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Pameran Keris Kamardikan - Kamardikan Keris Exhibition 27 - 28 Aug 2016
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well, I do make mistakes on my last thread and I deeply sorry for that
to make up to it, here's couple shots from Pameran Keris Kamardikan (kamardikan keris exhibition) in Jogjakarta, very recently - 26 - 28 August 2016, in Pendopo Jiwangga Spiritual Restort Dusun Sambiroto Desa Purwomartani Kecamatan Kalasan Sleman there's around 250 keris displayed, to show the world that the art of keris making is not dead and still being preserved, along with its spiritual values http://krjogja.com/web/news/read/726...Kekuatan_Keris |
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there's couple more, but I still asked for permission from the photographer to share it here please be patient last one is said as one of the participant, but my friend who actually going there cannot find it on the displays |
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courtesy of my brother-in-arms, Sonny
Empu Sungkowo Harumbrodjo is forging a new keris |
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also courtesy of my brother-in-arms, Sonny
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reserved for more pics
I asked one of a friend, who got couple of his keris exhibited during the exhibition for detailed pictures of his blades
He promised me that he'll send me tons of detailed pics tomorrow, this space is reserved for his pictures |
one of the winner
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at least 5 judges choose a keris made by Panre Jiwa, Andi Tenri Polowija as the best Kamardikan Keris in heritage preservation category - He won BCA Award in Kamardikan Keris Competition held at Jiwangga Spiritual Resort, owned by Dayu Handoko Family in Bromonilan, Purwomartani on Sunday, 28th August, 2016
What so special about this keris ? the blade materials, both for the blade and pamor was taken from old steel / metals in the bottom of Matano Lake, in South Sulawesi with approximate depth of 90 m, such materials are called 'lemme' and lemme has specific characteristics, named the blackness of the iron and the whiteness of the pamor materials, making it a very distinct contrass on the blade other special aspect is the technique applied for making this keris, the technique used for the pamor is called 'gamacha' or matress-weaving, and also 'tritik untu walang' on the blade. This technique is extremely difficult and it was made by Panre Jiwa, and well documented Gamacha or matress weaving is made literally by "weaving" iron and using special technique to produce 'untu walang' pamor "making this keris really gave me headache ... " said Panre Jiwa, after declared as a winner - in Bromonilan is this only a mere effort to promote Sulawesi keris ? Panre Jiwa said it is not, he and his friend will continue to make keris as it was made by their ancestors, using the same method and materials as their ancestors in Luwu Kingdom, and also Bone Kingdom, which usually used mountain stone in Southern and Central Sulawesi, which are known to be very rich in nickel content We do hope Panre Jiwa won't stop continuing his art |
Very nice reportage ! In the last pic i can see my Yogya friend mr. Eko :) .Thanks for sharing Satsujinken! :) :)
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more and more
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I try to post all pics here, so that it can be viewed for years to come
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enjoy
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and more
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still more
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last for today
hope you enjoyed it all more tomorrow :P |
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I hope you enjoyed it Donny |
Yes I enjoy a lot. Thanks again Donny :)
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Thanks Donny. There are some real beauties in here and i certainly support the continued evolution of the keris arts. I will say, however, that i personally prefer when these modern era keris don't deviate too much from traditional pakem. That is not to say that some variation and evolution of design should not take place, but frankly, some of the more outlandish examples posted here seem to be distorted designs done just for the sake of making a keris that looks unusual. :shrug:
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Thank you! :)
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In about 1984 - 5 there was an exhibition of keris art held at the ASKI (Akademi Seni Karawitan Indonesia), in Surakarta. This institution later became the STSI, and then the ISI. All three were/are institutions for the teaching of Indonesian art.
A faculty of keris was created and the first people to attend this faculty of keris were Bagio, Bandi, Kamdi, Widodo, Yanto, Yantono. These people were known colloquially as the "Anak-Anak ASKI". The driving force behind the formation of this keris faculty was Panembahan Harjonegoro (he had not yet been raised to the rank of panembahan at this time).Harjonegoro left this earth a few years ago, but for a very extended period he was widely recognised as the foremost connoisseur of Indonesian art. The Anak-Anak ASKI had produced a number of keris that were very extreme interpretations of the form, they had approached the keris as an art form and had created objects that had the overall form of a keris but lacked the refinements of traditional form. I was in the company of Harjonegoro when he saw these creations of the people whom it was hoped would become the new generation of Surakarta keris makers. His comment was:- "Yes, these are art, but are they keris?" If the keris is approached as an art form then it is probably legitimate to produce objects of art in a keris-like form. However, one is forced to question whether the people who produce these artistic keris-like objects have any idea at all of their heritage and the place of the keris in that heritage. |
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I'm with you David.
It would seem that since keris making is a living tradition, then evolution will naturally occur. Who knows what keris will look like in 50 years? :shrug: |
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It is my fervent hope that in 50 years the keris in current production will still look very much like a keris as we know it today. ;) |
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Just as with Haiku, you must stay within the parameters of form and it is up to the Smith/Author to make that work beautiful to the beholder. |
Very nicely put Rick.
This is spot on. Jose, I do understand what you have said, and if we address the keris purely as an art work, and purely from the position of the Modern World, none of us could disagree that the keris as an art work must continue to develop and go through change. However, from the Javanese traditional point of view, that change and development must be constrained within the laid down parameters. The thing is this:- the current generation of keris makers have not had the benefit of personal training from an empu who was recognised by an active karaton. Since WWII, and according to what I have been able to discover, there have only been two empus who have been appointed to the position of empu by a karaton:- Empu Suparman Supowijoyo and Empu Pauzan Pusposukadgo, both appointed by Pakubuwono XII of Surakarta of these two genuine Empus, only one acknowledged the designation of Empu, and that was Empu Suparman Supowijoyo; Empu Pauzan was a devout Muslim and refused to use the title to which he was entitled because in his understanding an Empu was capable of giving life to a keris, and his beliefs prevented him from attempting this. Unless the maker of a keris understands that he is in fact making a representation of the Gunungan, and further understands the position of the Gunungan in the indigenous Javanese belief system, all he is making is a keris that lacks the deep cultural values of the Javanese people. Such a keris can be an item of dress, or an art work, or a store of wealth, but it cannot be a keris that occupies the position of Javanese icon. EDIT:- some will disagree with what I have said about "two genuine empus" and point to one or more recent examples. I would prefer to reserve comment on my refusal to acknowledge these recent appointments. |
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DrD |
as far as I know there are several categories to the exhibition, one of them is heritage preservation, meaning it must strictly follows ancient pakems
there are other category, though ... @A.G Maisley and I do really wanted to know about your opinion on empus from others than Java, like our winner here, Panre Jiwa from Sulawesi |
Donny, I thank you for asking me for an opinion, but I am very sorry, I am unable to form any opinion on the fine details of a keris from a photo.
Moreover, even if I were to have one of these keris in my hand, and I could form an opinion, I would only whisper that opinion to the maker , were he to ask me. Frankly, I think it is very presumptuous of anybody who is unable to weld, forge and carve a keris to pass judgement on the work of any maker. Only a maker is fit to judge the skill of another maker. I accept that there are those who will disagree with me. They are entitled to their opinions. |
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a code of honor amongst those who truly and fully understand the world of tosan aji |
Kembang Separung Keris
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Now this is one of the keris who entered as contestant of the exhibition, courtesy of Donny Yonatan (not me), and posted here under his permission
This is as we all know, a Balinese keris, with modern pamor, named by the owner as "kembang separung" - or a field full of wildflowers the inspiration of the pamor itself come from stone walls, many different stones merged into one, basically the philosophy of Indonesia, Bhinneka Tunggal Ika - many different cultures merged into one Indonesia technique used for making the pamor is "tambal" technique and each of the pamor are (supposedly) different. There are singkir, batu lapak, kupu tarung, to wos wutah pamor condensed into one keris enjoy |
more kembang separung keris
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more pics means more details !!
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Kanjeng Jiwana Keris
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This is another keris, courtesy of Donny Yonatan, called Kanjeng Jiwana
the inspiration of the pamor is of course wood burl, meaning we must be like plants, the first to grow and the first to sacrifice so other living being may inhabit an area basically humility and perseverance enjoy |
The tambal pamor work is amazing. Thank you for sharing the photos Satsujinken. :)
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Thank you Satsujinken for all the pictures and this interesting thread! :) But like David and some others I have problems to accept some of very outlandish looking pieces as keris. :shrug:
Best regards, Detlef |
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It is beautiful, btw, but at the risk of displaying my ignorance it doesn't look like what i understand as pamor tambal. :shrug: |
I thought that was tambal when I first looked at it, and I guess, in a way, it is tambal, but its a new approach, I think.
From what I can see and guess, it looks as if the pamor has been welded normally, but then the separating lines have been cut into the pamor and filled with strips of black material, probably steel, because of the lower weld heat required. The forging has then been returned to the forge and another couple of weld heats put into it to fix the separating strips in place. Of course, I'd need to examine this blade in the hand to confirm my guess, but however it was done, the effect is a new initiative. I've said it before:- these blokes are amongst the world's best pattern welders. Maybe the best of them are the world's best pattern welders. |
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Rasdan and Alan are referring to the keris in posts #30 and 31 I think. Regards |
Yes, the Bali one.
Strictly speaking "tambal" is a patch that mends something, but in this Bali keris the patches are not the pieces of pamor, the "tambal" is --- I believe --- the strips between the pieces of pamor:- look very closely at the way the grain continues from one island of pamor to the next, and then look even more closely at the junction between the black separating strip and the solid black border material. I'd need to handle it to be certain of what I think has been done, but in any case, however it was done it is brilliant work. |
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Hi David,
Sorry for my late reply. As suggested by Jean, I am referring to keris in post 31. It is just that at that time I think that the pamor bits are inserted into the baja, but upon closer inspection I think Alan is right, the baja are the ones that were inserted into the pamor. |
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