New keris
 

Just got this one this morning. It's a newly made keris, but I think it's a beauty. It has a Yogyakarta dress (gayaman style).

According to my (humble) opinion the dapur is 'Tilam Upih'. I was told it was dapur Jalak Dinding. So this is my first question, who can tell me the difference ? I think these two dapur are very similar.

My second question is concerning the pamor. I know this is a difficult item, but nevertheless. Could this be pamor 'Ganggeng Kanyut' or does anyone recognize it as another pamor ? :confused:

Here are the pics :

http://img.photobucket.com/albums/v1...man/eb195f.jpg

http://img.photobucket.com/albums/v1...man/eb195d.jpg

http://img.photobucket.com/albums/v1...man/eb195c.jpg

http://img.photobucket.com/albums/v1...man/eb195e.jpg

Total length is 50 cm, length of blade is 36 cm

Dapur Jalak Dinding have a gusen, pejeten and tingil. This keris does not have a tingil, but it does have a gusen and ada-ada. Therefore, it is not Dapur Jalak Dinding.

Dapur Tilam Upih does not have a gusen. Therefore, it is not Dapur Tilam Upih.

From the features of the keris, it should be Dapur Jalak Ruwuh. It have a pejetan, gusen and ada-ada. Jalak Ruwuh looks similar to Tilam Upih or Brojol except that the blade is thicker in the centre.

The pamor does looks like Ganggeng Kanyut. It is said that this pamor pattern can enhance the owner's popularity, easily making friends.

Hope that answers your questions. ;)

New Keris
 

Hi Freddy ,
I'm a fan of new keris also .
Some of the work coming out of Madura these days is quite good .
Also when I purchase a new example I know what I'm buying and it's not "the story" or some contemporary piece artificially mangled to look old .

Thanks
 

Thanks for your help. :)

I looked it up in the 'Ensiklopedi Keris' and you're quite right. I thought it was 'Tilam Upih' because it lacked the 'tinggil'.

But perhaps you could help with the explanation of 'gusen'. I tried to translate the text concerning this dapur in the above mentioned book , but it's not easy. I (am beginning to) have an understanding of Bahasa Indonesia and can translate some of the written text with the help of my dictionnairies, but everything is not always clear to me.

Am I right in stating that the 'gusen' is the narrow border running alongside the edge of the blade ?

Hi Rick,
Nice Pamor Uler Lulut you have there. ;)

But the hilt is unique. I haven't seen this type of hilt before.
Any idea what type of hilt is it? :confused:

Yes, you're right. :D

nice
 

Nice keris, Rick. Mine also comes from Madura, according to the info I received from the seller.

What's the pamor ? And can we have a close-up of the handle. Looks intresting to me.

But I also like the older ones. I don't mind if the blade is not 100 %. That's part of their beauty.

Here's a nice example :

http://img.photobucket.com/albums/v1...elding1272.jpg

http://img.photobucket.com/albums/v1...elding1273.jpg

Dapur Carita Luk sebelas ?

...Or what's left of it. It had seen better days.
It takes a lot of ... to appreciate a piece like that.
Well, beauty is in the eyes of the beholder... ;)

My Maduran piece.
 

I have a madura piece too. Click here to have a look.
Estimated to be around late 20th century. Simple piece.:)

Very nice example Alam Shah !
Beautiful!

Pamor Uler Lulut , the beautiful worm . ;)
The ukiran is a rare form but it is traditional to Jawa and was a type favored by a legendary folk hero IIRC . The style is called Imam Bonjol .
I believe you can see an example of this ukiran in the Mangkunegaraan Musium collection in Solo . Also , if you notice the wrongko is faceted rather than the usual smooth curved sides .

Although not quite a fan of new kerises (blades) collectionwise, I immensely enjoy seeing some of the beautiful craftsmanship/aesthetics of the new works.

I thought the "shades" of the uler lulut pamor of Rick's blade skillfully executed giving the 3 dimensional look and I guess more profoundly so at certain angles.

All beautiful pieces in their own right. However Freddy's blade appears to have an overwhelming spread of black stain on it's surface (or is it the photos?). I've had some new Madurese pieces like this stained by black motor oil which may not be the case here.

Gusen (java)word come from "gusi" (indonesian/java/malay?), which means the teeth's gum. Gusen might means "looks like the teeth's gum". In the keris terminology, it means the beveled edges. the bevel might looks like the gum, if we look the sharp edge as the tooth :) I do agree with Pak Cik Alam shah that the dhapur is Jalak Ruwuh, or some people in Java might spell, Jalak Nguwuh. Determining the dhapur sometimes a little bit tricky, because the ricikan (details) of some kerises might not exactly the same as the written ones on the book. In this case, we may choose the closest-related dhapur possible, which has the same ricikan/details most.

About the old blade attached, IMHO, it has 13 luks. The dhapur might be Sengkelat. It was a good one, and I believe, it is still a good one for you, Freddy. Counting luks might be frustrating on heavily corroded blades. Some keris experts in Java propose counting luks on it's concave sides, not the convex, hilly sides. That is, if you hold a keris (which has luks certainly :D ) on your right hand, and the sirah cecak and gandik side facing left side, you might start counting the concave-sides luks with your left thumb and index finger. The first luk is just upside of the gandik/sekar kacang on the left side of the blade, counted with your left thumb, and the second luk is counted with your left index finger. Continue counting by alternating the thumb and index finger through the whole length of the blade, on the concave sides. Now come the important part : The luk MUST ended on your thumb, if the keris' luk is still intact. That means, the tip/point of the blade MUST be directing to your left side. If not, the point of the blade might has gone because of corrosion or altered by someone. In case of corrosion, you may add 1 to make the luk odd (luk's counting always odd). I found this method much more easier and more reliable, especially if we count the luks on the spear heads and heavily corroded kerises.
In the case of the old blade attached, if we count the luk using this method, the luk might ended on your left index finger, and the point turn to the right side. The counting is 12, so if we add 1, the blade was 13 luks. Since corrosion may not change the dhapur, then the blade still called as having 13 luks, while in fact, it has 12 luks.

wish I add something to this forum (not confusion certainly :D )

Ah! now i remember where I've seen it.
From the picture of Ali Basah Sentot Prawiradirja, one of the leading warrior of Pageran Diponegoro. He was wearing a keris whose hulu and warangka is similar to yours.

The ukiran is built up of 5 balls. Pageran Diponegoro, son of Hamengko Buwono the third, has been depicted on several engravings carrying a keris with a hilt resembling yours. :)

Thank you for the elaborate explanation, Boedhi Adhitya.

I counted the luk on the old blade in the way you described, and I ended with 12 luk (at my index finger). So you are probably right in stating that the blade used to have 13 luk.

Alam Shah, I appreciate your comment on my kerises, but I wonder why you are so negative about the old keris blade. True, it's not in perfect condition. But I feel that this old blade still has something. I don't know what attracted me to it.
By repeatly washing the blade, it's a natural process that the blade becomes thin and starts losing some 'ricikan', don't you think so ? People in Indonesia, cherish their old family kerises. I've seen pictures of kerises in the same condition, which were and are respected for their age. :)

Keris collecting seems to be a very subjective activity .
Freddy I have an old example that is in the same general condition as yours along with several other old examples all collected from trusted sources .
I enjoy them immensely for their antiquity and the fact that they were used within their culture .

What really floats my boat in keris collecting is seeing well executed , unusual and complete pamor patterns and I find for the most part that they can only be affordably found in new work .

Yes, but Pangeran Diponegoro's keris was quite small (keris pandak) that he wears tucked into his belt. This one's full size -- and a real beauty!

Negative? On the contrary, I think it's nice that you could appreciate such antiquity. (Not many people can.)

As Rick said "Keris collecting seems to be a very subjective activity."
Many people collect for different reasons.

I do have an old piece which I had grown attached to over the years.
This piece, I had kept for more than a decade (16 years.) Click here to see.

Sorry, if I didn't make myself clear. I have handled pieces in worse state than yours. Family heirlooms, almost to a point of disintegration and some are so fragile that if you exert a little force, it tends to crumble.

I agree with your comments above. Older blade have this 'x' factor which can draw one's attention. :D

You are right, keris collecting, and in fact all collecting, is very subjective. I can appreciate the workmanship in a new keris. Sometimes I wonder how it's possible to 'create' the intricate pamor motifs.

But still, with an old keris I feel that there's a story behind the piece. That would be the so-called 'X' factor, no ? Unfortunately, the story is mostly lost as the keris goes from hand to hand before it comes in our possession. And this is especially true for old kerises in Western collections. :(

Freddy, I think you have expressed exactly why I tend to collect new pieces . ;)

Interesting discussion. Forgive me for stating the obvious, but it needn't be an either/or decision in terms of old vs. new keris. I must admit a strong tendency towards older keris, keris that have truly seen use as ethnographic objects. My interest in keris is not necessarily a technical one, but one of sociologic and anthropologic study. I am drawn towards the keris for it's magickal/mystical qualities. While i can certainly appreciate the technical aspect i will probably never be able to give anyone more than a cursory explanation on the metalurgy of keris. At the same time i also recognize Freddy's lament, the story is lost and so much more. Still, that "X" factor allure remains, though i do not fool myself into thinking that merely acquiring an old keris automatical opens oneself up to the (possibly) generations of magickal/mystical intention and charge that accumulate in a true ethnographic keris. I am afraid i am of the belief that pusaka ceases to be pusaka once it is "collected" and the generational chain is broken. This isn't to say that energy work can no longer be done with such a keris, but it is surely not the same as when the great-great grandson of the original owner works with the keris. You do not acquire magick merely by acquiring a magickal object. There is a lot more work involved than that. ;)

On the other hand there is the "B" factor (Beauty), which i have certainly fallen prey to. I own a beautiful Madurese keris that was probably made in the 1980s for the collectors market (not the same as the "tourist" market). The style and execution of this piece i could probably never afford in an old keris. It caught my eye and called to me and so i bought it. It probably won't be the last time i buy a new keris. It's also important to understand that, like it or not, these newly made high level "art" keris are the evolution of the keris form. For the most part the keris as a spiritual/mystical/magickal ethnographic object is past in the Indonesian society. Yes, there are a VERY FEW empus who still know all the old tricks, or at least claim they do, but the call for their work is not increasing as time passes. These high level "art" keris are the future of the keris form. I suppose that if all collectors were to shun them that the art form itself would die out all together and that would be a real shame. :(

Freddy, the 'x' factors are more towards the 'mysterious', esoteric elements, ...the spiritual nature of the pieces. From a technical viewpoint, it would be the metal composition used, the natural blade aging, the patina of the dressing...etc.

The rule of thumb that I employ to make a decision would be my gut feeling.
If I feel connected or have the 'calling' to get the piece, I'll go ahead and get it, whether new or old. I like new for the artistic beauty.

As most had said before, some rare old pamor patterns and dapurs are hard to come by (even in the olden days). You can see new pieces sporting the rare pamors and dapurs. Click here for an example. It's a good sign. :)

Now we came to discuss a subject some traditional keris expert reluctant to discuss. It's the isoteric subject, or the "X" factor.

What makes a keris "pusaka" while others are not ? Nechesh had made a good point, one of them is Family Heritage / Heirloom. But heritage isn't the only way for someone to own a pusaka-rated keris. Sultan Hamengkubuwono V (reign early 19th C.) in Jogjakarta known for buying some kerises and made them as Court Heirlooms. The "Kyai Pamungkas", once a keris pusaka belongs to Prince Tejokusuma, were acquired by buying it for 1000 gulden (early 20 c.). Sure, family heritage heirloom might had a long story, but in fact, every keris had it's own story, isn't it ? So, what the "pusaka" really is ? IMHO, pusaka might be interpreted as "Masterpiece". In keris's world, it MUST fulfill BOTH the exoteric and isoteric criterias. It were the Empus who really made some kerises rated as "pusaka" or "ageman", and only Master Empus who able to made such (considered) "powerful" pusaka. (In fact,most of the court in Java consider a spear/lance as their most powerful pusaka, not the keris). According to Java's tradition, pusakas were named Kyai (male)/Nyai (female) ..<something>. Usually, Kyai/Nyai is a title given to respected elder or spiritual teacher. The name isn't only a form of admiration to the art, but in fact, the pusakas itselves are really "teaching" a lesson and the empu's intention to the owner/spectators, in symbolic languages. Only those who understand the language might learn the precious lesson the pusaka (ultimately, the Empus) tried to convey. Treating pusaka as only an amulet is really a derogating way, if not considered as humiliation to the Empu. But treating it as an ordinary blade with no respect at all might also do so.

Thus, in old days, looking at someone's pusaka might reveal his philosophical view and intentions, knowledges, and also his identity. For many Javaneses, it might felt like naked. So, they try to "hide" this, by very selectively showing their pusaka, and also, by using the "ganja wulung". But today, it might means nothing, because there is so little keris owner who understand the language, and I'm afraid, many of this symbolic languages had lost.

But in the end, it is the owner who makes the decision, whether his keris is pusaka or not. What ever the owner decides, any wise spectator should treat it as a pusaka.

So, how could we tell ones is pusaka while other isn't ? As I mentioned before, a pusaka must fulfill both exoteric and esoteric criterias. Exoteric very much related to quality, those are, the materials used and the workmanship, which certainly shows the empu's mastery. The esoteric is much more difficult, as Alam Shah already said, just use your gut feeling :D Sorry, seems I give no help at all. But for the hints : pay attention to the iron. Old book say "the steel gives the sharpness, the iron gives the power, the pamor gives the glow/shine". Contrary to popular belief, pamor should be considered only as a "book cover/title", where the empu put his title to his intention. It is the iron, which really contains "the power". No named pusaka (that is, pusaka which bear a name, "Kyai") I've already seen had bad, rough and porous iron. In fact, many of them just show a minimalistic pamor, scattered-rice type (beras wutah), which convey a high-degree philosophical lesson. Good understanding on keris making process and metallurgy will show why.

Last but not least, I must admit that what I've been saying is only from Jogjakarta's view. Surakarta might say something differently, because of the different philosophical approach. Bali, Makasar/Bugis and Malay will certainly say something else.

Boedhi, thank you for sharing Jogjakarta's philosophical approach. I agree with you, different regions have different philosophical approach. The Malay/Bugis approach is different. :)

Well , I guess this brings up another question (at least for me) ; When does a Panday become an Empu ?
Is this strictly a spiritual matter ?

Prior to continuing with comments relevant to this thread, I wish to make it known that ten years ago today, on Sabtu Wage, 28 Juli 1995, Bapak Suparman KRT. Supowijoyo, known as Empu Suparman, departed this realm. Today is the tenth anniversary of the death of Empu Suparman.



The question of exactly what the word "pusaka" conveys, is able to be answered in several ways, dependent upon the intent of the person using the word.

In colloquial use in present day Java it can serve as a substitute for the specific name of an item of wesi aji, that is, a keris blade may be referred to as "pusaka", or a tombak blade , or a pedang blade. In colloquial use it can be used to refer to all these items.

In modern Javanese it carries the meanings of :-1-an heirloom, a revered object passed down from an ancestor; 2- an inheritance (krama inggil for warisan); 3- a ricefield owned by one family through several generations.

The word has come into Indonesian, and in this language it carries the meaning of "heirloom".

As applied in correct usage, to a keris, it can only mean a keris that has been inherited from one`s forebears.

From the above it will be understood that the word pusaka does not apply only to keris and other items of wesi aji. It applies to any material object which is inherited from one`s ancestors.

In traditional Hindu/Javanese society, the possession of the royal pusakas were deemed to be essential to legitimise the right of the ruler to rule, however, the events following the surrender of Amangkurat III to the Dutch in 1708, demonstrate that a ruler could hold his position in the absence of the royal pusakas.One of Amangkurat III`s conditions for surrender to the Dutch was that he be permitted to retain the pusakas of the realm of Kartasura. Pakubuwana I (PB I), who ruled Kartasura following Amangkurat III was very upset by this loss of the pusakas, the more so because these pusakas were no longer even in the Land of Jawa, but had gone to Batavia.However, as disturbed as PB I was, he said to Cakrajaya, his chief councillor :-

"It is my feeling, Patih,that even if all the pusakas of the Land of Jawa are taken to Batavia, those that are the pikes and kerises,it concerns me not just as long as there are still the graveyard of Kadilangu and the mosque of Demak. Yea, know that these two are the pusakas of the Land of Jawa which are essential, there are no others."

PB I may well have been trying to validate his right to rule and in effect saying that the royal pusakas other than the mosque and graveyard were not important, but in the context of our present discussion, I believe that this usage of the word "pusaka" clarifies exactly what is meant by the word when used correctly in the Javanese language.

By the time PB I declared that the only pusakas that were really essential were a mosque and a graveyard, Islam had already assumed a dominant role in Javanese society, and in effect, PB I was maintaining the traditional cultural values by his stance that these two things were all that were essential, but he was maintaining the values in an Islamic fashion. In the Balinese cultural tradition, which can in many respects be regarded as a continuation of the culture of pre-Islamic Java, the pusaka keris binds the current custodian of that keris to his ancestors, and to members of his kin group who are still living. This is the cultural role of the keris pusaka. PB I substituted the Mosque of Demak, and the Graveyard of Kadilangu for the keris pusaka, as the things which bound him to his ancestors, and to his kin group, and thus bestowed upon him the right to rule.

So, in a cultural context, not only is a keris pusaka one that has been inherited from one`s ancestors, it is also the physical object that binds the present possessor of that keris pusaka to his ancestors, and to the other members of his kin group.

Regarding the use of the word "empu".
Empu is the title bestowed upon an outstanding poet, writer, artist, or armourer.
In Java, normally one could expect that this title would be bestowed by a Kraton, however, there were instances of famous empus who were not designated thus by a Kraton, but rather came to be known as empu by the wider community. Whereas a Kraton appointed , Javanese empu might be regarded as a part of Kraton heirarchy, and carry a Kraton rank, the empus of Bali were not a part of the Kraton heirarchy, but rather members of the Pande caste, having their own priests, living within their own community, and serving both the common people and the Kraton, upon request.

A pandhe is a blacksmith; this is Javanese usage.
A pandai is a craftsman in metal; this is Indonesian usage.
A pandai besi is a blacksmith (Indonesian).
A pandai keris is a keris craftsman.(Indonesian)

A pandai keris in Java could become an empu if invited to join the heirarchy of a kraton, and given a rank within that heirarchy.

Empu
 

Salam Marto and good to have you on board. Have been enjoying your interesting/informative posts.

On the subject of Empu, I was once told it's a title bestowed by the Kraton in those days and if so wouldn't it be true there's no Kraton appointed Empu presently? I'm not exactly sure how the late Suparman and Djeno got their Empu titles and perhaps you could enlighten. Would it be more appropriate to call ALL present day keris (blade) makers pandai?

Empu Suparman was a part of the heirarchy of the Kraton Surakarta Hadiningrat, and his designation as empu came from that source.

I imagine Empu Djeno would have a rank within the Kraton Yogyakarta and would be designated as empu from there.

Bp.H.Pauzan Pusposukardgo followed Empu Suparman in the Kraton Surakarta, but Pauzan himself has always rejected being called an empu, even though he has the right to the claim, and when he was working preferred to style himself as "Pandai seni keris".

In Bali , in Kusamba , near Klungkung, there was Empu Mangku Wije, but I am not sure if he is still with us or not.

These people aside, I do not know of any other people entitled to call themselves "empu", in the modern era.

Lately you may have noticed that keris are being sold on ebay and marketed as the product of a gentleman living in Surabaya, and probably of Madurese extraction or origin. The claim is being made that this gentleman is the current empu of the Kraton Surakarta. I suggest that this claim may not be supportable.

It should also be noted that Empu Djeno has not actually made keris for some time, his apprentices do, though he may oversee the work. So the short list of working empus is really even shorter. :(

Empu
 

Thanks a lot Marto. I'm hoping if we could collectively nail the issue of Empu in the proper context. Assuming that Suparman, Mangku Wije and Djeno are all not direct Kraton authorised but just part of a downline of an Empu proper, wouldn't it be improper to consider them to be an Empu proper? Something like a son/apprentice of an Empu shouldn't be called an Empu if he's not kraton authorised. I'm just making a hypothetical point here hoping to see what some others may think. Perhaps there may be not a single Empu left after all... Thoughts?

Couldn't it be that all depends on the appreciation given by the people. A man can start as 'pandai keris', but if his work is really good and a lot of people appreciate it, I guess, it's possible that he obtains the status of 'empu'. Then he is seen by all as a 'master of his craft'.

This, of course, not only goes for keris makers, it's appliable to all craftsmen.

I apologise for being less than clear in what I have written.

I have attempted to be very specific in my explanation of the both the word "empu", and way in which it applies to the people I mentioned.It would appear that I have failed.

I shall try again.

Empu Suparman was a part of the heirarchy of the Kraton Surakarta Hadiningrat.
He held rank within the Kraton heirarchy, the names bestowed upon him by Sinuhun indicated his calling and assigned duties within that heirarchy.
Until the time of his death he was the official empu of the Kraton Surakarta.

Empu Djeno has a name bestowed by the Kraton Yogyakarta, but which I would need to look through reference material to find. That name will incorporate components that will clearly indicate his calling and duties within the Kraton heirarchy. He will also hold a rank within the Kraton heirarchy.Additionally, Empu Djeno claims descent from a line of empus.

Pauzan Pusposukadgo was given the name "Pusposukadgo" by the Kraton Surakarta. The components of this name are "Puspo" and "su" and "kadgo". The component "kadgo" indicates his calling within the Kraton heirarchy. "Kadgo" is a Javanese literary term for "keris"; it appears in Old Javanese, Kawi, and Sanskrit, where meanings vary from "keris" to "pedang" and "sword".This name clearly identifies Pauzan as an armourer. The fact that he has chosen not to be called an empu is a reflection of his religious committment, nothing to do with the recognition of his skills. Pauzan Pusposukadgo also holds a rank within the heirarchy of the Kraton Surakarta.

Empu Mangku Wije is a heriditary empu. As I explained in my earlier post, in Bali the empus were not a part of the Kraton system, but rather members of a clan apart from the rest of Balinese society. They provided their services upon request. Empu Mangku Wije has the right to call himself "empu" because of his line of descent, and because of his membership of the Pande clan, and because of his occupation in the making of Balinese ritual implements, tools, and weapons, including keris.

There can be no question that these four men are entitled to be known as "Empu".

However, as I also advised in my previous post:- "---however, there were instances of famous empus who were not designated thus by a Kraton, but rather came to be known as empu by the wider community.---"

Of course a person who is the descendant of a line of empus cannot call himself an empu if he is in fact a bookkeeper, but if that person works as an empu, in Bali he has the right to call himself an empu. In Jawa the designation of empu should come from the Kraton, where it will be indicated by the name given by Sinuhun at the time a Kraton rank is bestowed. But it must be noted, that in historic times some people were known as empus who never worked under the aegis of a kraton.

I trust that this further explanation clarifies the matter.

Empu
 

Terima kasih Marto for the outstanding post and for further enhancing/clearing my understanding especially on the part of Balinese Empus not being part of the kraton system. I didn't know that. In rereading your preceding posts I realised I've missed a few salients points highlighted by you earlier. My apologies. I guess if the official kraton status of those few noted names cannot be disputed, they are Empus. Again you've also highlighted "But it must be noted, that in historic times some people were known as empus who never worked under the aegis of a kraton" which is again noted.

I'm aware of Djeno's descend claim to a line of Empus (if indeed verifiable) but not too sure of the circumstances to his kraton yogyakarta title. My saying so because things appear to be more for commercial reasons these days...

That was informative. Thanks Marto. :)

I agree with you, Marto, that "pusaka" in correct, normal, daily usage, might means heirlooms or inheritance. But I speaking about a very specific "pusaka" term, which is, I observe, used amongs keris experts in Java. So it's only exclusively used for "tosan aji", by those who understand it, and should not be extended to any other meanings. Certainly, it is not listed on the dictionary :). Any "commoners" in Java, that is, non-"student-of-kerises" :), might use those normal daily usage.

Many keris experts believe that it was the empus' intention which made a keris a pusaka or not. Times and changed in ownership cannot and will not change this intention inherent to the keris, but the owner certainly can change how he treats the pieces. So, I'm talking about "inherent pusaka values in the blade", not how the owner treat it, or acquire it. Someone may treats his keris(es) as pusaka while the keris itself, in fact, was not intended to be treated as so by the maker himself. But a keris which was intended to be a pusaka by it's maker, will still be as such, no matter how the owner treat it.

As the making of pusaka need a lot of effort, (materially, technically, and spiritually, not even to mentions times), which were very different to the making of other so-so kerises, any experienced keris connoiseurs should and have to be able to know, what the empu's intention really was when he hold a blade. He/she should also have to be able to judges, whether empu's intention in the blade "failed" or "succeded". In short, whether the "intention" became "reality", or not. It should shows the empu's mastery in technical and spiritual aspect. Not every intention became reality, we all know it :D

The traditions classified kerises' intended use as "ageman" (literally : agem =to wear, that means daily usage: for proper dressing, souvenir, exhibition,etc), senjata (literally : weapons), and "pusaka", which should bear the ageman and senjata qualities, plus a lot lot more as I mentioned in previous posting. It's oke to wear a pusaka-rated keris on daily usage, but it may cost you a lot if you loose it :). But the "ageman"-rated keris should not be treated as pusaka, while it is in fact OK, but it's just "unproper", as it was not intended as so.

If we talk about Kraton's pusaka, we should consider also the political circumstances. Kraton used the pusaka as their legitimation to govern, sometimes (or always?) accompanied with a lot mystical legends and history. Well, King Arthur was doing such a thing also, wasn't he ? :D
Even so, the Kraton should pick their pusakas very carefully. The pusaka's quality should be so high, that no any commoner would match it. They should also employ the best living empus on their court, to add their pusakas, and thus adding the "magical powers" and then, legitimation. As Indonesia became a republic, the Kraton lost their power and thus the practices lost it's importances. Losing the power, the court also could not afford to support the living of empus and his assistant, and the support to the art was lost.

Today, Kraton Jogjakarta has no formal empu, and thus, Empu Djeno, until today, bear no name/title from Jogjakarta Court, or any court,(yes, I've verified it to my friend who is the court's servant and also keris expert when I write this post), while in fact, Sultan Hamengkubuwono IX himself personally (not on behalf of Kraton) commisioned a keris to him, using Prambanan meteor. Djeno would be the last living empu who is still practizing traditional methods, including fasting, make the offering, and chanting the mantras. Living celibate, he is now assisted by his nephew, Sungkowo. Actually, it is Sungkowo who do the "hard work", since Djeno is around 70 years old and suffering breathing difficulties, perhaps caused by breathing charcoal fumes for years. Djeno is the youngest son of Empu Supowinangun, the official empu of Kepatihan (prime minister's office) of Jogjakarta. His lineage is reliable, because the Ngenta-ngenta village is a well-known empu's village, and there are the graveyard especially devoted to empus, which many of them, are Djeno ancestors. Supowinangun also a capable empu, as his works reveal (I've seen an authentic ones). But Supowinangun never taught the "empu-hood" to Djeno on purpose. Djeno was learning by doing, assisting his father.

Just for information, the are two kind of Court Servant (Abdi Dalem) in Jogjakarta's Court, first the "Abdi Dalem Kaprajan" (praja=government), which consist of Abdi Dalems who are still active in civil/military services, the second is "Abdi Dalem Panakawan" (pana=to witness, to know, kawan=friend), which consist of Abdi Dalems with other occupation in community. The Kraton Jogjakarta ranks today are (as I recall, might miss some) : Jajar, Bekel (Raden/Mas Bekel), Lurah (Raden/Mas Lurah), Wedana (Raden/Mas Wedana), Riya (Raden/Mas Riya), Tumenggung (Kanjeng Raden/Mas Tumenggung). KRT would be the highest. For Kaprajan, the rank would be matched to his service, e.g. the Lt. Col. in military would be titled KRT ("Raden" only for those who able to show hereditary lineage to a king, commoners would be assigned "Mas"), while Panakawan must follow the order from the lowest, just like the military serice. Thus, since Djeno have not enlisted himself as Abdi Dalem, the Jogjakarta Court didn't give him any title/rank/name, until now.

Thus, any other keris makers bearing title from Kraton would be from Surakarta Court. Among them is Mas Lurah Pusposukadgo (or Fauzan, as mentioned by Marto), an antique/keris dealer who become keris maker. Today, he makes keris no more. Others are Suparman (I forgot the title), was a keris collector, Subandi (i forgot the title also), a lecturer in STSI Surakarta who teach a keris making, once a student of Fauzan, KRT Sukoyodipuro and Hartono from Surabaya, was an antique/keris dealer, and founded the Besalen Condroaji, with many students/followers in Madiun and Malang, East Java. As I could recall, while they bear the Kraton Surakarta's title (and thus a "Formal Kraton's Empu"), but they never made a pusaka commisioned by Kraton Surakarta. Some of them, buying the "saton" or half-finished kerises from Madura and just do the cold-working/finishing. By doing this, they may cut-off the forging failure (which may quite often, just ask the damascus blademakers) which may cost a lot. Most of them working on Surakarta nem-neman style, if not copying. A fine Jogjakarta style is a rarity, probably because no example for them to copy. (I will not gives a comment to "commercial", whether it's the empu, or the title itself)

In Bali, while there are some court, (Gianyar, Karangasem, Singaraja and Klungkung, amongs them) the best pieces were made in the Klungkung Court. (Balinesse collectors say this, not me. So if you need a proof, I suggest you go to Bali this summer, :D )

To became the master empus (not so-so empu), ones, at least, should fullfil these requirements :
1. Very sound mastery in technical aspect on making kerises/edged weapons, these including (but not limited to): choosing the materials, preparing, forging, cold working and tempering. In the old days, these knowledges might be kept as a secret (in fact, "making weapon" is still a secret today, consider the nuclear weapon. Making very fine weapons, in the old days, might be treated as such). So, It was only the direct line of descendant (preferably famous empus) or a sound apprenticeship would guarantee this.
2. Mastery on keris's symbolistic languages and philosophy. That's why some dhapur, like Nagas, are very rare. Those dhapurs were reserved for the court members only. Any Master Empus would refuse the commoners who commisioned these. In fact, Traditional Empus would always asking the date of birth, hereditary lineage, occupation and the particular wish(es) of those who commisioned the pusaka-rated keris, if he can afford to commisioned one, then match this information to one of the dhapur and pamor he considered "proper". (today, only Empu Djeno who still doing this)
3. Very sound sense of art, especially in shape's harmony/balance. Might only learn by "handling the fine pieces", which unfortunatly, held by Kraton. "Mutrani" practices (copying the fine old work) would be the way for empu to master this sense.
4. Last but not least, "spiritualy capable".
To be able to make a masterpieces, this requirement also has to be fullfiled :
5. Have an access to best materials exist. (good iron and steel might be regulated by the court, just like the uranium today :D. Its also cost a lot).

Thus, patronage from Kraton for master empus seems inevitable, and indeed, the kratons themselves seek the best empu exist. Any master empus who is unwilling to gave the service to the court might be considered as a dissident.
Today, to became a master empu, someone seems had to have at least a doctoral degree in metallurgy, philosophy, art and "spiritual", all at once.

Once again, cultural diffrences may apply :)

Boedhi Adhitya, an enlightening comment. Lots of insights. Thanks. :)

Hi Boedhi, apa khabar? It's heartening to hear from members based in Java such as yourself and Marto and taking the time and trouble to share invaluable stuff/information. It's great that we put as much on the table for us to digest and perhaps cross-check/verify where possible. It's indeed stimulating, interesting as well as enlightening. Thanks.

I accept that as a member of a keris society based in Yogyakarta Bapak Boedhi Aditya has presented the meaning of the word "pusaka" as it is used by members of the society to which he belongs.

I regret that I am unable to agree that the term "pusaka", when applied to a keris is in fact widely accepted in Jawa as a term to indicate quality in a keris.

The pusaka keris could be expected to be of superior quality, as in its cultural context as a binding agent, the necessary qualities would only be able to have been brought into the keris by a maker fully conversant with the required ritual, however, simply because a keris is of adequate quality to allow it to be on a par with the expected quality in a pusaka keris, this does not make it a pusaka keris.

I do not challenge the right of any group of people to initiate their own jargon to simplify discussion of a shared interest, however, that jargon only has value and meaning within the group which has adopted its use. The meaning carried by that jargon within the group cannot be extended to the wider cultural or societal context.

It may be accepted that within the group of which Pak Boedhi Aditya is a part, the word "pusaka", as applied to a keris, or other item of tosan aji, carries with it the measure of quality. However, in spite of the claim that this is general usage throughout Jawa by all adequately educated students of the keris, in my experience , this is not the case. It may be so in Pak Boedi`s group. It may even be so in Yogyakarta. It is not so in some other places.

The qualification used by Pak Boedhi of "inherent pusaka values in a blade" I find quite acceptable.
This clarifies that the term "pusaka" as used within Pak Boedhi`s group has a meaning that relates to quality.
But again, this level of quality does not make a keris a pusaka:- what it makes it is a keris with inherent pusaka values, that is, a certain level of quality, both physical and perhaps esoteric.

My quote of Pakubuwana I in my previous post tells us exactly what a pusaka is:- it is something that binds the current custodian of the pusaka to his forebears, and to members of his kin group who are still living. In 1708 this was understood by Pakubuwana I , and would equally have been understood by the Javanese people whom he ruled. In the cultural decline which has occurred since 1708, this meaning has been lost, and now we have the term being used in some places as a measure of quality.

It is a phenomenon of societal development that this development seems to almost invariably go together with the erosion of cultural values.Bearing this in mind, it is understandable that the concept of "pusaka quality" could easily replace the true meaning of pusaka, and that the true spiritual meaning of exactly what a pusaka keris is, be forgotten.

In respect of the status of Djeno Harumbrojo, I stand corrected.
I had assumed that he had entered the heirachy of the Kraton Yogyakarta, and thus had been given rank and title. Apparently I was wrong. I apologise if my misstatement of fact has caused any inconvenience . I can only excuse this by saying that my base of knowledge and experience is not Yogyakarta.

In respect of Pauzan, he was not an antique dealer, prior to becoming a maker of keris, he was a night bus driver. His wife was, and is an antique dealer, and he assisted his wife on a part time basis when the antique business was begun, in , I think 1973 or 1974. Currently the correct form of address for Pauzan is Bp. KRT.H. Pauzan Pusposukadgo.It is many years since he carried the rank of lurah. I have known Pauzan as a good friend for more than thirty years.

Bp. KRT. Suparman Supawijaya (almarhum), was not a keris collector. He started life as a shoemaker, he became a soldier, then a dealer in precious stones and wesi aji, finally he became a maker of keris and other wesi aji, I had the good fortune to be a close friend of Bapak Suparman for the 14 years immediately preceeding his decease.

Subandi is one of the "anak-anak ASKI". The others are Yanto, Pandi, Widodo, Kamdi, Bagio, and of course, Yantono.The STSI was the ASKI, prior to its status being changed in the mid 1980`s.

I could be wrong, but my current information is that Subandi is not employed as a lecturer. He was certainly never taught by Pak Pauzan.

When the keris school was set up in the ASKI, as a part of the faculty of plastic arts (ie, sculpture), and under the leadership of Pak Yohanes Yantono, both Pak Parman and Pak Pauzan were approached to act as lecturers. They both agreed, however, neither were ever called to lecture. This is something that made both men feel slighted and has caused ill feeling until today within the keris community in Solo.

In fact, the only teacher of keris art is Pak Yantono, and he has not had a pupil in years.Pak Yantono could never be considered an empu; he is of the Katholic faith and by definition is culturally unsuited to be considered as an empu.
The total number of people who have graduated as makers of keris could be counted on the fingers of two hands, and none currently ply their trade, but prefer to use their qualification to work in other pursuits, as factory managers, salesmen , pigeon breeders, and so on.
Pak Yantono still makes the occasional keris, but he is now over fifty years of age, and is the head of his faculty, and prefers work more in accord with his changed status.

I do not know Pak Sukoyodipuro or Pak Hartono personally, and I have not heard mention of either of these gentlemen from my friends within the Surakarta Kraton community, nor from people within the keris world in Solo, except that I do know of Pak Sukoyodipuro as a maker of keris.
My knowledge in this respect could be flawed, and I will certainly follow through on this question.
It seems incredible to me that Pak Sukoyodipuro could have achieved the rank of KRT in such a short space of time, and especially whilst not living within Surakarta; it normally takes many years to achieve this rank.
Of course, since the decease of Pakubuwana XII, there has been a considerable amount of confusion in Kraton affairs in Surakarta.

Regarding Bali, the distinction between "in the Kraton", and "for the Kraton" is important.
I repeat:- the empus of Bali were not members of the heirarchy of any kraton. They were members of the Pande clan , having their own priests, and outside the Balinese system of caste. This is well documented in the literature.



To recap on the core matters under discussion, which I understand to be:-
1) the meaning of "pusaka keris",
2) the meaning of "empu"

In respect of pusaka keris.
I accept that Pak Boedhi Aditya and his group of keris fanciers in Yogyakarta have attached a meaning to "pusaka keris" that equates this term to a measure of quality.
I do not accept that within the context of Javanese culture this is a correct interpretation of the term.

In respect of empu.
My original definition stands, and I complement Pak Boedhi upon his expansion of my definition by provision of a further explanation of the qualities required of an empu.

I am happy to see Boedhi Adhitya and Marto Suwignyo bringing more precise information to the Forum in regard to the meaning of the word Pusaka in the Malay world (I use this term to include more of the people in the entire area rather than just the people of Java who were the people from whom I learned what little I know of this topic.)

This topic has been addressed before in the past by both Dave Henkel and I who are both really outside of the culture although Dave now and I at one time had some close contact with it. Dave, in addition, brought up the fact that this term is spread over more objects than only the keris which sometimes gets lost in discussions concerned with that specific object and that, besides the Kraton quality material and that of the other members of the court, the term permutes throughout all members of the culture down to the village level. This is as it should be as the Kraton has traditionally set the standards for the rest of the population.

I think that with more information available, members will begin to get a better sense of the real meaning of the term and thus use it more discriminately in the future.

Pak Marto, I absolutely agree with you. The meaning of "pusaka", as I mentioned before, should not and cannot be extended to a wider cultural or social context. This is not, as Pak Marto said, a correct term within the Javanese culture context. Any sane sociologist or anthropologist should not use the pusaka's meaning as I described before on their work :D In fact, I suggest they should find their own meaning, since it is still an interesting subject.

Once again Pak Marto is correct. What I really want to describe was "the qualities of which keris rated as pusaka, should have". This might be a general guidelines for traditional keris "collectors", as described by Mr. Haryono Guritno as "Tuh - Si - Rap - Puh - etc,..etc,..." In fact, only a very-very little "real pusaka keris" (that is, kerises which are really treated as pusaka by their owner) belong to Javanese peoples which may meets such tight requirements. Most of them, belongs to the kraton's families or associated with them. To find one of this pieces really pain in the ass. If you find one, just jump and get it :D But to recognize it, you should have some knowledges, don't you ? Without knowledges, the pusakas may only pass you by.

It is correct that pusaka term as I describe may only applied to "very inner circles", that is, keris experts who have access and have seen by themselves the examples of keris pusaka belongs to kraton, or at least, some pusaka belongs to Kraton families which once belongs to Kraton. Without seeing ones (or twos, the more the better :) ), the meaning hardly being understood. Even so, those who have access, not necessarily understand. As I mention before, consider the pusaka as a book. The ones who is "illiterate", will never be able to "read" it. Mr. Sugeng Wiyono, a Kedaulatan Rakyat newspaper's reporter, write a book entitled "Jimat Ngucap, Pusaka Kandha", which might means "If you have an amulet (=Jimat), then you have to cast a mantra/spell (=Ngucap=to speak) to make it "work", but if you have a Pusaka, the Pusaka itself will teach you a lesson(=Kandha=to tell). You just have to sit, and "watch/listen" " The Pusaka mentioned here means a keris, not other pusaka such as a gamelan or ricefields :) He gains his understanding on pusaka, he claims, by studying under the direction of the elders.

"Tosan Aji" might means "worthy Iron" or "honourable/respectable/adorable iron". It MUST have such qualities to became worthy/respected ones, not only depends on it's history. The very carefull and cautious traditional collector would then examine the keris history, especially by examining the "fate" of the owner before him. Were the owner life in prosperity or were they doomed with bad luck, living unharmoniously, or eventually, having a disease and death. Once it pass the qualification, then it worth to be called and treated as a Pusaka. That is, we can take "a lesson or benefit(=tuah)" or any spiritual meaning from them, whether it's philosophically, spiritually, or even more, "magically". This lessons/benefits are REAL (now I'm really talking about esoteric ;) ). Any who didn't qualified, while it worth preserving/collecting, should not be treated as pusaka, since they have nothing to share, and thus, no benefit/lesson could be taken. If we receive it as an inheritance, but didn't pass "the exam", then, we should treat it as inheritage, something that connect us to the pass or families or something else, but we shouldn't expect "the lesson/benefit" from them.
This argument may only be understood and accepted with an example and wide explanation, which I think, may take a lot of bandwidths, and should not be tried. Even in the old days, this explanation/understanding would only be teached privately (and still that way today), while the commoners would be only consuming "the myth" and "legends" .

Today, only a very limited traditional keris collectors/lovers/connoiseurs/or fancier (as Pak Marto said), might exercise this understanding. Even in Jogjakarta. Most of the peoples, if not nearly all, who pay attention to kerises (in Java particularly) expecting for magical/ mystical or spiritual benefit keris might brought. Thus, they would be a subject of fraud by irresponsible "dukun" or "paranormal elders". I've seen a lot of victims, some of them brought newly made keris being told as Majapahits, some brought a pieces of brass, cast like keris, some even brought a pieces of iron plate from an oil drum, shaped like keris, and they call it "pusaka". I've even met a local official brought newly made keris with certificate stating that his keris is a Majapahit made and was a kraton surakarta heirloom, signed by a KRT. He himself saw the keris was taken from the "gedong pusaka" (heirloom's hall) of Kraton Surakarta, then was given to him. It is very sad to say, most of Javanese today do not understand about kerises/tosan aji. They even don't know what it's look alike, especially among the youth. Many are very afraid to the kerises as such, that even to open the cupboard containing the keris they're really in fear, not to mention to draw it from the scabbard.

Unfortunately, many of those who really knows has passed away, and those who didn't understand claim to be understand. I don't claim myself to be understand, not even an expert. I just conveying what I've learnt, and realizing that there are even more to learn. And fortunately, The Great Empus had left us The Book, that is, their great works. Like the elders said "Trust no one, just read The Book"

Well, cultural differences may apply.

Best Regards to all