Yes Kai, affixing names of specific Balinese deities or folk figures can be pretty difficult sometimes. Moreover, sometimes the people in Bali whom one would think might have a good idea of what specific personage is represented by a totogan, will have no idea at all, or else, be demonstrably wrong.

But sometimes an attribution will be included in the carving that might be sufficient clue to venture a guess on. With Bhima it is usually an overlong thumb nail and/or rather massive genitals.

In respect of hairstyle, I'd be looking for a crab-claw hairstyle on a Bhima representation. The simple knot of hair is normally associated with a low level personage, maybe a punakawan, or servant, or common man.

Edit

I've referred to "hair style" above. Ideally, this crab claw (supit urang) would have been a hair style, but in reality it was probably mostly a head-dress, its symbolism is that it identifies a hero.

Hello Alan,

Thanks for your thoughts!

Regarding the genitals we can only guess, this type seems to always maintain decorum... ;)

It is also always carved with 4 fingers with apparently the thumb hidden from view. (If it were meant to represent Bhima, I'd expect the thumb(nail) not to be hidden from view though.)

While the bun may appear simple, this type always comes with quite elaborate hairdo with very neatly arranged hair, several successive rows of curls in the bun and often additional curls below - pretty much nessitating a hairdresser (not a DIY thing, I believe).

This type also always come with lots of status wear: A huge central diadem which is kinda mirrored at the back of the head, too. Around the ears there seems to be a sumping ron (slightly smaller than usual?) and possibly an eloborate ring dangling down from the earlobe (if not part of the sumping ron). Then we have a massive and heavily decorated breast plate followed by a very broad belt with central plate/buckle and, again, heavy decor. The upper arms, wrists and ankles are also carrying elaborate bangles. Definitely a member of the upper echelons and not a common man is represented here!

Regards,
Kai

If you say so Kai.

So give us a name.

Or maybe point us at a known monumental representation or a wayang figure?

Kai, my comment was this:-

"The simple knot of hair is normally associated with a low level personage, maybe a punakawan, or servant, or common man."

If you understood this remark to be an indication of an opinion on who or what this hilt could be, I apologise for my failure to be clear. This remark on the "simple knot of hair" was a general comment in respect of symbolism, it was not an inference of identity in respect of this specific hilt. For example, Bagong is often shown with a simple knot of hair, but this is not to suggest that the character that this hilt represents is Bagong.

In fact the protuberance on the head of this figure might not be a knot of hair at all. Prabu Ratmaja is usually depicted with a head dress that looks somewhat like the ornament on the head of this figure. I have several examples of Prabu Ratmaja, and you can find more scattered through some of the well known references, like "Keris Bali", and "Understanding Balinese Keris", in most of my examples of Prabu Ratmaja the hair finishes in curls at the rim of the protuberance.

Prabu Ratmaja was a Raksasa King, and my examples all have the requisite fangs. I cannot see fangs on this hilt, but they could be there somewhere. He is a reasonably common figure on Balinese totogan hilts because he is regarded as having extraordinarily strong protective powers, he is also reasonably common on Javanese figural hilts.

This hilt could be intended to be Prabu Ratmaja, but really, I am reluctant to put this idea forward with any conviction. Naming hilt figures is a recipe for argument, and the only person who could sometimes tell you exactly who a figure is would be the carver and original owner.

Hello,
Thank you both for all this information.
I admit that if I thought of Bhima it is because of numerous similar identification seen on internet on Balinese handles (very close to those generally attributed to Bayu but without the miroir).
But you are right apparently, after some research after reading you I realize that it isn't because a thing is very often repeated and taken everywhere that it is true ... :shrug:

Here is an overview of Kriss, no sheath unfortunately and a simple blade.
For the "wooden ball" under the handle, I think it's a fairly "new" to compensate the absence of the mendak and a pesi too long.

Is the wooden ball integral with the hilt or not?
Martin Kerner showed similar hilts identified as Bima in his reference book "Keris Griffe aus Museen und privatsammlungen".
Regards

Is not integral whith the hilt, isn't the same wood, it's just glued
:(

For the age I think first part of XXth century (or a little more?), but it's just a "feeling".

The only Hulu I have not attached to a Bilah.

:)

Both Kai & I have commented on the difficulty of identifying the specific characters that are represented in Balinese & Javanese keris hilts. It does not really matter who published what in respect of an opinion of a hilt character, what matters is how that character has been identified, and then that opinion needs to be qualified.

The rational way in which to identify a hilt character is to try to identify any attributes that the carved character may have and then match those attributes to the known and/or accepted attributes of characters found in monumental sculpture or the wayang. But even this approach does not give an answer that can be necessarily relied upon.

As with many Indian Hindu arms, the nature of the keris is that of a shrine, a shrine that is essentially empty but that is held in readiness for the entry of the character from the Other World for whom it has been prepared. That character might be a major deity, a personal, often minor deity, a folk spirit, an ancestor, or even a combination of ancestor plus deity where the ancestor is considered as merged with that ancestor's personal deity after passing from This World. The sacred part of the complete keris is considered to be only the blade, that blade is the shrine, as with other shrines, the shrine that appears as a weapon has a guardian, a dwarapala.

The word "dwarapala" is from the Sanscrit and was used in Old Javanese, the first syllable "dwara" means gate or place of entry, and combined with "pala" it carries the meaning of a gate guardian.

The weapon shrine is normally empty, and evil spirits and evil entities are attracted to empty spaces, so to prevent entry to the empty weapon shrine a dwarapala is needed, that need is fulfilled by the presence of the totogan hilt figure. That hilt figure had a meaning and a purpose for the original custodian of the keris for which it was prepared, but once separated from that original custodian it is really very difficult, if not totally impossible to correctly identify the character represented in the hilt. At least, this is so with older hilts or hilts prepared for a persons with the beliefs of their ancestors, such hilts were in fact prepared as dwarapalas, not simply artistic figures.

The element of ancestor worship within the indigenous societies of Jawa & Bali is one that is frequently disregarded or glossed over. In fact, for a person from these societies who has strong traditional beliefs, the idea of his ancestors is a very major part of his being.

Consider this:- the reason for the existence of all of the ancestors of any person living comes down in the present to just one point, which is the existence of the person who is the product of those ancestors. In extremity, all those ancestors can be called upon to assist the present person. This is a very old idea, and is not unique to Javanese or Balinese indigenous cultures.

So, in an old Javanese or Balinese figural hilt that was prepared in the form of an ancestor figure, that figure represents not just a single ancestor, but the entire line of ancestors who are now present in the person who has that hilt affixed to his keris.

In the modern world many deeply rooted traditional beliefs have been forgotten. Forgotten to the point where even people who should know the possibilities for identification of a Balinese hilt character need to go outside their own society and ask people who are not a part of present day Balinese society what those possibilities might be. Not long ago this loss of culture was driven home to me very clearly by the admission of the loss of some of his cultural memory by a present day, practicing, Balinese empu.


The evidence of the difficulty in naming Balinese keris hilt characters can be seen in the books published by Pande Wayan Suteja Neka:- he is very careful when it comes to attributing specific names to hilt characters unless the attributes are exceptionally clear, and taking the old perspective, perhaps even those identities that have been given, might not be the intention of the original owner. If anybody should be able to identify a hilt character it would be Suteja Neka, but does he jump in and express his first impressions or random ideas as an opinion? I think not.


Very often we see in this discussion group questions raised in respect of the identity of the characters represented in keris hilts. Sometimes the attributes of such a character are not difficult to identify and the hilt is then identified as a representation of some deity or folk figure. But if we take the perspective that could have applied at the time that a particular hilt was prepared, then perhaps our identification must be considered as merely a recital of observed characteristics, the intent of the carver and his client might have been entirely different.

My contribution to this wonderful thread: Rangda(?)

That is a lovely piece of work, do you have any idea what the material is that it is carved from?
Bamboo root perhaps?

Thank you Rick.

Material is wood but what kind of wood I am not sure, maybe tri kancu?

I also like the juxtaposition of the colors; light next to dark brings to mind the Poleng pattern seen in fabrics of the culture.

This juxtaposition of light and dark colours in Keris hilts is called Sonten Dalu (Night and Day) if I’m not mistaken

That is a remarkable bit of carving right there.
I would think Rangda is a fair attribution...in which case i would image the little baby is toast! :eek:

I'm familiar with the baby-eating associations of Rangda, but is it common to depict her with a baby like this? It seems kinda vulgar, but then again I'm not too familiar.

Thank you David.

Hi Jagabuwana,

I think it is not as common as Rangda without baby/little child, but courtesy to google I’ve found the following:

That second one is the first baby I've ever seen with breasts. ;)

Thank you, JustYS

Perhaps she is pregnant and the Demon is impatient.
or it prefers them fresh , causes a miscarriage

Rangda is considered a she, Joe. ;)

She is reported to be not too fussy about her prey... :eek:

I love that keris grip btw. As a kid I often went to the ethnography museum with my parents here in Leiden, and the colorful Indonesian (and particularly Balinese) demon masks and Rangda in particular always creeped me out in a good way. Those creepy lidless eyes, those tusks, and that tongue! I love good horror imagery and monsters of any sort, but I have to admit that western demons don't really compare to the Balinese version.

I have just added this Hulu to my collection.( the picture on the left)

It is said to depict the goddess Devi Sarawati which represents knowledge, music, art, speech, wisdom, and learning. She is also part of the Tridevi with goddesses Lakshmi and Parvati.

I believe this was carved in the '70.

The material should be albino water buffalo horn ( or white Kerbau )

Interestingly at the same auction where I acquired my Hulu there was also ANOTHER (Right in the picture) almost identical hilt which was mounted on a similar kris where this will be mounted .

A Putra Satu in ivory, just entered the collection.

Nice hilt in a rare material! Congrats for a nice addition to your collection. :cool:

same to you Detlef

Another one in blonde horn, a Ramajala from Tegal, ex. Wolfgang Spielmann and Wolfgang Schilling collection.

A really finely carved one - congrats, Detlef!

Regards,
Kai

You've all got some stunning examples and with good pedigree too!

There are only a few true figural examples here, see bottom left corner.

The other image, whilst not a keris hulu and is I guess off topic, it is related to some degree and worth a share within this post.

Thank you Kai, it comes together with this wrongko and a blade but the blade needs first a proper warangan.

Regards,
Detlef

WOW Detlef, that patina! Those carvings!!! The condition!!!

Hi Gav,

Thanks! Have to agree by patina and carving! The condition is acceptable, the leaf in front was once broken and it's not a good restoration.
But the ensemble is nice! ;)

Oh, a tragic break. Nice to see that the break away section was retained though.
There are very good craftsmen out there who can faithfully repair these issues, but equally I feel sometimes things are best left alone and preserved as they are.

I know people also who would be able to restore it much better but I tend to leave it alone.

Detlef, there are a number of ways that we can repair this sort damage, some are almost imperceptible, others are a bit clumsy,but when the damage gets to the level that the damage on your wrongko has reached, the usual decision is to change the shape of the wrongko and make it a kacir style.

The Madurese kacir wrongko has a shortened and pointed front (angkup) and a shortened and pointed rear (daunan):-

http://www.vikingsword.com/vb/showthread.php?t=13435

I just reread this thread, it is worth a re-read, but post #11 is a good example of something that might have had the kacir treatment.

But if you cannot handle basic carving, then it might be best just re-do the present attempt and use tinted Araldite as both adhesive & filler.

Not wanting to move of the hulu topic, but am I seeing a crocodile and a bird in the carvings?
Both seem to be important figures in sea going cultures.

What is the legend behind the carvings on Detlef's wrongko?

Hello Alan,

For the moment I will let it be like this, it will be a future project to open the glued break and hot water damp and reglue it in a better way and fill up the missing piece of wood with wax or something else.
For the moment I have waxed it, it looks much better now.

To recarve the wrongko is no option.

Regards,
Detlef

Hello Gav,

Frankly said I don't seeing a bird nor a crocodile, I see a wing, yes, but I suppose it's either the Kuda Sembrani (a winged horse, said to coming from the Keraton Suminep) or Garuda, both symbols you can find also in front of some Donoriko hilts, see attached pictures.

Regards,
Detlef

Detlef, I would suggest that hot water is not really necessary, and water applied directly to the wood is perhaps not advisable.

Possibly the easiest way to get a glued joint apart is to put it in contact with damp cloth, wrap the cloth around it is what is usually done. It might take a few days, but most joints will usually weaken with this treatment.

Then wait a few weeks until the wood is thoroughly dry.

Hello Alan,

I've done something like this before over hot water damp, without any direct contact to the water. A wet cloth around the joint gives more contact to the wood I guess.
But like said, I will let it first in this condition, it looks much better now and will be a later project. And I think that I only fill up the missing piece of wood.

Regards,
Detlef

Detlef, the problem with holding a piece of timber over hot water to loosen adhesive is that there can be risk of raising the grain of the wood, thus creating a situation where you could need to refinish the entire piece.

If you use a damp --- only damp, not dripping water --- cloth & cold water, that risk of raising the grain is reduced to a minimum.

In fact, with fine cabinet work, and other types of fine finishing of timber, we deliberately raise the grain prior to polishing, I was taught to do this by using a damp cloth and then a hot iron on the damp cloth, but these days I often use an electric steam iron.

Additionally, now we sometimes find that a repair has been done with other than ordinary wood adhesives, these will not loosen up from the damp by softening the adhesive, but with damp and time, the grain of the wood itself will usually weaken and you can separate the joint.