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

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.

1st September 2016, 12:09 AM	#22
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.