigeons. It is no good being a skilled craftsman if your product is too expensive for the market place.

I have heard that in Brunei the government supports a couple of empu. I do not know if this is true, and I have not seen work attributed to these people, if they exist. Indonesia is not nearly as rich as Brunei, and I believe that there is absolutely no possibility of the Indonesian nation supporting a craft that cannot support itself in the market place.

Andrew · 31st July 2006, 03:51 AM

Hi Alan,

Excellent, many thanks for the explanation.

Although certainly distinguishable, this reminds me a bit of the current state of Japanese sword making.

Cheers,
Andrew

nechesh · 1st August 2006, 02:06 AM

David, your keris is indeed very elegant. I was a fraction of a key click away from ordering that one myself, but opted for two others in that particular catalog instead. I have always loved the simplistic beauty of this particular dapor and the way the blade widens as it nears the tip. I think you made a fine choice in this very well made modern piece.
Mudi, i as well am very curious just who it is that you believe qualifies in this modern day to carry the title of Empu. Could you perhaps give us a name or two?
I also tend to agree with BluErf that the keris you posted from your father is an older Bugis (from Sulawesi) blade dressed in very recent clothes that were most probably made in Bali (albeit in a Sulawesi style). By your own standards of classification that would mean this is not a Bugis keris at all. Maybe it is Balinese then.

As BluErf implies, this is much the same kind of keris dress that has been offered for sale by Majabali a.k.a. Majapahit 1 in the past. Perhaps you father bought this keris from him? However, i believe that even you own standard was misapplied to drdavid's keris as apparently you were incorrect about the origins of the dress in his case.

Ki Jayamalelo · 1st August 2006, 09:37 AM

Hello drdavid and Rick,

it would be nice to see the lower part (sor-soran) of the blades better. Best you rise the blades from the background putting a small filmbox below. This neutralize the shadow and we could read the lower blade better. The greneng and gandik are important for the aesthetic of the blade.

Thanks

Rick · 1st August 2006, 03:48 PM

Quote:

Originally Posted by Ki Jayamalelo

Hello drdavid and Rick,

it would be nice to see the lower part (sor-soran) of the blades better. Best you rise the blades from the background putting a small filmbox below. This neutralize the shadow and we could read the lower blade better. The greneng and gandik are important for the aesthetic of the blade.

Thanks

Hello Pak Ki ,

I am traveling at this point ; when I return home I shall add I shall raise the sorsoran for a picture .

Boedhi Adhitya · 4th August 2006, 06:16 AM

Congratulations on your new keris, drdavid. New keris, as long as it is made properly, surely a good keris, as your does. While it was made by Maduranese, the shape takes Solo's aesthetical pattern/style, the famous 'Pakubuwono X' form, which is the most common pattern for 'high-end' modern keris made today.

As Alan explained, most modern kerises today made by Madura, especially the forging process. The 'benchwork artist', which is quite a lot (at least 15 of them competed in the 1st National Keris-shaping Competition held in Jakarta last June), might buy the keris blank from madura and do the benchworking, which is less 'risky' than the forging process, especially when you forge a sophiticated pattern such as 'ron gendhuru wengkon', which bear a lot of failure possibilities. Low-end blades might be worked by women and young villagers in Madura as a home industry.

The finest modern keris today, while the blank are forged in Madura, are mostly still came from Java, for example from Surabaya (Mr. Sukoyo/Rudi workshop), Malang (Mr. Fanani), Solo (Mr. Subandi and Mr. Sukamdi), Muntilan/Magelang (Mr. Heru), and Jakarta (Mr. Toni Yunus and Kohin). Why ? Because they may see (and have) the original fine pieces from Keraton (mostly Solo, PB IX-X), which they may copy then. Some of them would always bring vernier caliper with him, and when he has an opportunity to see a good original keris, they may take it's measures, as long as condition permits. Most Maduranese very,very rarely see or handle those fine pieces, so they cannot master the 'proper artistical' pattern. Are those artists could be called empus? keris maker is OK. But empu, as they never forge the keris themselves, except Mr. Subandi, is questionable. Not to mention other qualifications. A wise keris maker today, then, will not call himself as empu, even if he forge the blade himself, as he quite aware of his own 'qualifications' compared to the old times empus.

Today, keris in STSI is just an elective, 1 semester study in 'Seni Kriya' (handicraft art?) faculty, and the lecturer is Mr. Subandi, which as a formal, state-servant lecturer, is 'fully supported' (e.g, has sallary). The keris art gives some perspective for student in some technique on working with iron. The ISI Jogjakarta, I heard, is considering to add this elective study.

Market for modern keris is still problem today, as many Indonesian still prefer the old pieces, mostly for, you know, the 'magical' sides. But some modern collector which look for the art do exist, and the number seems growing, and appreciation for modern keris is getting better.

Alam Shah · 10th August 2006, 03:49 PM

Thanks, Boedhi for the info. Let's go to the warung...

Ian · 10th August 2006, 04:37 PM

And away we go ... over to the Keris Forum.

Ian.

Rick · 10th August 2006, 04:59 PM

Thank you Ian !

Now as promised for Ki Jayamalelo :

4th August 2006, 06:16 AM	#8
Boedhi Adhitya Member Join Date: Apr 2005 Posts: 103	Congratulations on your new keris, drdavid. New keris, as long as it is made properly, surely a good keris, as your does. While it was made by Maduranese, the shape takes Solo's aesthetical pattern/style, the famous 'Pakubuwono X' form, which is the most common pattern for 'high-end' modern keris made today. As Alan explained, most modern kerises today made by Madura, especially the forging process. The 'benchwork artist', which is quite a lot (at least 15 of them competed in the 1st National Keris-shaping Competition held in Jakarta last June), might buy the keris blank from madura and do the benchworking, which is less 'risky' than the forging process, especially when you forge a sophiticated pattern such as 'ron gendhuru wengkon', which bear a lot of failure possibilities. Low-end blades might be worked by women and young villagers in Madura as a home industry. The finest modern keris today, while the blank are forged in Madura, are mostly still came from Java, for example from Surabaya (Mr. Sukoyo/Rudi workshop), Malang (Mr. Fanani), Solo (Mr. Subandi and Mr. Sukamdi), Muntilan/Magelang (Mr. Heru), and Jakarta (Mr. Toni Yunus and Kohin). Why ? Because they may see (and have) the original fine pieces from Keraton (mostly Solo, PB IX-X), which they may copy then. Some of them would always bring vernier caliper with him, and when he has an opportunity to see a good original keris, they may take it's measures, as long as condition permits. Most Maduranese very,very rarely see or handle those fine pieces, so they cannot master the 'proper artistical' pattern. Are those artists could be called empus? keris maker is OK. But empu, as they never forge the keris themselves, except Mr. Subandi, is questionable. Not to mention other qualifications. A wise keris maker today, then, will not call himself as empu, even if he forge the blade himself, as he quite aware of his own 'qualifications' compared to the old times empus. Today, keris in STSI is just an elective, 1 semester study in 'Seni Kriya' (handicraft art?) faculty, and the lecturer is Mr. Subandi, which as a formal, state-servant lecturer, is 'fully supported' (e.g, has sallary). The keris art gives some perspective for student in some technique on working with iron. The ISI Jogjakarta, I heard, is considering to add this elective study. Market for modern keris is still problem today, as many Indonesian still prefer the old pieces, mostly for, you know, the 'magical' sides. But some modern collector which look for the art do exist, and the number seems growing, and appreciation for modern keris is getting better. Last edited by Boedhi Adhitya; 4th August 2006 at 06:50 AM.

10th August 2006, 03:49 PM	#9
Alam Shah Member Join Date: Jan 2005 Location: Singapore Posts: 1,248	For Warung Kopi Thanks, Boedhi for the info. Let's go to the warung...

10th August 2006, 04:59 PM	#11
Rick Vikingsword Staff Join Date: Nov 2004 Posts: 6,336	Thank you Ian ! Now as promised for Ki Jayamalelo : Attached Images

31st July 2006, 12:37 AM	#1
A. G. Maisey Member Join Date: May 2006 Posts: 6,992	Pak Mudi, of course you are correct about this blade in Dr. David`s post, it is a Madura blade, but as I am sure a man with your great knowledge of keris would be aware, a complete keris is classified according to the wrongko and handle, not according to the blade. Thus, one could have, say, a Jogja keris that had a Bugis blade, or a Surakarta keris that had a Bali blade. I have not infrequently encountered exactly these combinations in old keris. Now, as for Dr. David`s keris, although the blade was made in Madura, it has been made to a Surakarta Kraton pattern. In fact, the people who currently make keris blades in Suminep kabupaten are the descendants of people who have produced keris in the same area for very many generations, some say back to the time of the Majapahit kingdom, and who used to export these blades to markets all over Jawa. Regarding the dress of Dr. David`s keris, the wrongko was made by a man who is widely regarded as perhaps the most talented tukang wrongko in Surakarta today, and the ukiran was made by a tukang jejeran who retired from taking orders more than 15 years ago, but who still produces a very small quantity of ukiran every year. The pendok is from Imogiri, not Bali. I have some difficulty in understanding exactly why you expressed your sorrow in respect of Dr. David`s keris. It is a fine example of recent production, and I feel that to obtain a piece of similar quality might not be particularly easy. Certainly it would not be possible to obtain a wrongko from the same maker, as his work is under contract, and the wood that has been used in this wrongko is perhaps the last of its type available in Jawa. Perhaps, Pak Mudi, you would be so kind as to name the empus who still work in Indonesia? My own teacher , Empu Suparman Supowijaya, left this world in July 1995. My very good friend Empu Pauzan Pusposukadgo retired several years ago. Empu Djeno Harumbrojo recently passed away. Empu Mangku Wije at Kusamba was already an elderly man when I met him 20 years ago, and had never made more than a very few keris at that time.In fact, I do not know if Empu Mangku Wije is even still with us. To my knowledge these are possibly the only men in the current era who have been entitled to use the title "empu", and Pauzan Pusposukadgo himself refrained from applying the title to himself, although everybody else did, because of his religious beliefs. Please share your knowledge with us, and name the empus who are still practicing. Thank you for your consideration.

31st July 2006, 02:44 AM	#2
Andrew Member Join Date: Nov 2004 Location: USA Posts: 1,725	Alan, please forgive my ignorance but, as you know, I'm a complete keris amatuer. Why is it that so few Empu exist today?

31st July 2006, 03:32 AM	#3
A. G. Maisey Member Join Date: May 2006 Posts: 6,992	G`day Andrew, The word "empu" is a title for a particularly talented poet, or literary person, or artist, and from the artist association, a keris maker. It can be given by a kraton, but it can also be conferred on somebody by common usage of the ordinary people. Why are they so few? Until Dietrich Drescher helped bring keris making to life again back in the 1970's, it was pretty much dead in Central Jawa. At that time, there were still people working on keris, and I know of two people who were working making keris, but who were producing deliberate forgeries and who did not publicise their names. They were not known outside the inner circles of the keris trade. Both these men have now passed away.However, when keris making took off again in the 1970's and 1980's a number of new people became involved . Regretably, after the first little surge of interest from the buying public, interest dropped off, and only a few notable makers were left in the market place. In Central Jawa the philosophy and ethic behind making a keris is somewhat different to what it is in Madura. This difference makes it a pretty expensive exercise to produce a keris in the traditional Central Javanese way, and it is not something that many people were, or are prepared to engage in with no assurance of a sale. As a consequence there are only a couple of people left in Central Jawa who are involved in keris making---plenty of people involved in the support crafts, such as making wrongkos , pendok, etc, but blades? Very, very few craftsmen left. The market is pretty much totally locked up by the Boys from Madura who can produce very, very fine work at a fraction of the cost of comparable work from Central Jawa. You could liken the difference to that between the traditional painter, working in a traditional way and applying traditional standards---along with very high traditional prices---and a talented graduate from an art school who is able to produce a painting that looks the same as the master`s work , but lacks the 2 or 3% of finish that might take 90% of the total time. Market forces have removed people from the market place who could legitimately have expected to become known as "empu", were they still working. The ASKI, or as it is now known STSI, in Solo has a keris faculty, but in name only. All the recent people it has produced have used their qualification to work in some other area, such as mechanical work in a factory. I don`t think there has been a graduate from the kereis school for perhaps 5 years or more.The original half dozen people from the old ASKI have moved into other areas such as sales, or raising pigeons. It is no good being a skilled craftsman if your product is too expensive for the market place. I have heard that in Brunei the government supports a couple of empu. I do not know if this is true, and I have not seen work attributed to these people, if they exist. Indonesia is not nearly as rich as Brunei, and I believe that there is absolutely no possibility of the Indonesian nation supporting a craft that cannot support itself in the market place.

31st July 2006, 03:51 AM	#4
Andrew Member Join Date: Nov 2004 Location: USA Posts: 1,725	Hi Alan, Excellent, many thanks for the explanation. Although certainly distinguishable, this reminds me a bit of the current state of Japanese sword making. Cheers, Andrew

1st August 2006, 02:06 AM	#5
nechesh Member Join Date: Dec 2004 Location: Cincinnati, OH Posts: 940	David, your keris is indeed very elegant. I was a fraction of a key click away from ordering that one myself, but opted for two others in that particular catalog instead. I have always loved the simplistic beauty of this particular dapor and the way the blade widens as it nears the tip. I think you made a fine choice in this very well made modern piece. Mudi, i as well am very curious just who it is that you believe qualifies in this modern day to carry the title of Empu. Could you perhaps give us a name or two? I also tend to agree with BluErf that the keris you posted from your father is an older Bugis (from Sulawesi) blade dressed in very recent clothes that were most probably made in Bali (albeit in a Sulawesi style). By your own standards of classification that would mean this is not a Bugis keris at all. Maybe it is Balinese then. As BluErf implies, this is much the same kind of keris dress that has been offered for sale by Majabali a.k.a. Majapahit 1 in the past. Perhaps you father bought this keris from him? However, i believe that even you own standard was misapplied to drdavid's keris as apparently you were incorrect about the origins of the dress in his case.

1st August 2006, 09:37 AM	#6
Ki Jayamalelo Member Join Date: Oct 2005 Location: Germany Posts: 18	Hello drdavid and Rick, it would be nice to see the lower part (sor-soran) of the blades better. Best you rise the blades from the background putting a small filmbox below. This neutralize the shadow and we could read the lower blade better. The greneng and gandik are important for the aesthetic of the blade. Thanks

10th August 2006, 04:37 PM	#10
Ian Vikingsword Staff Join Date: Dec 2004 Location: The Aussie Bush Posts: 4,361	And away we go ... over to the Keris Forum. Ian.