searching for the right dapur??
 

I want to share this keris with you, because not often seen on the forum pamor: Tejo kinurung . ( sheath inlaid with turtle shell )

but 'm still looking for the right dapur.

Tikel-Alis is short, deep and with a sharp bend

can anyone define the dapur?

I appreciate any and all comments, :)

Tilam upih.

This is a dhapur about which there seems to be universal agreement, I have not yet seen any pakem that gives a keris with these features a different name, nor that identifies dhapur tilam upih with different characteristics.

thanks again you for you comment :)

Yes, a very typically tilamupih. And the naming of pamor, it seems more "adeg tiga" (illustration below, from Hadiwidjaja's copy) than "teja kinurung". Three lines, almost paralel in the middle of the blade is called "adeg tiga". But "teja kinurung" is only one line in the middle ("sada sak-ler"), surrounded by "tepen pamor" or line along the both sharp sides of the blade...

GANJAWULUNG

I agree with you Pak Ganja.

I'd call it adeg tiga too.

But I try to avoid playing the name game with pamor in particular, because as sure as I say its one thing, somebody else will tell me its something else or that his grandfather used to call it such & such.

You and I both know just how contentious this name business can be, and this Forum is tending more towards a classification resource every day, rather than a discussion group with an interest in some of the deeper aspects of the keris.

In fact, I'd be more than happy if somebody called this pamor "three upright stripes".

This means the same as adeg tiga, and really, I just can't get too excited about this focus on names and classifications.

For a little bit of variation, why not comment on the current symbolic meaning of this dhapur and mention how and why we often find this particular form as a family pusaka? This might be a bit more interesting than playing the file-clerk game.

I agree with you too in some way,

But is it forbidden to do "file-clerk game", "name game" (your term) in this forum? I know, you are more knowledgeable than us. But I think we can not avoid this plaything like this in the keris world. I still keep your words too, that "keris is kraton art"...
How about other "details names"? Is it forbidden too, if we call it "jejeran" in spite of hilt? or "warangka", in spite of "sheath"? Or "pamor", in spite of damascene? Or Malay term? and so on..

Thanks for your respond...

GANJAWULUNG

No Pak Ganja, of course its not forbidden, in fact, I feel that probably most people who read this forum, and contribute to it, love this name/classification thing.

I know I used to. I can still remember when I was a little kid the thrill I got when I could tell the difference between Jogja keris dress and Solo keris dress.

The name-game is central to collecting, not only keris, but just about everything, in fact, there are some areas of collecting where the whole point of the collection is to get a whole, complete, set of names of whatever.

It is interesting to know the names by which people in Solo, or Bali, or anywhere else name the various forms of keris and their features, but many, if not most of those names can be translated into English, and other languages, so, from my perspective I don't have the smallest problem with having somebody calling a warangka a scabbard, or a jejeran a hilt or handle, or a mendak a hilt ring, or a pendok a scabbard cover, or a wilah a blade.

We cannot really use "damascene" instead of pamor, but we could use "pattern welding" instead of pamor.

I don't have a problem with somebody describing a blade as having 11 waves, rather 11 luk.

I don't have a problem with somebody telling me a blade has a central ridge, rather than an ada-ada.

I don't really care how people describe something, keris or anything else, provided I can get a relatively clear picture of what it is they are describing.

Bear one thing in mind Pak Ganja:- most people who contribute to discussion in this forum cannot read nor understand either Indonesian or Javanese. They have not the slightest idea of the correct pronunciations, and the words in these languages are, for them, exotic, strange words that carry a certain mysticism with them.

Further, most people who contribute have not been involved with keris in any serious way, for very long, I'd guess that most have under 20 years in study of the keris, so most are seeking some form of knowledge or understanding.Whatever we can do to make the gaining of this knowledge and understanding easier for them is something that just might cement their interest.

How many know that a sogokan is a poker, or a blumbangan is a pond, or that the kembang kacang is a bean flower, and in fact in this useage, a euphemism?

But there comes a time in our experience of those things in which we cherish an interest, for a greater depth of understanding.

My continual carping about the name-game and denigration of the importance of names is intended as an attempt to get people to ask exactly what it is that that cranky old so&so Maisey is always blurting on about.

Most will probably write my comments off as evidence of my ever advancing years, but if I succeed in getting just one person to think about the keris as a cultural icon that deserves the most strenuous investigation, then I will consider that I have achieved my objective.

To address the concept of the keris as "karaton art".

As an art object, this is unquestionably so. However, as we probe deeper into the nature of the keris, we realise that this is but one aspect of the many which go to make the whole.

Thus, when we consider the art of the keris, we need to consider against the background of a recognised royal art form.

When we consider other aspects of the keris, we need to consider against the applicable background.

From my point of view, this discussion has nothing to do with knowledge already held.

It has everything to do with the awakening in some person or persons of a thirst for knowledge which we do not already hold.

So it is that I will continue to belittle the search for names and continue to attempt to get people to think about the keris in terms of that which is as yet still unknown.


Pak Ganja, I feel that I need to reject your comment that I know more than others.

I do not.

But I do hold some different knowledge than that held by others, and my well founded beliefs are also often different to the beliefs of others.

However, from my point of view, my involvement in most discussions here has not the objective of providing my knowledge or beliefs to others, rather, it has the objective of awakening curiosity in others and hopefully of encouraging others to go further in the search for true knowledge of the keris than I have gone.

As long as knowledge is considered to be only the ability to name and classify, then all the mysteries of this cultural icon will remain unresearched and forever hidden. If my line of thought in respect of names and classifications can have the effect of causing only one person to go further in learning than I have gone, then I will consider that I have been successful.

I have to agree with Alan for the most part hear. Knowing the names of dhapurs and pamor patterns isn't so much knowledge as it is recitation. What i am personally more curious about are the "whys" and the "hows". With so many pamors and dhapurs, why THIS one or THAT one? These cultural choices have deeper meanings that i rarely hear people discussing. How does one relate to their keris as a cultural/spiritual symbol? What are the practices involved? How is this different today than it was in the 19th century or in the 14th century. How different is the Hindu approach to the keris than the Islamic approach? Of course some of these questions may be more difficult or even impossible to answer, but they are far more interesting to me than what current day collecters call the pamor or dhapur of any given keris. :shrug: :)

I think that this is a typical "collector"-problem that in this forum so many questions about dhapur and pamor. Collectors try to collect the rare dhapurs and pamors and "hunting" for this (and I am not a exception). A second point, like Alan approach already, a lot of the members are not familar with the javanese culture, or better not so deep involved like Alan or the indonesian members. But I am every time happy when here are discussions from this "inner circle" and read this with great avidity. And I think that I am not the only one.

Detlef

A big difference of course is: growing up in a culture where the dagger is a part of cultural heritage, or someone who is interested and becomes a keris-collector on the other side of the world.

And in my opinion the language is the biggest problem, when I look for information, I first look in books written in my own language.

Like my believe that this is pamor Tejo-Kinurung.
I've looked in the book "The kris part 2” of Tammens page:138-139
( I know that these books are not always give the right information)

But this is what Tammens wrote:

Tejo Kinurung: “Three times lightning”
Not a general pamor motif, but certainly quite impressive.
At first glance it resembles a kekumus in a wengkon, but this is not
correct. The empu deliberately placed both outer lines more towards
the middle, so it cannot possibly be classified as wengkon.

So that was my guide to come to the conclusion that it was:
pamor Tejo-Kinurung. And therefore a comment given by someone with a different perspective on things is so appreciated. (not only by me!)

So thank you all for doing this.. :)

and I'm now convinced that it is indeed pamor: Adeg-Tiga

Don't be too convinced Sirek.

Yes, Pak Ganja calls it adeg tiga, and if I picked it up somewhere and I was talking to somebody about it, I'd call it it adeg tiga.

But adeg tiga is Indonesian.

adeg means standing (amongst other meanings) in both Javanese and Indonesian, but tiga means three in Indonesian only, not in Javanese.


So what does somebody who is Javanese-Javanese call it?

What is it called in Central Jawa as opposed to Jakarta as opposed to East Jawa as opposed to the North Coast?

What if somebody decides that it does not quite conform exactly to adeg tiga parameters in some way and wants to call it something else entirely?

One of the great products of this classification business associated with keris is that it is a wonderful generator of conversation and discussion. Effectively you can discuss all day and be no more knowledgeable at the the time you go to bed than you were when you woke up, but you have managed to fill the day with talk.

I've just about reached the point where I'm prepared to accept any name or any classification, provided that the reference is given. What I mean by this is that I look askance at an opinion that is not backed up by reference to some generally accepted source.

So, we have the situation here where Pak Ganja and I agree, but if Pak Ganja said it was adeg tiga, and I called it some name that he had never heard of, he would be quite justified in asking what my reference was.

If I said that I'd learnt this name from a book on cake decorating that my wife had, well, that would say it all, wouldn't it?

But what if I said, well, that's what we call it in my village.

Then Pak Ganja would store this other name away as an alternative used in one place.

However, when it comes down to appraisal as an art work, only one name should be applied, and that is the name used under the aegis of a karaton.

It's now late in the evening here in Germany and I have had a hard day. By reading your post I have to laugh maybe the first time this day! :D

Thank you for that Alan,

Detlef

Tiga (please spell in English way -- teegaw) in "higher" (kromo) javanese, means "three" too.

So, if we count "one, two, three, four..." in the ordinary or common javanese (ngoko) then it would be "siji, loro, telu, papat..." but in higher javanese (krama), then it should be "setunggal, kalih, tiga (or tigo), sekawan..."

In daily javanese, if we speak to other people in the same rank of society (common people to common people), then it would not be wrong too if we call the same name of pamor as "adeg telu". But if you speak to a higher rank people, you should better say as "adeg tiga/tigo"...

It is the same way if you mention other pamor name, as "beras wutah" (common javanese), then in higher javanese or krama (kromo), you would say the same meaning but in more polite way as "wos wutah". It depends on with whom you speak to. If you speak to common people (common people speaks to common people), it is okay if you say to him or her as pamor "beras wutah". But if you speak to a higher rank people, then it is more polite if you then mention "wos wutah" (more polite way, of mentioning "beras wutah")

The highest rank of javanese, "krama inggil" (if a common people speak to his King, or highest level person), then you may say as "wos wutah" too. It is the most polite way to mention "beras wutah"...

The same way if you say it as "kembang kacang" (common javanese or "ngoko"), then in higher (krama) javanese you may say it as "sekar kacang". Also other name of pamor "sekar pala" (higher javanese), if spelled by common people it would be "kembang pala" ('nutmeg' flower?)

Any way, thanks Alan for responding it. I agree, it will be too complicated to explain this.

GANJAWULUNG

Thanks for pulling me up Pak Ganja.

Yes, of course you're right.

I ran through the numbers in my mind as I wrote that post, but I was running on full automatic, and I did not convert my "tigo" to modern spelling of tiga --- which of course we say the same way. I hear "tiga", it triggers the Indonesian response. I hear "tigo" it triggers the Javanese response.

We can blame keyboards that don't allow that little dot over the "a".

Same with "kembang pala". I hear this as Indonesian, simply because everybody I know says "kembang polo" , and when my wife cooks, she doesn't use pala in the bistik, she uses polo. But if I go into Akar Sari I ask for "pala panjang". Why? Because the shop assistants expect me to use Indonesian, because I'm a bule. My wife asks for nutmeg she asks for polo, and they expect it.

Yep, no doubt about it:- too complicated altogether. How is it possible to explain all this to people who haven't been up close and personal to Javanese people and language usage?

And this is the simple stuff.

What about when people start playing words games and turning "keris" into "keferis" & etc & etc.

One more reason why I'm prepared to accept just about any description, as long as I understand it.

Sorry for abruptly interrupt your discussions, pak gonjo & pak alan...

I just want to know what is the thing with turtle shell? Is it a common stuff for decoration, like using whale ivory for a hilt, or are there some other meaning to it?

I don't happen to hear this so often, at least not in my country...

Yes, it was in the past, before javanese people knew plastic thing. I remember, my late grand mother in Kusumayudan (traditional residence -- now a hotel, Prince Kusumayudan or Kusuma Sahid Prince Hotel in Solo) used to wear hair bun or chignon made of real turtle shell. It was used for keris ornaments too, usually for decorating the gap of "blewahan" pendhok. Practical intention, only. No certain spiritual or intangible meaning of it, IMHO...

GANJAWULUNG

On the contrary, i believe that you and Alan are explaining it quite well. :)

Yes, as Ganja has mentioned it is a decorative material often used just as it is on your keris. I consider it a higher end material when on sheaths, not to the extent of ivory though, but nice. Just as ivory and horn don't seem to hold any particular spiritual significance in this usage i also don't think turtle shell is anything but decorative.

For a little bit of variation, why not comment on the current symbolic meaning of this dhapur and mention how and why we often find this particular form as a family pusaka? This might be a bit more interesting than playing the file-clerk game.[/QUOTE]

This were very interesting. From a well known source :) : Tilam Upih ("sleeping mat") - the Tuah of this Dhapur is that it bestows peace and relaxation upon the owner, becouse of this we find many Keris that are handed down as Pusaka Keris through a family are of this Dhapur.

Probably is this Dhapur a good "catalyst" for the spiritual power of certain Pamor's? There must be a question of suitability between Dhapur and Pamor.

A very interesting early Keris Dhapur Tilam Upih is depicted in Jensen's Krisdisk (sorry for mentioning this source every time), with elongated Blumbangan (Mbata Ngadeg) and Kawi inscription (gold, probably one of the oldest kinatah(?)) on Gonjo.

It were very interesting to learn to know, what are differences between Dhapur Brojol and Tilam Upih, then between Tilam Upih and Tilam Sari: what is the meaning of Tikel Alis and Tingil?

A keris collector clearly should be at the minimum a good ethnologist.

As far as I can find the description of this pamor:
(according to the book: Pamoratlas written by :
Ing. E.A.N v. Veenendaal, private publication in Dutch)

it is also described that in different places different names are used for the pamor Tejo-Kinurung:

South central Java- Adeg-Wenkon
Surakarta - Adeg-Tiga
East Java - Adeg-Telunger (Three upright Lines)

The description of the pamor (according to the book):

Some collectors believe the magic of this pamor lies in the field of leadership authority and prestige,
making it especially suitable for people who work for the State.
And it is good for health and protection of the owner and his family.

I would describe the main differences:
Dhapur Brojol has only a Pejetan and Dhapur Tilam Upih has a Pejetan and
one Tikel Alis and Tilam Sari has a Pejetan one Tikel Alis and on the Greneng
one or two Thingil.

I would describe the main differences:
Dhapur Brojol has only a Pejetan and Dhapur Tilam Upih has a Pejetan and
one Tikel Alis and Tilam Sari has a Pejetan one Tikel Alis and on the Greneng
one or two Thingil.[/QUOTE]

Yes, these are the visual, formal differences. I would be interested in differences regarding the content, substance.

Adeg tiga (adeg telu, tri adeg) and tejo kinurung are all essentially the same pamor, the difference, if there is one at all, between adeg tiga and tejo kinurung is only in the spacing of the lines of pamor, but those lines of pamor are made in the same way with multi folds of pamor set between heavier layers of iron, and turned side on to produce a pamor miring motif with the three lines of pamor at 90 degrees to the core.

However, adeg wengkon is a completely different pamor to these and it is one of the most difficult pamors to make well. Adeg wengkon consists of a layer of (usually) unfolded pamor material laid against the core, and then the iron with one centrally placed strip of pamor miring laid over the core + pamor layer. Repeated both sides of blade. The result is the wengkon as mlumah, and the single adeg as miring.

I cannot emphasise too strongly how difficult it is to produce a good adeg wengkon --- it appears to be simple, but it is very far from that.

In olden times the Susuhunan of Surakarta would usually give a keris with adeg wengkon to newly appointed bupatis. This was symbolic of the bupati's duty of care to the people for whom he was responsible. The wengkon was the protective power of the bupati, the line of adeg was symbolic of his people.

it seems that much of what has been written about a keris contains
many misconceptions, and therefore creates confusion. :shrug:
(despite the good will of the writer!)

Thank you for willing to point out and explain these misconceptions. :)

Oh yes Sirek.

Oh most definitely yes.

And this applies to all aspects of the keris.

I believe there has probably been more rubbish written about the keris than any other ethnographic object.Certainly more rubbish written about the keris than any other weapon.

With pamor, you need to understand how the pamor has been made before you can reliably identify the motif, its no good trying to match what it looks like to a picture.

Often you cannot see exactly how it has been made from a photograph and often the maker will have failed to execute a pamor without error, which complicates the matter.

As for dapurs my questions would be:

Who ?
Where ?
When ?
and Why ... ?

Rick, a Javanese traditionalist could answer these questions for most dhapurs.

The answers would come from the treasury of Javanese myth and legend, distilled into keris tradition.

If this is the sort of answer you seek, its not all that difficult to provide.

Well the "who" would probably most times be impossible to tell and doesn't really interest me as much as the "where", "when" and "why". The "where" and the "when" are of interest to me, but it is the "why" that most intrigues. :)

Thanks for the explanation.

I ought to suspect it is somewhat serve the same function as ivory on keris, but I compelled to ask because I see turtle shell usage is less often than ivory, in keris busana.

Yes Moshah,
Less usage than ivory. In the old days, in decoration assesories some times we found bracelet, ring and neclace made of turtle shell... Even guitar picker

GANJAWULUNG