Yes, Pak Alan. The division of Java had put deep rivalry between the branches, much until now. The rivalry extended to virtually anything, and there are real differences in art/culture, tradition, languages and personalities/way of thinking. I personally noticed the difference in personalities of Jogja – Solo peoples. But let it be as it may, I really hope we can neglect the difference, and even take benefits from each style.




Raffles, no matter how deep his understanding upon keris culture considering his short stay in Java (which needless to say, much of his times was spent in Batavia), also wrote that keris, among 30 or so Javanese weapons, had the most special value to Javanese. A Javanese soldier usually carried 3 kerises, 1 from his father in-law, 1 from his own father, and 1 which was his own. Why, such a specific origin needed as items of dress?. Why didn’t they just pick up any kerises and tell everything he wishes to everyone whom asked ? Whatever the answer, keris had and always has a special value, other than just an item of dress. And I personally think, it isn’t so ‘fashionable’ to wear 3 kerises at once, but two might do. Needles to say Raffles also pointed Malay peninsula as the birth places of keris, if I’m not mistaken.



It is true that O’Connor was discussing Candi Sukuh, a very peculiar candi/temple from 14 C, at the end of Majapahit. While it used Hindu iconography, it has a very unique structure, almost unknown for ‘original’ Hindu. It’s place, in Mount Lawu, Central Java, also very unexpected, as at the time it was built, Hindu’s center was placed in East Java. Lombard propose that it was built by some Majapahit elites, sawing the fall of Hindu eras, took refuges in deep, inner Java, and tried to practiced a syncretic of ‘Old Javanese Religion’, mainly The Anchestor’s Worship and Yoni-Phallus cult, as an answer to the fall of Hindus. Interestingly, O’Connor referred to ‘Cantang Balang’, a Surakarta Court’s Jester, to explain the meaning of metalworking sculpture in Sukuh. ‘Cantang Balang’ is quite recent, 19-20th C. performance. Thus, we see the continuation of Old Javanese Religion, disguised and mixed with Hindu icon. Under Islam, we see, for example Nyadran tradition, as the syncretism of Islam and Anchestor’s Worship. Not to mention the Garebeg, Labuhan or Kirab Pusaka. In keris, we see it most obvious in Ganja-Pesi “cult”, among other thing. As long as keris has ganja and pesi, it is, ‘a holy object’, and once who made it should act accordingly, I suppose. The ‘religion of Java’, as Koentjaraningrat called it, is still much alive. Whether or not the peoples who actually exercised it conscious that it has some 'old javanese religion' in nature, is another question.



But be as it may, as you’ve suggested, it’s all forgoten. But the ‘real’ court art, should seek what it called ‘kagunan adi luhung’. Prof. Koentjaraningrat in ‘Javanese Culture’ define it as ‘the highly sacred value of the classical court art’. It is ‘The highest form of artistic expresion’. He also wrote, in case of profesional performers of wayang orang, that “Artist from courts indeed despised the ringgit tiyang panggung actors, whom they called degenerate entertainers, who sold they art for money (tiyang mbarang), and thereby violated the so-called highly sacred values of the classical court art (kagunan adi luhung)". Keris, I believe, also fall to the Classical Court Art categories. It was the court’s duty to preserve the art. Until now, the ‘Bedhaya Ketawang’ dance is regarded as a sacred dances. The performers should fast, cleans their bodies, etc before performing it. It is performed only in a very special day. The art and the value, still much alive. Why don’t the keris ?

In fact, Surakarta Court still has plenty of Court Empus, with a very high degree of skill and very vast knowledge in keris culture, and disperesed all over Java (Jakarta, Surabaya, Malang, Madiun, beside Solo). Many of them hold ‘Tumenggung’ title, a very high rank title, lower only to those of ‘Pangeran’ (Prince). This rank is so high that just recently, Jogjakarta Court decree that the highest rank could possibly achieved by ordinary ‘abdi dalem’ (court servant) through ordinary career is Raden Riya, roughly takes 20 years of serving. Raden Riya is one level lower than Tumenggung. A further advance would need special condition. Then, with the high status, comes obligation. But as I’ve written before, I’m not asking for any of them to became a priest-like empus. Instead, I urged them to give honor to “highly sacred value of the classical court art”, just a little bit. Considering their vast knowldege, I think they fully understand what the ‘kagunan adi luhung’ in keris art is. If they don’t, then something really missing, and thus, per se, they cannot reached ‘the highest artistic expresion’ as the late Court Empus has done.

I apologize for sound like ‘mourning’. But believe me, I’m not. And believe me, I’m actually doing something on it. What I wish is, a one step further in keris art. Not just stuck in ‘high art’ but push it one more step : ‘a highly sacred art’. There is much difference between ‘high art’ and ‘highly sacred art’. It involves ’spirit’ : A much different sets of motivation, intention, and involvement. Not some kind of ghost, but the spirit of the artist. Bali has taugh us a lesson. Many dance in Bali actually not performed for tourist attraction. Its are religious ritual, performed before Gods. Other forms of ‘spirit’ I’ve seen is in the old empu of Wayang/leather puppet making. He explained, to make a good Semar figures, one should wake up early in the morning before the sun rise, and start to chisel in the quite, calm dawn. On the contrary, if one would make a Baladewa figures, he must start to chisel just several hours before the dusk, and feel the rush. If one make Rahwana, he must chisel when he actually in anger. Thus, the spirit would be ‘absorbed’ in the figures.



Pak Alan, I don’t know what is your understanding about ‘tosan aji’ and ‘pusaka’. A quite recent traditional such as Serat Wesi Aji and Jitapsara (a kind of primbon) and also famous 19 C. Solonese poet Ronggowarsito explained many kind of iron and it’s character. Thus, ‘tosan aji’ is just a special kind of iron, specially worked, and might be taken shape as keris, tombak or pedang. True, no one know about it now. But the “cult”, if we may called it, was quite alive in early 20 C. There is a story of Empu Prawiradahana, a notable Jogjakarta’s empu, warned his Pangeran about the danger of the iron which the Pangeran’s newly acquired car was made. The empus was certainly confident enough about his ability to ‘detect’ a ‘god’ and ‘bad’ iron, that he suggested the Pangeran to discarded his car. The Prince resisted, and actually, the car involved in accident not long after. Yes, certainly, story could be made and exagerated, as any other things in the world. But those who has experience in marangi/keris staining, can not neglect that the keris were composed of many kind of iron, each blade virtually had it owns. He might also recall, the good-looking one, and the bad-looking one. While it is technically in nature, in Java, it was attached to something more than technical. The fact that today’s keris experts or empus cannot identified simply signified the ‘missing link’ : no one had ever studied under ‘real empu’. Otherwise, the iron identification and character as written in Serat Wesi Aji and other manuscript simply never exist, and such a thing was absolutely forgery. But once again O’Connor reminds me : “The perfection of spirit is figured in the perfection in metal”..



Pusaka is, IMHO, not necessarily inherited. It could be newly made, and actually, it was. Babad Giri described how Sunan Giri acquired his pusaka. He simply went to Empu Supa workshop, and commissioned a keris. He brought a material with him, “a pen”. Empu Supa simply brought it to his forge and worked on it. Just before he forge it, the ‘pen’ suddenly swirl on the anvil, and once it stopped, it already became a keris. Empu Supa told what was happened to Sunan Giri when he presented the keris. Sunan Giri then pronounced a decree “Henceforward, this keris named “Kalam Munyeng” (The Swirling Pen). Anyone who see it should reckon it. It is the Pusaka of Giri”. A fresh, newly made keris, made by ‘ordinary’ people (not gods or jinny), in the forge (with some magical accident, though), has pronounced as “Pusaka”.

Other, more recent story is the making of Kanjeng Kiyai Pakumpulan. It was made during the reign of Pakubuwono VI by empu Singawijaya. It was made of nails, which was collected from Mosque renovation all over Surakarta Kingdom during the reign of Pakubuwono IV, hence it was named “Pakumpulan”, kumpul=to gather/collect. It was a newly made keris, made and intended from the beginning as a Pusaka. And indeed, it is a Pusaka. Other story is Si Ginje.

Pusaka is simply “the highest, sacred form of artistic expresion” in keris world. It was made with all the intention it might takes. The material, preferably, is special. It calls for ‘special process’, a perfect process that technically and ‘spiritually’ possible. It is a masterpieces. Thus, it must ‘stand-out out of the rest’. It loaded with philosophical value. It should inspire those who own it. The owner, on the other hand, should know how to take inspiration from the Pusaka. It could, fortunately, newly made. An ability to fly, to stand on it’s tips, to walk, to produce smoke, water, fire, etc, is not required. But if it do, it certainly would be considered, and a kind, polite, trust-worthy, preferably powerful, guardian spirit would be welcomed :)



I definitely agree with you, Pak Alan, that we have opportunity to support the continuity of Javanese culture. I’ve made a fierce discussion with some ‘old fashion’ keris lover who insist that Pusaka cannot be made again. But I insist, we can make it again. And WE MUST, for the sake of the keris culture, what ever it takes. We can make a piece of blade which is capable to inspire the owner, which we can watch for hours, again and again and again, with endless admiration, just like the masterpiece works of the late empus. But in the eyes of competition, IMHO, it is too ‘personal’, and thus, cannot be competed.



I do appologize to all forumities for this lenghty post, and I raised my hand and take my oath : I will not talk about it anymore. I think I’ve made my point very clear.

In the end, I would like to quote my friend, who has been studied keris for over 40 years:,” No matter how hard I tried to understand, once and for all, I’m European. I will never be able to understand keris as much as Javanese do”. I admire his stubbornness in studying keris.





Mas Ganjawulung,

I'm afraid I must take some breath before I answer your question. Please be patience :)

Pak Boedhi, quite honestly, I can see liitle, if any variation in the position that you put forward, and my own.

I agree that the art of the keris is a court art and that ideally it should be preserved as an art that reflects some of the spiritual elements of Javanese culture. How this might be accomplished within the present fabric of Javanese society is beyond my comprehension, but as an ideal, it is a worthy one.

However, even this classification of the keris as a blossom of the arts of the Javanese court, and by extension a sacred object, is a comparatively recent one when considered against the more than 1000 years of the history of the keris. Mistake me not:- I support your stated ideals, however we need to consider other facets of the keris as well, such its place in the culture of the people, as distinct from the culture of the courts, its function as a store of wealth, and so on. The keris is not a one dimensional object, but has many facets, each of which needs consideration.

As to the nature of those things that we refer to as "pusaka".

Pak Boedhi, I agree that your definition of the word "pusaka" would be accepted as a fitting definition by many people within the Javanese keris community. The ready acceptance of such a definition demonstrates conclusively the point I made in my previous post, that understandings have been lost.

From the historico/cultural perspective, a pusaka is a revered object which has been passed down from one's ancestors. There are other meanings, such as inherited family sawah, but in the context of the keris, these other meanings are not directly relevant.

The spiritual relevance of the pusaka keris is that it forms a link between the present custodian of the pusaka, the previous custodians of the pusaka, and all members of the present custodian's kin group.Its possession verifies the approval by the previous custodians of the present custodian to hold the authority symbolised by the possession of that pusaka.

I acknowledge that this understanding of the word and concept has been greatly diluted in Jawa over a period of many years, however, a close investigation of the nature of the pusaka keris throughout history, will demonstrate that this interpretation of the pusaka keris is a more generally applicable one than the late 20th century interpretation of the idea. Moreover, when we consider the concept of "pusaka" from the perspective of a realm, the interpretation can be extended to other less easily recognised pusakas, such as a place of worship, a graveyard, or even a dance.

The core values of the pusaka are its effects of uniting the past with the present in one dimension, with all members of the kin group in another dimension, and of providing a seal of approval for the authority of the current custodian.In essence, we are looking at a cosmic focal point.

I am not saying that one understanding of the nature of the pusaka keris is correct, and another is incorrect. Not at all. Society dictates the acceptable understanding of cultural mores according to the development of the society. Nothing stays frozen in time. My understanding of certain concepts that are integral to my own cultural heritage are in many respects quite different from the understanding of my forebears of those same concepts. Time and its passage mould society and culture in a way that permits the survival of the people who share that culture and society.The survival of the owners of the culture ensures the survival of the culture.This could be likened to the nature of a virus which constantly changes in order to escape elimination.

Thus, when we consider the "meaning" of something, or the "nature" of something, against the background of society and culture, we must consider these matters within the context of time. It is not a valid exercise to try to understand 14th century beliefs, using the perceptions of the 20th century.

Tosan aji?
Again, a point of view. We can take this pair of words in its simplified application, or we can go back to the roots of "aji" and the implications inherrent in the societal position of iron age smiths.
Perhaps we could consider why it is that the Pande caste in Bali will not take holy water from the Brahmans.

Raffles was an interested and hyperactive social observer. He employed informants and recorded. He was not an expert on the keris, he simply recorded what he observed. He observed and reported the importance of the keris to Javanese people, he also observed and reported its function. I have no doubt at all that much of the esoteric nature of the keris was unknown to Raffles. However, there can be no doubt at all that the keris in early 19th century Jawa was a very different thing from the keris in 14th century Jawa.
I do not recall that Raffles proposed an origin for the keris. Gardner attributed origin to Peninsula Malaya, but I don't think Raffles mentioned the question of origin.

Religion of Java?
Clifford Geertz first coined this term I believe, not Koentjaraningrat.

I would prefer not to comment in respect of the empus of the present Court of Surakarta.

Of course a European , or a person from a European cultural background cannot relate to a keris in the same way as do some people who are Javanese.

However, a professional investigator and analyst, most especially one with considerable experience in a particular field, can come to an understanding of the way in which some Javanese people relate to the keris.
Such an analyst would not wish to relate to the keris in the same way, or even in a similar way, to the way in which some people in Jawa relate to the keris. Such subjective involvement in the subject of investigation and analysis could corrupt the objectivity of the exercise.

Yes, Pak Alan, I understand your point. We are on the same train, and if there are some minor differences, surely because we see through a different angle, as you are sitting on the different seat. You are not sitting on my lap, aren't you ? :)

Let's moving forward...

I agree with Pak Alan, that PB didn't make a 'new from the scratch' style. It was hard, even today, to 'invent' a new style. Keris aesthetical standart has developed as such that it has strict senses on what is acceptable and what isn't. Thus, PB was adopting another standart which already exist. We must also bear in mind, that there was a time when Jogja and Solo shared the same style. Thus, the differences between the two courts follow an evolutionary path. What we see today is the latest development, mainly come from late-19 C - early 20 C, that is, when PB IX-X and HB VII-VIII reigned.

What style PB did adopt, therefore, debatable, as there is no clear documentation about it. But from my limited knowledge on PB blades, I always feel it has some Madura influences. I make my conclusion mainly on the 'global proportion' of the blade, mainly between the high/length of gandhik, the width of sraweyan and wadidang slope compared to the overall length of the blade. I didn't take account of the details/ricikan, as it might come in various way, and most straight Madura's blade has very limited detail. Please don't mix it up with new Madura's blade. The old one is a good blade. Well define and having bold, strong character. Madura has many famous and powerful empus, which has made keris at least since Majapahit eras, and even earlier. Even in some way, the HB I blade also has some Madura influences, among other. HB I also an admirer of Madura's bravery. He composed a dance for it, named Beksan Lawung Trunajaya. (Trunajaya was Maduras Prince, which in fact, attacked and caused the fall of Mataram under Amangkurat I)
Historically, Solo has a tight connection to Madura. Some Madura's princesses were married to Solo royal families, if not the Susuhunan himself. Not to mention, the famous Empu Brajaguna came from Madura, and the family of Brajaguna worked for the court for the long time. Wasn't it possible, that there was another empus who also emigrated to Solo ? Through Bengawan Solo river, Madura was easily reached.

My objection to Pak Alan conclusion is simply because the what-so-called Banten blade was very likely unknown in late 18c. in Java. Serat Centhini, which was composed in early 19c, has already described tangguh Majapahit as we would accept now, as a light and slightly small blade. But if we use only the blumbangan as the indicator, it might be true. But I think Madura's blade also has an elongated blumbangan too.

Yogyakarta, in the other hand, claiming themself as an inheritor of Mataram, and in fact, located in Mataram, surely would adopt the Mataram style. But not without modification, though.
HB I is some kind of the mixture between Mataram, Madura and Tuban/Pajajaran. It's unique features is a very deep and wide blumbangan. It is very rare.
HB V is a mixture of Majapahit and Mataram. It has 'tight' (kenceng), but calm and confidence in appearance. Keris, in HB V eras who reign during and after Dipanegara war, was an important tool to support his legitimacy. He withdrew all pusakas which belong to old Pangerans, to suppress their influence. He made and gave pusakas to those who support him. No room for error. It's also known as Tangguh Srimanganti, as it was forge in Srimanganti hall, inside the court. The most noticeable feature is it's pamor. It is incredibly tight/lembut, without losing it's line. It also shows chatoyancy effect. In some blade, it literally look like peacock feather. It is regarded as the best Jogjakarta's blade ever made, but unfortunately, it is rare. I haven't seen the pictures of the real HB V's blade ever published.
HB VII, on the other hand, made quite a lot of kerises, in some grade of qualities. The high quality blade only bestowed to the Princes, while the lower one to the lower rank servant, accordingly. It has a mixture of Tuban and Mataram style, and slightly bigger than HB V. Pamor comes in vary.
HB VIII's blade was almost the same with HB VII, as the same empus was employed. The most noticeable difference are the blade is very slightly smaller and the pamor is more coarse.

Here, I attached the pictures of K. Tamansari, which was published in Keris Magazine and Haryono Guritno's book.

www.heritageofjava.com/keris

It is a well-published keris, but regarded as Mataram. According to some in Jogja, it is HB VIII. The material, kinatah and pamor style doesn't fit the Mataram Tangguh. It is a good example of HB VIII keris. Tamansari is the Water Castle, built during the reign of HB I. Once a very beautiful garden with under water tunnel, man-made island, etc, but now only ruin. It's beauty depicted in batik's motif, and also in this keris' kinatah.

Other pictures in the comparison between Madura and Surakarta keris. It can not, however, replace the real blades.

Pak Boedhi, I am not proposing a linear descent to Surakarta style from Banten style.

What I am proposing is the stylistic proportion of the Majapahit blade transposed to the Surakarta blade. This does not mean that the Surakarta blade is the same in all respects to the Majapahit blade, but rather it uses the style of the Majapahit blade and fits it to the Surakarta blade.

Yes, there was a long and a close relationship between Surakarta and Sumenep, and there may have been some contributing influence to the Surakarta blade, but personally I cannot see it. The old Madura blades had a totally different pawakan to the Surakarta blade, and were usually quite upright with a rotan-like cross section; the blade tip after the last luk was long; the gandik was more often than not rather acutely angled; blumbangan proportion was quite different to that of the Surakarta blade, tending to squarish, and it was typically shallow and poorly defined; the kembang kacang was rather thin and spindly, and the gandik was typically short, low, thin and small; pamor was coarse and with a sand-like texture. However, they were well made blades for the purpose of weaponry. They were not works of art.

It is possible that one could get a similar feeling from an old Madura blade, and a Surakarta blade, but this different to physical appearance.

Blade proportion is anchored in the blumbangan, and the blumbangan in both the Majapahit blade and the Surakarta blade establish a related proportion. I am not using only the blumbangan as an indicator, rather I am saying that by using the same blumbangan, proportion is established which must follow the blumbangan, once that happens, the overall style follows.Actual physical size is not a consideration, as Blambangan, Banten and Bali blades---all inheritors of Majapahit keris tradition--- from the period immediately following Majapahit, are all of similar size to the Surakarta blade. Although we think of the Majapahit blade as a small blade, and although it is mentioned as a light blade in Centhini, let us not forget that Majapahit was already 400 years back in history when Centhini was written.In fact, the typical Majapahit blade is not a small blade, rather it is of medium size, but it is thin and light.

In one sense the Surakarta blade was "new" style, just as the HB blade was a "new" style, but where the HB style was influenced by Mataram, the Surakarta style was influenced by Majapahit.

dear Kerislovers, especially Pak Budhi et Pak Alan,

I have been following this discussion. Remarkable!!! To make clearer of my understanding, would you please, if any, to upload keris pictures that you believe having tangguh: surakarta, djogjakarta, majapahit or old madura.
It is easier for me, perhaps for other colleagues too, while following some explanation about typical tanggug mentioned above there are opportunities to watch keris pictures which representing those tangguhs.

regrads,
OeS
some people can swim but are unable to dive, and, some others cannot swim then dived :)

I would also like to commend the participants in this thread, especially Alan, Boedhi and Ganja, for a most excellent and informative discussion. I think when we try this up (though there is always more! ;) ) it should be added to our "Classic" thread sticky section. :)

Yes?

Thanks,

J.

I miss very this level of discussion.

Need to be identified below mendhak, what type of this mendhak?
Thanks..

Looks like they never visit no more.
I found them on facebook any way.

Yeah Ferry --- friends will arise, friends will disappear --- to quote The Bard. No , not Will.

But there's a few of us still hanging around.

Actually the place where I've seen this sort of mendak most is in East Jawa, Surabaya, Malang. Cannot recall having seen it much on Central Jawa keris.