Originally Posted by A. G. Maisey

(...) an empu was more than just somebody who was capable of making the physical entity that is a keris. In terms of the keris, an empu should also be able to embue the keris with a spiritual quality.

Originally Posted by Marcokeris

But...then another question rises in my mind: who is an Empu or ... (better) : when and why a person becames Empu?
From your explanation I suppose only for Kraton determination!
But then....I live in a cowntry notorious :shrug: for corruption where people that have a lot of money can change the rules or can do all they want.... if, for paradox, keris art would be an italian art i'm shure a lot of Empu's title would be buy.

Originally Posted by A. G. Maisey

Not quite Empu Pauzan Pusposukadgo, but poleng, none the less.

There's some clever little fellers up in Aeng Tong-Tong, isn't there?

Originally Posted by A. G. Maisey

Pak Ganja, could I most humbly suggest that you return to the post of mine which shows a keris with pamor poleng, and my remark that "there are some clever little fellers in Aeng Tong-Tong."

Is it not logical that this remark applies to the image of the keris that I posted, rather than the image that you posted?

The keris of which I posted an image is an Aeng Tong-Tong production.

The "not quite Pauzan Pusposukadgo" refers to the very obvious fact that the quality of the keris of which I posted an image is far below the quality of the Keris made by Pak Pus, of which you post an image.

Originally Posted by A. G. Maisey

It is generally accepted that the making of keris in Jawa disappeared with the occupation of Jawa by the Japanese.

It is also generally accepted that Mr. Dietrich Drescher was responsible for the re-birth of the making of keris in Jawa.

Both of these things can be taken to be more or less true, in a general sense.

However, although the broad tradition of keris making did disappear with the coming of WWII, and did not reappear until the well known involvement of Mr. Drescher, I personally knew one man in Jogja, who is now deceased, who by his own account was producing keris for dealers from the late 1950's. Not only was he producing keris, but he carried on his business from his father.

This was probably true, as a tukang wrongko I knew very, very well, in Solo a few years ago claimed that his grandfather had helped this man in Jogja, and the tukang wrongko's grandfather was, amongst other things, a pandai keris.

Additionally, a relative of my wife, who lived in Malang in East Jawa, and who was a keris collector, claimed that he had been able to have a keris made in the Malang area during the 1960's.

As with many things, there is the generally accepted story, which is probably true in a broad sense, and which for one reason or another it pleases us to accept as the "True Story".

Then there is reality which may perhaps not be quite so well known, nor accepted.

In the case of the Jogja gentleman mentioned above, his name was not known outside the keris trade, and because of the nature of his work, he preferred it this way.

The question of the techniques used to make keris cannot be answered simply.
There are a number of approaches that can be used in both the forge work and the benchwork.
Many, if not most, of the new generation of makers seem to be quite open in so far as their working methods are concerned, and they make no secret of the fact that they use electric blowers for forge work, electric grinders for benchwork, and in fact that they work in the most economic and time effective way in all respects.

However, it seems to suit some makers to work in a traditional fashion, using traditional hand tools, when they are being filmed or observed, and to use the more modern methods when they are by themselves.

I will state here that Empu Suparman Supawijaya only ever used handtools:- he did not own any electric tools of any type, and he considered their use as having no place in the art of the keris. The images are of Empu Suparman's tools. Apart from the usual forge tools, and a large file and medium sized file, these were the only tools he used to create a keris.

This brings us to "The Art of the Keris".

During the 1980's in Solo, the Anak-Anak ASKI held a number of exhibitions of their work. Included in this work were keris of traditional forms, and keris of new and divergent forms. I often heard the comment at that time that these new forms or keris were most certainly art, but that they were not keris.

Why were they not keris?

Because according to the hardcore traditionalists of that time, "Keris Art" was Karaton art.

Only the Karaton could determine the correct form for a keris, it was not up to an individual maker, and most certainly not the general public to say whether a keris was a correct form or not:- that was the prerogative of the Karaton.

By "The Karaton" these people meant only only one kraton:- the Karaton Surakarta Hadiningrat, which is indisputably the senior branch of the House of Mataram.

If the Karaton decreed that a keris form was indeed a keris, then it was. If the Karaton did not so decree, then it was not a keris.

Very simple--- well, at least from the perspective of these hard-core keris traditionalists.

Now, I was taught by one such traditionalist, and I do acknowledge that my personal opinion is exactly in line with that traditional perspective.

Keris Art is Karaton Art.

Only the Karaton can set the parameters which must be followed in the execution of this art form.

If those parameters are not followed, then the resultant creation is not a keris, but rather, a keris-like object, even though it may be superb art.

I am well aware that the nation of Indonesia is in a state of flux. It has been struggling for some time now to throw off the bonds of feudalism, and to embrace the ways of the West. The old traditional rulers have lost their power, and their tax base, and are dependent upon government handouts to maintain their crumbling authority, both actual and cultural.

Now we have the emergence of "Democracy", which I have been told many times by ordinary people in Solo --- people such as housewives, taxi drivers, factory workers, farmers --means that "everybody can do as they wish". In other words, Jack is as good as his master. The old restrictions of traditional allegiance, duty, obligation, both on the part of the servant, and on the part of the master, no longer apply.

In such an atmosphere, is it any wonder that those same factory workers, business executives, journalists, and others of the modern world now believe that they have the right to decree what is and what is not acceptable in the world of art, and especially in respect of the "Art of the Keris"?

However, the culture of any people has its roots and its strength, in solid tradition.
In any culture , there are arbiters of what is, and what is not acceptable in the cultural context, and the art of any people is an integral part of that people's culture.
Perhaps in time it may become acceptable for some group of persons within the Javanese cultural community to decree the acceptability or otherwise of various deviations from tradition in respect of the various forms of Javanese Court Art, or which the Art of the Keris is one.

However, in my opinion, that point in time has not yet been reached.

Originally Posted by A. G. Maisey

I cannot give an authoritative answer to that question Anthony.

Balinese society is structured in a different way to Javanese society. The rulers do not live in a Karaton that is in effect a walled city within a city that covers many acres and provides accommodation for those who are attached to the kraton.

In Bali the ruler lives in a Puri, which is not as grand as the Kratons of Jawa were, and judging from the puris that still exist, there was no concept that people attached to the puri needed to live under the eye of the ruler. If a ruler, or somebody attached to the ruler's puri wanted to order a new keris, he would call the pande to the puri, or visit him.

I do not know the degree of control that a ruler had over the dhapur of a keris.

Originally Posted by Jean

You are too clever for me, Mickey! :o

Originally Posted by Mickey the Finn

Please, do not drink any vodka, or any other alcoholic beverage.

Originally Posted by A. G. Maisey

David, if you really need to drink that fuisce stuff I sincerely recommend that your next bottle be Tullamore Dew.

Originally Posted by A. G. Maisey

Kertanegara.