Pameran Keris Kamardikan - Kamardikan Keris Exhibition 27 - 28 Aug 2016

David · 31st August 2016, 04:34 AM

Quote:

Originally Posted by A. G. Maisey

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.

To coin a new phrase based as on a related expression, i may not know keris, but i know what i like.

Battara · 31st August 2016, 09:17 PM

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?

David · 31st August 2016, 10:42 PM

Quote:

Originally Posted by Battara

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?

José, yes, i believe it is a living art as well, though i also believe that there are rules and a hierarchy which should probably be followed if the keris is ton stay at all true to is nature. Some might argue that that original nature is long past, however, i firmly believe that for the keris to continue to be an icon and symbol of the culture of Jawa and other parts of Indonesia that some homage must constantly be paid to its roots.
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.

Rick · 31st August 2016, 11:37 PM

Quote:

Originally Posted by Battara

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?

Jose, like Haiku poetry I consider the Javanese Keris as having certain inflexible rules; rules that can be interpreted by the imagination of the maker, but not violated.
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.

A. G. Maisey · 1st September 2016, 12:09 AM

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.

drdavid · 1st September 2016, 10:24 PM

Quote:

Originally Posted by Rick

Jose, like Haiku poetry I consider the Javanese Keris as having certain inflexible rules; rules that can be interpreted by the imagination of the maker, but not violated.
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.

Great analogy
DrD

satsujinken · 2nd September 2016, 07:34 AM

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

A. G. Maisey · 2nd September 2016, 08:38 AM

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.

satsujinken · 5th September 2016, 10:04 AM

Quote:

Originally Posted by A. G. Maisey

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.

truly a masterpiece answer, Mr Maisey
a code of honor amongst those who truly and fully understand the world of tosan aji

31st August 2016, 09:17 PM	#2
Battara EAAF Staff Join Date: Dec 2004 Location: Louisville, KY Posts: 7,272	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?

1st September 2016, 12:09 AM	#5
A. G. Maisey Member Join Date: May 2006 Posts: 6,991	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.

2nd September 2016, 07:34 AM	#7
satsujinken Member Join Date: Sep 2012 Location: Surabaya - Indonesia Posts: 199	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

2nd September 2016, 08:38 AM	#8
A. G. Maisey Member Join Date: May 2006 Posts: 6,991	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.