old keris for comments

[A. G. Maisey]

As the keris developed into an art form, the sogokan also developed as art, but in the very early representation of the sogokan it is no more than a simple rudimentary triangle. You can still see this later weapons, such as tombak and pedang from periods as late the 18th-19th centuries. If an owner, rather than an artisan added the sogokan, as I believe is the case with this keris, he would simply add the symbol of Siwa, he would not necessarily strive for artistic effect.

Often we tend to overlook the fact that in both Balinese and Javanese keris, the keris is a living entity, and as with all living things it can alter over time. If we find a naga, or a singo barong that has the appearance of having been added to the blade after its completion, this is not necessarily an attempt to increase commercial value, but could be a reflection of a change in status, or in esoteric belief of a previous owner.

Similarly with kinatah work, there is the historic example of Sultan Agung honouring his commanders with entitlement to various kinatah motifs after the Pati conflict. Gonjos can come and go, for more reasons than one.

When a keris has been made, the form does not always stop exactly right there at that point.

If we see a keris that looks as if it might have been altered we need to appraise it objectively, not just automatically assume that the alteration is the work of some shonky little twister trying to screw more money out of a buyer.

[David]

Originally Posted by A. G. Maisey

As the keris developed into an art form, the sogokan also developed as art, but in the very early representation of the sogokan it is no more than a simple rudimentary triangle. You can still see this later weapons, such as tombak and pedang from periods as late the 18th-19th centuries. If an owner, rather than an artisan added the sogokan, as I believe is the case with this keris, he would simply add the symbol of Siwa, he would not necessarily strive for artistic effect.

Often we tend to overlook the fact that in both Balinese and Javanese keris, the keris is a living entity, and as with all living things it can alter over time. If we find a naga, or a singo barong that has the appearance of having been added to the blade after its completion, this is not necessarily an attempt to increase commercial value, but could be a reflection of a change in status, or in esoteric belief of a previous owner.

Similarly with kinatah work, there is the historic example of Sultan Agung honouring his commanders with entitlement to various kinatah motifs after the Pati conflict. Gonjos can come and go, for more reasons than one.

When a keris has been made, the form does not always stop exactly right there at that point.

If we see a keris that looks as if it might have been altered we need to appraise it objectively, not just automatically assume that the alteration is the work of some shonky little twister trying to screw more money out of a buyer.

Good points, all, Alan. And i'm sure that James is happy to read them.
One other point about this keris that might please James is that it is a somewhat rare one due to it's relatively high wave count. 15 luk blades are not all that common AFAIK.

[A. G. Maisey]

Yes, true David, 15 is in fact outside the normal parameters.

That, plus the way in which some of the features have been carved might indicate that we're looking at Bali-Lombok.

[JamesKelly]

Gentlemen, thank you again. I do not know how to count numbers of luk. Bali-Lombok? Another new term!

Speaking as a newbie (with some knowledge of metals and 19th century muskets) I assume the two grooves which symbolize Siwa are those about 2-3/8 to 3" (600 - 760 mm) long? The longer one being on the side away from the, ahhh . . . elephant's nose, and rusty appearing in the bottom.
The blade appears to have had some rust at one time. This looks to have been mechanically removed, most of the blade polished and sharpened, leaving some fine pitting. Those two grooves were cut, and then the metal was repatinated. I assume with arsenic and acid. Nevertheless the pattern in the steel goes down into the grooves, and the chemical finish was applied after the grooves were cut.

Sitting on the deck with Dog, idly paring my thumbnail I realize this religious-object-which-is-not-a-weapon sure has a sharp edge. One could well pare more than a thumbnail should one's mind wander.
I became interested in blades in general, looking for something to stimulate this aged mind more than gun collecting. Well, each time Mr. Maisey comes forth I realize I sure have found it.

It reminds me of one college math course when our professor tried to get us to visualize a 4-dimensional object.
Yeah.
That is what all this is to me, coming from a simpler world of Old-Things-That-Go-Bang.

Addicting.

And at this point I can still enjoy the carving on handle and sheath. In the USA, in some other context, this would be regarded as skilled work. Never mind that it took just ten minutes under a palm tree, it is better than I can do.

[A. G. Maisey]

James, in recent years there has been a tendency for some people to claim that the keris is not, and in fact never has been a weapon, in spite of the more than ample evidence to the contrary.

I am not one of those people. Nor are any of the truly knowledgeable keris people whom I know in Jawa. Nor were the Balinese people of pre-puputan days.

The keris is a weapon, but it is unique amongst functional weapons in that it has characteristics that make it more than a weapon.

We may view it as a work of art, as a store of wealth, as a status marker, as a talisman, as a personal shrine, as a link between the members of a kin group, as a link between the Seen and Unseen Worlds, or we may view it as weapon. It all depends upon personal orientation.