Garuda Kris

[Gavin Nugent]

Originally Posted by SanibelSwassa

Gavin,

Wow… the cartography angle is totally wild and I SEE it!!! That would be almost nuts as the makers of the blades could hardly have been able to have conceptually known the similarities. What a rabbit hole!!! I love it!!

As Werecow notes, it is an ancient art...

When looking at this map and it's age and date of "publication" in Manila, is it much of a stretch that they knew of the PNG shape? Records show the Malay raided as far as the west coast of PNG.... this may even explain why Twist core was seen as far as Maluku.

https://en.wikipedia.org/wiki/Sultan...or._Y_Capn.jpg

As a side note, I had some time to read last night and the head rest I supplied the image of is reputed as being a rooster I can see some likeness but as the same time, some aspects don't line up stylistically to my mind.

[Battara]

Originally Posted by Gavin Nugent

As a side note, I had some time to read last night and the head rest I supplied the image of is reputed as being a rooster I can see some likeness but as the same time, some aspects don't line up stylistically to my mind.

To be more accurate, the "other rooster" or sarimanok. It is a stylized mythical rooster from the Moro peoples. So the pommel of the mid 1800s and later resemble more the sarimanok head in the minds of many.

[SanibelSwassa]

Again I would call attention to the representations that are both common and distinct in this form.

1. The floral pattern on the crown of the “Garuda” form are not found in the other Moro Kris hilts, yet the blades on these archaic seem to have elements that would tie them back to the Moro craftsman.

2. The wings on the side profile of many of the pieces I’ve located are typical of the more common forms. This seems to be a linkage that should not be ignored.

3. The front and back of the form have a possible reference to the gateway to “heaven” or the afterlife.

I am personally still draw to a blending of the majority Islamic faith and a mix of Chinese Buddhism or remnant Hindu faith that was still present in the area. But definitely open to thoughts from other members.

[Gavin Nugent]

Originally Posted by SanibelSwassa

1. The floral pattern on the crown of the “Garuda” form are not found in the other Moro Kris hilts, yet the blades on these archaic seem to have elements that would tie them back to the Moro craftsman.

I'll spend some time aligning my thoughts later in the week, but at face value, and no doubt the crutch of the matter that muddies the origins question for me is that I see Sulu motifs, Malay motifs and Boreo motifs within many aspects of the hulu and the dress these are sometimes found in... finding that consistent common and undeniable theme within all seems quite the challenge... equally, most blades as you note are distinctly Moro/Sulu... the adventure continues

Originally Posted by SanibelSwassa

2. The wings on the side profile of many of the pieces I’ve located are typical of the more common forms. This seems to be a linkage that should not be ignored.

This aspect reminds me somewhat of the pronounced part of Malaysian/Patani Coteng and to a much lesser degree, the side panels on the Tajong which are more vegetation motifs and not pronounced.

Originally Posted by SanibelSwassa

3. The front and back of the form have a possible reference to the gateway to “heaven” or the afterlife.

At the same time I see a metamorphous in process through various examples, not unlike the various stages other Keris hulu forms are found in other regions.

[Gavin Nugent]

Another little side track... so many unique things to the regions .. there is this old thread of an interesting pommel and the image Battara provided...

Whilst not purely of the type, it is interesting to note the upright ancestor like position, and that it looks to be gold from the enhanced photo, also carries what appears to be two seperate rings on and below the pommel, rings that appear to have grip straps running either side of the hulu... complete with very interesting side panels too... Datu Piang and a most interesting hulu.

Note the shirt he is wearing too... very much akin to the Mirror Panels Gustav brought to the forum some time ago...

And this linky...it shows more of the type....

http://www.vikingsword.com/vb/showthread.php?p=162113

[Gavin Nugent]

I'm posting these images here too in the hope of bringing more light on the "type"

Stylistically, it is of the subgroup, simply refined in a different manner.

This is in the Malaysian National museum in Kuala Lumpur.
I have not delved into the accession of this piece. It may offer insights.

[Battara]

Originally Posted by SanibelSwassa

Again I would call attention to the representations that are both common and distinct in this form.

1. The floral pattern on the crown of the “Garuda” form are not found in the other Moro Kris hilts, yet the blades on these archaic seem to have elements that would tie them back to the Moro craftsman.

2. The wings on the side profile of many of the pieces I’ve located are typical of the more common forms. This seems to be a linkage that should not be ignored.

3. The front and back of the form have a possible reference to the gateway to “heaven” or the afterlife.

I am personally still draw to a blending of the majority Islamic faith and a mix of Chinese Buddhism or remnant Hindu faith that was still present in the area. But definitely open to thoughts from other members.

I think this is a possibility. Certainly Hindu, then Buddhist, then Islamic influences came to the Philippines long ago, and probably merged in styles without knowing their origins.

Also the "gates" may have their origins in the vegetable motifs in Islam and earlier. But I do agree that the top one looks like the gate found on some Islamic prayer mats.

As for the "wings" I still hold that they are more the stylized "eyes" found on danganan, junggayan, and 17c kris pommels.

Great carvings and good to have them with twist cores.

[Gavin Nugent]

Originally Posted by Battara

Also the "gates" may have their origins in the vegetable motifs in Islam and earlier. But I do agree that the top one looks like the gate found on some Islamic prayer mats.

Great analogy Battara. The Mihrab came to mind when considering the motif... there may be something in the repeated pattern on the pommel, like stepping through doors.

https://www.metmuseum.org/art/collection/search/449537

[Gavin Nugent]

So...whilst cleaning out my phone of photos I planned for Instagram, I came across this and it hit me... these Brunei and Sarawak hilts very much resemble the upright and floral nature of many of these Sundang hulu, including the silver collar and rings.

I see the resemblance as a direct link culturally, and with the distinct Tausug canted pommels too,(from a general shape point of view), and the long time interactions between nations, along with the settling of Northern Borneo by the Tausug.

Some of these Tausug pommels also carry rather interesting related motifs too...

Gavin

[Gavin Nugent]

A little further visual interpretation from my perspective...

Given the Malay/Borneo and Sulu flavour of these Sundang, a Sarawak Sadap and Latok to consider...

Again, when viewed like this, and in particular the Sadap, it is akin to the two examples initially presented, those with the carved ivory pommels.

Further to this, and by no means are silver rings new to silver sword handles, but I pay particular attention to their placement in relation to the upright ancestral Jawa Demam types Sundang hilts with the three rings and where they are positioned on the hilts.

I think it is more than a little casual coincidence and perhaps there is a whole lot more to this that first meets the eye.

Now, to add a little more spice to the discussion, although I am writing to myself too often with the fascinating post, have a look at this stunning old Kampilan and consider others in your collections with what the description within the link provides, where my idle ramblings are concerned...
https://www.britishmuseum.org/collec..._As1954-07-194

Battara touched on the alignment and crossover of faiths and worship in the regions and I had my doubts about Garuda being the correct term for these and part of me still does to some degree, perhaps it is spot on.

Correct me if I am wrong but Garuda could travel between heaven and earth, somewhat makes sense to carry this symbolism on a weapon which can take one from earth to "Heaven", but alas I don't feel that was the intent though this speculation of mine...

Interesting are the Biblical references within the script on the Kampilan and that Garuda is the enemy of all snakes... does that include Satan?
Perhaps these hilts are some very real spiritual protective motifs

What I found interesting was the last Angel mentioned. Azra’il (Azrael, angel of death). When looking at the typical Kampilan hilt, there is a coin to one side... is this the coin that covers the eye when one makes the trip to the afterworld, an eye one side, a coin or token the other, symbolising the ability of the iconography to transcend both planes perhaps?
Not a stretch given the importance of the text on Kampilan in the British Museum and just how old the coin on the eyes of the dead is and how far and wide it spread...

But alas, I ramble down this road because the Museum's Biblical translations and the notation of both garuda and Jawa Demam which is the same quandary found in this thread... several lines of faith aligning in the most unusual places...
Further to this, I present the Latoks because of the Floral eye which feels very deliberately placed, which is like the Kampilan eye position discussed/pictured, and where they are both concerned, they even have the line shapes leaving the eye...

Perhaps these hulu are Garuda... I do not know, I only wanted to share my thoughts about the plausible thoughts behind the iconography of ancestor worship in these regions that share common trade and ancestors.

Gavin