Si Ginjai -- National Museum of Jakarta

[ganjawulung]

QUOTE=Boedhi Adhitya]
...By the way, have you seen the (not so) newly open gold room in National Museum ? It has some beautiful keris collections. The unsheated 'Si Ginje' is exhibited, amongs other. Harsrinuksmo falsely mentioned it as having dhapur Singa barong, as I recall.[/QUOTE]

Yes, Mas Boedhi,

The new 4 stories National Museum of Jakarta is already open for public. And, Gentlemen, if anyone of you visit Jakarta, please not to forget to pay visit to this interesting museum. Especially the "Khasanah" Room -- Gold Rooms in the 4th floor of the new building, where you may see beautiful collections of Nusantara (Indonesia) keris too. (Some collections as you may see the pictures in the other thread of this forum, on Nice Balinese Handle...)

There are still quite a lot of collections of kerises in the old building, on the 2nd floor of the old museum, for instance: some original keris panjang from Sumatera, some kerises from Kalimantan etc. But the better display is in the new museum -- just beside the old museum in Jalan Merdeka Barat -- not far from the Indonesian presidential palace near Monas. It is an "obligatory" place to see for keris lover, if you go to Jakarta. Also the Keris Museum in Taman Mini Indonesia Indah, in East Jakarta.

I like the Sulawesi kerises so much from this museum collection. Also the Sumatranese kerises, Kalimantan kerises, good old Madura and Bali kerises. But unfortunately, not allowed to take fotos...

Originally Posted by A. G. Maisey

Here's a pic of Si Ginjei.

Si Ginjei was a part of an exhibition of Islamic Art held at the National Gallery of Australia a little while back.

Pak Ganja, correct me if I'm wrong, but isn't Si Ginjei attributed to Ki Nom, not just in the style of Ki Nom? I've read this somewhere, I'll try to find the reference.

Alan, you are fortunate you were able to take fotos of Si Ginjei. I just could look at it from 30 cm distance, behind the glass of the museum display on Tuesday. (Not allowed to take fotos. This is just a reproduction from a foto of the museum book). I said "Ki Nom Style", because I have no factual proof, except I read it from some writings, and from seeing the style of keris making...

(This is not history)
He was called Ki Nom (probably: "the ever young") because of his long living, and experiencing the era of end of Majapahit, till the golden era of Mataram (Islamic) Sultan Agung Hanyokrokusumo. It was said, that he died in the age of 104 years. From the written story, it was believed that the creator of this keris that later called by some people as Si Ginjai, or Si Ginje, was Empu Ki Nom.

The appearance of Si Ginjai, is indeed very attractive: seems very strong, but beautiful, with gold "kinatah kamarogan" or gold kinatah almost along the whole blade. A little bit smaller than the Balinese keris, but quite much bigger than the normal Javanese keris.

Some of Ki Nom characteristics in keris making: ...he liked to make "kelengan" (pamorless) kerises, much of his works were beautiful "megantara dhapur" kerises, liked to make good craftmenship of "kruwingan" in every blade he made...

The text under Si Ginjai keris in the museum, also interesting:
Keris Si Ginje was a keris pusaka from Jambi, Sumatera. It was made before 1850 (?). Legend on Si Ginjai was related to the ancestors of Jambi people. Orang Kaya Hitam (this name, actually means: The Black Rich Man). Because he (Orang Kaya Hitam) had refused to pay donations to Majapahit, the Ruler of Majapahit planned to killed him with a very special keris -- which should be forged in a certain way, and was made in 9 different places, with 9 different materials. And the first two words of the materials should begin with "pa". The forging of the keris should be made only in every Friday, by a very special and secret empu. It was said, Orang Kaya Hitam knew the plan. From his adventure-travelling, Orang Hitam could find the keris, before the keris was used to kill him...

This story could be interpreted, as kind of symbol, that there was serious hostility between certain ruler of Java, and Sumatera.

Apart from the Orang Hitam story above, factually keris Si Ginjai is indeed a beautiful and robust keris, but still has javanese style, although the overall dress is Sumatranese...

Ganjawulung

[A. G. Maisey]

Thanks for clarifying that Pak Ganja.

In fact, if we use "attributed to", this does not mean that it was definitely made by Ki Nom, it means that a number of knowledgeable people have given the opinion that it could have been made by Ki Nom. We do not need factual proof to use "attributed to", only respected opinion.

Yeah, there are a number of stories surrounding Ki Nom.
They might all be true.
However, my personal opinion is that Ki Nom was not a single person, but two, or possibly even three people, who were either father and son, or teacher and pupil--- father and son is more likely.
In early Javanese literary works it is often difficult to determine exactly who the person is who is being written about, and what the relationship of one person to another is. For instance in the Nagara-kertagama it is often unclear whether the poet is writing in reference to himself, or in reference to his father. As you are probably aware there are many instances in the matter of relationships where academics in this field have debated long and hard about exactly who is who and what that person's relationship was to another.
Very little is cut and dry.

This being so, and considering the traditional version of Ki Nom's life, his appearance in many places, and his exceptional age, I am inclined to believe that our Ki Nom was a composite.

[PenangsangII]

Pak Ganja, if I am not mistaken, the alphabet "pa" is an Arabic influence Jawi writing that must have indicated Islamic influence, and Majapahit was a Hindu influence kingdom? Wouldnt be Mataram II be the right kingdom that was hostile to Jambi, hence Si Ginjei?

[ganjawulung]

Originally Posted by PenangsangII

Pak Ganja, if I am not mistaken, the alphabet "pa" is an Arabic influence Jawi writing that must have indicated Islamic influence, and Majapahit was a Hindu influence kingdom? Wouldnt be Mataram II be the right kingdom that was hostile to Jambi, hence Si Ginjei?

Interesting info, Penangsang. Do you mean, the form of "pa" in the caraka-script was influenced by the form of "pa" Arabic alphabet?

Ganjawulung

[A. G. Maisey]

No criticism Pak Ganja. None at all. Only praise for presenting this traditional story so well.

You have given a very clear retelling of traditional beliefs surrounding Ki Nom. I have no doubt at all that it will be of interest to many people who have not yet heard this story.

But we must remember:- this is traditional belief. It is a very important part of the study of the keris in Jawa, but it cannot be construed as history. It is historically based legend.

As previously stated, my personal feeling is that Ki Nom was a composite.

Additionally:- Pak Ganja, if every keris that I have seen was truly the work of Ki Nom--- and I would have seen only a tiny fraction of all "Ki Noms" in existence--- the Honoured Ki Nom would have had to live to at least 500 years of age, and worked non-stop 7 days a week, 24 hours a day.

I feel that what we have is a "school" effect, where blades were made by linked makers after a particular pattern. We know that mass production techniques were used in old Jawa, we know that top level craftsmen supervised work, rather than carrying it out themselves.

Possibly we need to begin to think in a slightly different way about "Keris by Ki Nom".

[PenangsangII]

Salam Pak Ganja,

I am not sure whether a "pa" exists in Cakra script, but I do know that "Pa" in Jawi script derives from Arabic "Fa". So pls forgive my ignorance.

As you said previously, Ki Nom or Ki Supa Anom had lived beyond a hundred years and had served many kings from Majapahit to Pajang & Mataram, hence my assumption of Islamic influence.

[ganjawulung]

Originally Posted by A. G. Maisey

Additionally:- Pak Ganja, if every keris that I have seen was truly the work of Ki Nom--- and I would have seen only a tiny fraction of all "Ki Noms" in existence--- the Honoured Ki Nom would have had to live to at least 500 years of age, and worked non-stop 7 days a week, 24 hours a day.

From Majapahit to Mataram

HE AIN’T HEAVY HE’S MY BROTHER

The road is long
With many a winding turn
That leads us to who knows where
Who knows where
But I'm strong
Strong enough to carry him
He ain't heavy, he's my brother

So on we go
His welfare is my concern
No burden is he to bear
We'll get there
For I know
He would not encumber me
He ain't heavy, he's my brother

Bridge:
If I'm laden at all
I'm laden with sadness
That everyone's heart
Isn't filled with gladness
And love for one another

It's a long, long road
From which there is no return
While we're on the way to there
Why not share
And the load doesn't weigh me down at all
He ain't heavy, he's my brother

He's my brother
He ain't heavy, He's my brother

Yes, it’s just an old song of UK’s pop group in the 60s, The Hollies. The song was long leading the pop-chart in the end of 1969, (it was said) not only in UK, but also in other parts of the world. Many young Indonesians at that time, was fascinated too with this melodious song, which sung by Allan Clarke. Did we know the really meaning of this song? Litterally, maybe yes. But not the real meaning, which might propelled the inspiration of the composer.

"He Ain't Heavy" was composed by Bobby Scott and Bob Russell. The pair were introduced to each other by Johnny Mercer at a California nightclub. Despite the fact that Russell was dying of cancer and that the pair met in person only three times, they managed to turn out "He Ain't Heavy". The Hollies soon recorded the emotional ballad, featuring the piano talents of Elton John, and with Allan Clarke providing a heartfelt rendition of the lyrics.

Another explanation for the origin of the title "He Ain't Heavy, He's My Brother" is that of a Vietnam War photo. Supposedly, the image depicted a GI carrying a Vietnamese man on his back. The journalist had asked if he'd been carrying him far, and the soldier had smiled at the camera and said, "He ain't heavy, he's my brother."

Which one was the real meaning of the beautiful song? Both? Yes. Maybe both. We don’t know what was really happened in the mind of the composers.
Now in the internet era, in 2000s, we can easily find the right answer on such “not important” question. Just click the button in your laptop, browsing the Wikipedia, then all is clear in a sudden. But in the 60s? You may imagine as you want. Interprete yourself the meaning of the lyric.

Ki Nom
Now on Ki Nom, the “composer” of many fascinating kerises during his life as an empu. Was he long living? Or was Ki Nom just composite, as Alan said? Maybe both are right, or maybe both are wrong. Ten gentlemen, maybe will result ten interpretations too.

The last king of Majapahit was Girindrawardhana (1474-1519). Then, came Demak era, the kingdom that first built by Raden Patah (1478-1518). The last king (Sultan) was Sunan Prawoto (1546-1561). Then came another period of Pajang, with only one period of King Hadiwijoyo alias Joko Tingkir (1561-1575?).

Ki Ageng Pemanahan got “tanah perdikan” (tax free land) from Joko Tingkir, land locating in Mataram. Then, came the next period of Mataram Islam kingdong. Panembahan Senopati was the first king (1575-1601), second was Sunan Prabu Hanyakrawati (1601-1613). The golden era of Mataram Islam was in the reign of Sultan Agung Hanyakrakusuma (1613-1645).

From the end of Majapahit (Girindrawardhana) to the Matram era -- the attack to the Dutch in Batavia by Sultan Agung in 1628 and 1629 (Ricklefs, 1995:67)., it went on for 110 years (from 1519 to 1629). The question – related to Ki Nom – was it possible, Ki Nom lived for more than 100 years of age?

(Once again, I’m sorry Alan, to mix again history and interpretation on tradisional story on Ki Nom…). Was Ki Nom real, or just composite? That is still a big question…

(I beg your pardon, Alan for wandering too much)

Ganjawulung

[ganjawulung]

Originally Posted by A. G. Maisey

Yeah, there are a number of stories surrounding Ki Nom.
They might all be true.
However, my personal opinion is that Ki Nom was not a single person, but two, or possibly even three people, who were either father and son, or teacher and pupil--- father and son is more likely.
In early Javanese literary works it is often difficult to determine exactly who the person is who is being written about, and what the relationship of one person to another is. For instance in the Nagara-kertagama it is often unclear whether the poet is writing in reference to himself, or in reference to his father. As you are probably aware there are many instances in the matter of relationships where academics in this field have debated long and hard about exactly who is who and what that person's relationship was to another.
Very little is cut and dry.

This being so, and considering the traditional version of Ki Nom's life, his appearance in many places, and his exceptional age, I am inclined to believe that our Ki Nom was a composite.

THE SON OF SUPAMANDRANGI

The story on this Supamandrangi’s son named Jaka Supa (Ki Nom is one of his several names) is always interesting to me. I like very much kerises which are attributed to him. The works of Ki Nom (means The Young One, although this name was attributed to him during his last days in this world) is always fascinating to me: .. slim, beautiful, artistic, and attractive dhapur (I like “his” megantara dhapur – combination of luks in bottom and middle part of the blade, and straight on top of the blade). He crafted well his “kruwingan” (?) almost until top of the blade… (Pictures: style attributed to Ki Nom, megantara keris and pucuk tombak or spear’s tip with dhapur puthut megantara)

His work on “sekar kacang” (?), is mostly unique: “pogok” (it seems like half of normal sekar kacang) but not ordinary pogok – like a cock’s head, with cockscomb and small beak in the end of that pogok sekar kacang – and “minimalist” in pamor. (Mostly “kelengan” or all black material, or very minimal “beras wutah”, like small scattered spots of beras wutah).

The ganja? He liked ganjawulung (all-black ganja), in “wilud” or “kelap lintah” model (ganja with five luks?). Usually with “gelung” (bun, curve) in the end of the “greneng”. Beautiful style, but not too luxurious in pamor… Although slim in form, Ki Nom’s blade doesn’t give impression of weak blade.

(Alan, please critized me if this story is too imaginative). Like his father, Empu Supamandrangi of Majapahit kingdom, Jaka Supa liked travelling too. He liked moving from one place to another, for making keris. Look at this story on his father:

Through ascetism in Tuban (East Java), his name was Empu Rambang. He then served to king in Majapahit, then his name was changed to Supamandrangi. A name, that was given by his king. When he was sent to Blambangan (South-eastern Java) by his king to seek the lost pusaka of Majapahit kingdom named Kiai Sengkelat, Supamandrangi changed name as Empu Pitrang during his journey. With his younger brother, Empu Supagati, he had made some kerises during the journey, with dhapurs Kidang Soka (9 luks), Carang Soka (7 luks), Pandawa (5 luks), Sempaner (straight keris but with sekar kacang), Tilamupih (straight keris, without sekar kacang) and straight dhapur of pasupati… After came to Blambangan, then Supamandrangi changed his name as Empu Rambang. He was very wellknown, but it was also said as: good looking in appearance. Not surprisingly, he had a woman in Blambangan, and got a son from her, named Jaka Sura.

When he returned to Majapahit, Supamandrangi was given a honorary position, and was given a noble title as Pangeran Sedayu or Prince Sedayu and married to the daughter of the king. It was told, that he was given by his king, land of 500 karya (?) in Sedayu…

J a k a S u p a

Jaka Supa was the name of the son of Pangeran Sedayu with the king’s daughter. (Brother with Jaka Sura, but from different wife of Blambangan). Jaka Supa then became Empu in Demak kingdom (in the northern coast of Central Java), bearing name of Jaka Supa. Not long stayed in Demak, Jaka Supa then travelled to East Java, crossed the straight and dwelled in the island of Madura, changed name as Empu Macan. (Macan, means “tiger”). Still in the period of Demak kingdom.

Empu Macan alias Jaka Supa, not stayed long in Madura. He then moved to Surabaya in the northern coast of East Java, again – changed named as Empu Kodok. Still, in the period of Demak kingdom. Then came, the period of Pajang kingdom, before the Islamic Mataram, or “Mataram Part 2.” (Mataram part 1 was Hindhu Mataram).

Empu Kodok alias Empu Macan, alias Empu Jaka Supa, then moved to Pajang. It was said, that he stayed in Ngenden, Lawiyan (now South-western of Solo). He made kerises, with “bigger” style. He was named as Empu Ki Galeng, because he made his kerises in paddy-field, or rice field. (Galeng means borders of paddy field).

The works of Empu Ki Galeng were noticed by the king of Pajang, Hadiwijaya. Then, Ki Galeng was called by king of Pajang, and then given a honorary position as the head of “mantri pande” (minister of keris making) of Pajang. The king honored him, with a special name as Empu Oemyang or Umyang. According to legend, it was told, when one of his keris was stabbed to someone, the victim was “ngomyang” (raving?).

Politicking among the empus, among the ministers of keris making in the kingdom, resulted the expulsion of Empu Umyang. Then, Empu Umyang went to East Java, and stayed in Madiun. He then changed again his name, as Empu Tundhung Madiun. (Tundhung, means expulsion).

Not for long time, from Madiun then Empu Tundhung Madiun alias Empu Umyang, alias Empu Ki Galeng, alias Empu Macan, alias Empu Kodok alias Empu Jaka Supa, then moved again and stayed quite a long time in Kudus, Central Java. In Kudus (not far from the site of Demak kingdom), he used name as Empu Tundhung (only).

During the reign of Sultan Agung Hanyakrakusuma – the golden era of Islamic Mataram kingdom – Empu Tundhung moved to Mataram. At that time, Sultan Agung wanted to make iron cannons for his artilery army in attacking the Dutch in Batavia (Jakarta now). He then invited many empus, to make cannons. There were, around 800 “mantri pande” (ministers of keris making) invited. They were called as “empu pekelun” (I don’t know the meaning of “pekelun” in English). Empu pekelun of 800 mantri pandes, was headed by Empu Tundhung.

The old and experienced Empu Tundhung, then was given a name by Sultan Agung as Empu Ki Supa Anom (The Forever Young). Or just say it as, Ki Nom. He was given a wife too by Sultan, a beautiful daughter of the Sultan. Then Ki Nom was awarded with noble title as Pangeran Sendang. He was awarded too, lands of 200 karya…

Ganjawulung (from several sources)