Ethnographic Arms & Armour - View Single Post

Gustav · 22nd April 2016, 11:25 PM

Well, continuing the journey a few thoughts about the four edges visible in the deep cuts between the triangles.

These edges are a feature, which indeed disappear in later Pasisir figural hilts. They are very good distinguishable as a socket/pedestal of the figure in Early Gowa style gold hilts, actually in all early hilts depicting an aristocratic character (Vienna, Munich). The hilt in Vienna (before 1607) still has the original paint, and the socket is painted in dark red - it perhaps insinuates the Majapahit style brick architecture.

These four edges, sometimes still as socket/pedestal are seen in most 16th/17th cent. figural hilts with demonic naked figures. They sometimes are practically indistinguishable in pictures, yet clearly seen when held in hand. This makes them hardly reproducible today, because carvers in Indonesia are still working from pictures, I suppose (I will write in a separate post about it later).

Yet these edges continue to appear in Cirebon and Tegal hilts of other styles at the typical "waist"! It is a very good example for a certain feature ceasing to appear in original context and wandering to a new, currently appearing one.

In figural Rakshasa/Yaksha hilts the development is very clear - the cuts between the triangles are closing, the edges in the cuts disappear, the individual symbols within the triangles disappear, the triangles become all the same size, at the end we have a continuous Tumpal board.

A speculation about the socket/pedestal in context of naked Rakshasa/Yaksha figures - perhaps there is a possibility to interpret it as a rock, and then, to regard the whole ensemble in the context of a mountain hermit (which as a form of religious existence is very popular at the end of Majapahit rule as well as in early Islamic period until Mataram II - it really is a junction). Here I remember the sheath of Nr. 2881 from Dresden. On it a mountain scenery is depicted, with many small buildings, indistinguishable in photographs, which I called "Candi like" back then. Now I understand - these most probably are hermitages. Mount Penanggungan and many other were full of them. Also in front of Gandar (where Gandhik of Keris rests behind, left edge in the picture) of both Viennese and Sendai Sunggingan there is a depiction of a very simple architectonic structure with roof, at exactly the same place - now I also understand it as hermitage, becouse of Mountain scenery on both Sunggingan (depicted is the Sunggingan from Vienna, before 1607).

Actually the same scenery is depicted on gateway of Sendang Duwur - mountains with many small caves/buildings, which possibly are hermitages.

22nd April 2016, 11:25 PM	#33
Gustav Member Join Date: Jun 2009 Posts: 1,273	Well, continuing the journey a few thoughts about the four edges visible in the deep cuts between the triangles. These edges are a feature, which indeed disappear in later Pasisir figural hilts. They are very good distinguishable as a socket/pedestal of the figure in Early Gowa style gold hilts, actually in all early hilts depicting an aristocratic character (Vienna, Munich). The hilt in Vienna (before 1607) still has the original paint, and the socket is painted in dark red - it perhaps insinuates the Majapahit style brick architecture. These four edges, sometimes still as socket/pedestal are seen in most 16th/17th cent. figural hilts with demonic naked figures. They sometimes are practically indistinguishable in pictures, yet clearly seen when held in hand. This makes them hardly reproducible today, because carvers in Indonesia are still working from pictures, I suppose (I will write in a separate post about it later). Yet these edges continue to appear in Cirebon and Tegal hilts of other styles at the typical "waist"! It is a very good example for a certain feature ceasing to appear in original context and wandering to a new, currently appearing one. In figural Rakshasa/Yaksha hilts the development is very clear - the cuts between the triangles are closing, the edges in the cuts disappear, the individual symbols within the triangles disappear, the triangles become all the same size, at the end we have a continuous Tumpal board. A speculation about the socket/pedestal in context of naked Rakshasa/Yaksha figures - perhaps there is a possibility to interpret it as a rock, and then, to regard the whole ensemble in the context of a mountain hermit (which as a form of religious existence is very popular at the end of Majapahit rule as well as in early Islamic period until Mataram II - it really is a junction). Here I remember the sheath of Nr. 2881 from Dresden. On it a mountain scenery is depicted, with many small buildings, indistinguishable in photographs, which I called "Candi like" back then. Now I understand - these most probably are hermitages. Mount Penanggungan and many other were full of them. Also in front of Gandar (where Gandhik of Keris rests behind, left edge in the picture) of both Viennese and Sendai Sunggingan there is a depiction of a very simple architectonic structure with roof, at exactly the same place - now I also understand it as hermitage, becouse of Mountain scenery on both Sunggingan (depicted is the Sunggingan from Vienna, before 1607). Actually the same scenery is depicted on gateway of Sendang Duwur - mountains with many small caves/buildings, which possibly are hermitages. Attached Images Last edited by Gustav; 23rd April 2016 at 08:00 AM.