20th Century Solonese Keris

ganjawulung · 15th May 2007, 02:03 PM

Yeah, David,

The keris art is still living here. Although Sukamdi this nowadays, can not do his works like in 1999. He got tremor in his hand, due to the seriousnes of concentration in keris making. So I am lucky enough to get "his last work" of this divine birds. And I still keep other creation of Sukamdi, with the unique dhapur too: "sepang luk". Sepang, or almost simitrical model of sor-soran, usually straight keris. But that time, Sukamdi had made the sepang in luks. Beautiful too. The material was from broken kerises from sedayu (black) iron.

In solo there is also another creative keris maker, less than 50 years of age named Subandi. He knows well the right pakem, because he once learnt from old empu like the late empu Yosopangarso (yogyakarta) and also the senior Sukadgo (Solo).

Other Solonese keris maker are: Yanto (very good also in kinatah or gold ornament for kerises) and Yantono (sometimes, make western blade with pamor in his own besalen or forgeron).

In Madura also there is a good development in keris making. Now Madura is not only the place for the "kodian" (cheap) keris maker, but also the creative young keris maker. One of the best young keris maker in Madura today is Zulhan, and his senior Hosdy. Very-very talented, good craftmenship, and... perfect finisher. And don't underestimate Madurese smith now. Madurese pamor, now is the best in Indonesia, in technique and variation of pamor motives.

In Muntilan -- about 10 kilometers from Yogyakarta -- also there is Heru, a very young and talented keris maker. In one keris Exhibition in Bentara Budaya Jakarta last year, Heru was number 3 winner of "keris competition" (the first time, of such event in years). And the winner is a metallurgy bachelor from Surabaya, Rudy Hartonodiningrat. Also very talented.

Actually, keris is still living in here, Dave...

David · 15th May 2007, 02:14 PM

Thanks for your post Ganja. While many of us are aware of the skill and beauty of modern day keris made in both Solo and Madura up until now they have remained a nameless group of smiths. It is good to see their names so that they can begin to get the recognition they so well deserve for their work.

Marcokeris · 15th May 2007, 02:46 PM

Thank Ganja for your very interesting answer.
I'm very happy when i see a well made new keris with a new syle (and in my opinion the two birds in your keris are full of elegance and poetry)
On the contrary when i see a new (modern style) model of handle i generally feel an annoyance even if the work is good. For example new style madura handle.

David · 15th May 2007, 03:11 PM

I know what you mean Marco, but i think that is possibly because many of these newer Madura hilt forms seem more aimed at a Western market than indigenous tastes. I have also seen some modern Madurese dress designs that i have liked very much.

Boedhi Adhitya · 15th May 2007, 04:21 PM

Quote:

Originally Posted by ganjawulung

In Muntilan -- about 10 kilometers from Yogyakarta -- also there is Heru, a very young and talented keris maker. In one keris Exhibition in Bentara Budaya Jakarta last year, Heru was number 3 winner of "keris competition" (the first time, of such event in years). And the winner is a metallurgy bachelor from Surabaya, Rudy Hartonodiningrat. Also very talented....

Excuse me, Ganjawulung, I know Heru personally, and I used to visit him, just to chat and seeing his works. Yes, he is a talented craftman, and before he make kerises, he was a keris dealer (and actually still a dealer, until now). But for the sake of accuracy, he didn't take the 3rd place in keris shaping competition. The 3rd place was taken by a talented young Madura guy, but I forget the name. The 1st, as you already mentioned, was taken by KRT Hartonodiningrat, and the 2nd by Mr Subandi. Heru's work on the competition was actually good, but the edge was too thin. As he was aging his work with acid to 'wipe-off' the file mark (like other competitors did, except Subandi), the acid ate-up the edge, making the blade proportion ruined. Very Bad Luck

ganjawulung · 15th May 2007, 06:56 PM

Boedi,

You are right. And the name of that young Madurese is Jamil. The only Madurese in that competition, although Madura actually has many talented keris makers.

Madura had a 'bad' reputation in the recent past, of making cheap kerises, or imitating old kerises. But now they're quite different. Talented keris maker like Zulhan he had learned the esthetic of making keris from Solonese keris maker like Sukamdi, or Subandi. Madurese had better pamor forger than Solonese. But usually they are lack of esthetic sense in finishing touch. Like Marco said, in making (ivory) new hilts too.

Raden Usman Djogja · 15th May 2007, 09:51 PM

beautiful, new and original innovation.
should be patented.

A. G. Maisey · 16th May 2007, 01:12 AM

Shown below are a number of wooden Madura handles.

They are randomly mixed and of only ordinary quality. Frankly, I find it very difficult to declare that the older ones are superior in any way to the ones from the current era.

Shown also is an old ivory pedang handle, and a brand new ivory pedang handle. I can see little or no difference in the quality of workmanship.

A. G. Maisey · 16th May 2007, 01:26 AM

Ganjawulung, it can be of considerable interest for the names of current era pandai keris to be known, however, this is a twin edged sword.

Some current era makers, for reasons of their own, prefer to maintain a low profile. Apart from the makers you have named, since the 1980's there have been a number of other makers in Solo, some quite minor, others quite well known for a while. Many have now moved to other ways of making a living.

Over the years a number of less than honest dealers have marketed keris in the western world as the product of one or another of the better known makers, when in fact these keris were the product of lesser known people, and in some cases were low quality blades from Madura or Surabaya.

At the request of one well known Solo maker I have always refrained from publishing his name, and have in general followed the policy of being very sparing in the use of current era Solo makers names, except in the case of high profile people such as Empu Suparman Supowijaya (alm.), or Empu Pauzan Pusposukadgo.

In Jawa, it can under some circumstances be a very positive thing for individual makers to be named and known, but in Jawa the expertise exists to identify the work of these makers. In the western world, it is not always in a maker's best interests, nor in the best interests of collectors, to have a maker's name become public property.

Incidentally, who is the "senior Sukadgo (Solo)" from whom Pak Bandi recieved instruction?

David · 16th May 2007, 03:06 AM

Thanks for showing these hilts Alan. Just for the record i believe the hilts that Marco was referring to and certainly the ones i meant when agreeing with him are the fanciful new models which bear no resemblence to these classic styles of hilt forms. I'll see if i can find some examples to post. I think the Madurese have always been damn good carvers and the quality of that work, at it's best, seems to continue to this day.

I do understand, to a point, your case of the "double-edged sword". I suppose i am looking at this from a more ideal world viewpoint. It just seems right to give credit where credit is due. But i can also see how in this imperfect world that might lead to deception and confusion.

It is not at this point in time much in my personal interest to own a keris based upon the name of it's maker. I would want to own a keris based more on my own impressions of it's style, execution and feel. But i do understand that other collectors have different criteria for what they collect and might be enticed to buy a keris based on false information about it's maker. That would indeed be unfortunate.

ganjawulung · 16th May 2007, 03:19 AM

Dear Alan,

Subandi, or his formal name now (named by Keraton Solo) Kanjeng Raden Tumenggung (KRT) Subandi Supaningrat, wrote in KERIS magazine (1st edition) that he had been two months with the senior Yosopangarso (elder brother of Empu Djeno in Yogyakarta). But the late Empu Yoso only gave basic instruction in keris making.

And on keris knowledge, his 'teacher' was for instance Mr Sukat (or Saukat?) so I've mistaken with Sukadgo. (See KERIS, page 50-51 on the Process of the Making of Pusakas). Very sorry for that big mistake. Sukat is an expertise in keris, like Mr Hardjonagoro or Go Tik Swan.

I know too, Mr Fauzan Pusposukadgo. Now he doesn't make kerises no more and has changed his profession. The wellknown of his work is dhapur "gumbeng", it was the German Dietrich Drescher who promoted that work (if I'm not mistaken). You still may see this gumbeng in Bambang Harsrinuksmo's Ensiklopedi Keris.

I know also, that in the past many of Solonese keris maker "only" ordered the kodokan (forged iron for keris) from Madura, and than finished it in Solo, or shaping the kerises in Solo. Until the Institut Seni Indonesia (ISI, an art institute) Solo had their own besalen. (Now no more, but Yantono still has his own besalen at his house. You know it well).

Subandi now makes his own blade. He is one of the best. (Garap, or workmanship for the keris finishing, I'd prefer Sukamdi). Yes, many of the keris maker in the old days they were (if I may say) 'keris dealer'. But they learned from many kerises they sold. They were like reading books, and books, and books. Keris blade, or old keris blade is the keris book itself. You know it well...

ganjawulung · 18th May 2007, 11:58 AM

Quote:

Originally Posted by Raden Usman Djogja

beautiful, new and original innovation.
should be patented.

Raden,

Do you think Sukamdi needs to patent his new dhapur? Is there any precedent before?

Raden Usman Djogja · 18th May 2007, 07:40 PM

Gonjo,

Yes, imho, sukandi needs to do that. It's good for all stakeholders, even to keris itself.

As Alan said "over the years a number of less than honest dealers have marketed keris in the western world as the product of one or another of the better known makers, when in fact these keris were the product of lesser known people, and in some cases were low quality blades from Madura or Surabaya."

When I received my commisioned keris, I received its certificate, too. I think it's an improvement to deal within (cons) piracy era.

ganjawulung · 19th May 2007, 02:58 AM

But Raden,

Usually, keris makers are people with traditional attitude. In someway: a little bit anti-modernism. Mr Sukamdi too. Very-very traditional. He likes to sleep in cemetery, watching stars and moon, long haired and not tidy. Of course, doesn't think to patent his "invention" on dhapur. Not only this new dhapur he had created. I keep one other dhapur, maybe it called "sepang luk". Keris with sor-soran sepang, but with seven luks upward.

Sukamdi seems to learn hard all the pakems of kerises. So, everytime he invented or created a new model or dhapur, always based on pakem but modified with "philosophical" reason. Like the "peksi dewata" dhapur, actually he made this model after he was looking at my mata tombak (spears). I remember, he turned the tombak upside down, and show me a kind of hidden carving, showing two birds with jambul. I think it was "peacock" bird. Quite long time, he watched that ornament in my old tombak (dhapur baru kuping, tombak with two "ears" in sor-soran). Upside down the kuping, Sukamdi saw ornament of two birds. And some months later, he made this dhapur. I bought this Sukamdi keris from the first hand owner, Kanjeng Raden Tumenggung Benny (sorry I forgot his last name)...

I don't think people like Sukamdi is thinking about patenting his keris model. Maybe there must be someone else who may encourage him to do that. Otherwise, people won't know that such dhapur is his.

Like motives of pamor. Who can claim to patent the pattern? If you see in the website, the development of pamors (patterns) in damascus steel is incredible. Event they can comercialized the pamor itself, and sell the pamor by inch per inch, in such dollar... Just watch the website of Devin Thomas (please http://www.devinthomas.com see the products)

Yes, they are machinal. But in a certain way, keris world now is far behind the development of damascus steel world. At least in commercialization of the new product. This world of keris is still looking back and admiring at the past all the time. Yes, of course "describing the past, inscribing the future", like the thesis of Dr Nancy Florida (specialised in Javanese litterature of Ranga sasmita -- not Ranggawarsito -- on Babad Jaka Tingkir). But actually, we must not forget to look forward, the future...

Ganjawulung

15th May 2007, 02:03 PM	#1
ganjawulung Member Join Date: May 2007 Location: J a k a r t a Posts: 991	Living Kris Makers Yeah, David, The keris art is still living here. Although Sukamdi this nowadays, can not do his works like in 1999. He got tremor in his hand, due to the seriousnes of concentration in keris making. So I am lucky enough to get "his last work" of this divine birds. And I still keep other creation of Sukamdi, with the unique dhapur too: "sepang luk". Sepang, or almost simitrical model of sor-soran, usually straight keris. But that time, Sukamdi had made the sepang in luks. Beautiful too. The material was from broken kerises from sedayu (black) iron. In solo there is also another creative keris maker, less than 50 years of age named Subandi. He knows well the right pakem, because he once learnt from old empu like the late empu Yosopangarso (yogyakarta) and also the senior Sukadgo (Solo). Other Solonese keris maker are: Yanto (very good also in kinatah or gold ornament for kerises) and Yantono (sometimes, make western blade with pamor in his own besalen or forgeron). In Madura also there is a good development in keris making. Now Madura is not only the place for the "kodian" (cheap) keris maker, but also the creative young keris maker. One of the best young keris maker in Madura today is Zulhan, and his senior Hosdy. Very-very talented, good craftmenship, and... perfect finisher. And don't underestimate Madurese smith now. Madurese pamor, now is the best in Indonesia, in technique and variation of pamor motives. In Muntilan -- about 10 kilometers from Yogyakarta -- also there is Heru, a very young and talented keris maker. In one keris Exhibition in Bentara Budaya Jakarta last year, Heru was number 3 winner of "keris competition" (the first time, of such event in years). And the winner is a metallurgy bachelor from Surabaya, Rudy Hartonodiningrat. Also very talented. Actually, keris is still living in here, Dave...

16th May 2007, 01:12 AM	#8
A. G. Maisey Member Join Date: May 2006 Posts: 7,043	Shown below are a number of wooden Madura handles. They are randomly mixed and of only ordinary quality. Frankly, I find it very difficult to declare that the older ones are superior in any way to the ones from the current era. Shown also is an old ivory pedang handle, and a brand new ivory pedang handle. I can see little or no difference in the quality of workmanship. Attached Images

15th May 2007, 02:14 PM	#2
David Keris forum moderator Join Date: Aug 2006 Location: Nova Scotia Posts: 7,227	Thanks for your post Ganja. While many of us are aware of the skill and beauty of modern day keris made in both Solo and Madura up until now they have remained a nameless group of smiths. It is good to see their names so that they can begin to get the recognition they so well deserve for their work.

15th May 2007, 02:46 PM	#3
Marcokeris Member Join Date: Aug 2006 Location: Italy Posts: 928	Thank Ganja for your very interesting answer. I'm very happy when i see a well made new keris with a new syle (and in my opinion the two birds in your keris are full of elegance and poetry) On the contrary when i see a new (modern style) model of handle i generally feel an annoyance even if the work is good. For example new style madura handle.

15th May 2007, 03:11 PM	#4
David Keris forum moderator Join Date: Aug 2006 Location: Nova Scotia Posts: 7,227	I know what you mean Marco, but i think that is possibly because many of these newer Madura hilt forms seem more aimed at a Western market than indigenous tastes. I have also seen some modern Madurese dress designs that i have liked very much.

15th May 2007, 06:56 PM	#6
ganjawulung Member Join Date: May 2007 Location: J a k a r t a Posts: 991	Boedi, You are right. And the name of that young Madurese is Jamil. The only Madurese in that competition, although Madura actually has many talented keris makers. Madura had a 'bad' reputation in the recent past, of making cheap kerises, or imitating old kerises. But now they're quite different. Talented keris maker like Zulhan he had learned the esthetic of making keris from Solonese keris maker like Sukamdi, or Subandi. Madurese had better pamor forger than Solonese. But usually they are lack of esthetic sense in finishing touch. Like Marco said, in making (ivory) new hilts too.

15th May 2007, 09:51 PM	#7
Raden Usman Djogja Member Join Date: May 2007 Posts: 199	beautiful, new and original innovation. should be patented.

16th May 2007, 01:26 AM	#9
A. G. Maisey Member Join Date: May 2006 Posts: 7,043	Ganjawulung, it can be of considerable interest for the names of current era pandai keris to be known, however, this is a twin edged sword. Some current era makers, for reasons of their own, prefer to maintain a low profile. Apart from the makers you have named, since the 1980's there have been a number of other makers in Solo, some quite minor, others quite well known for a while. Many have now moved to other ways of making a living. Over the years a number of less than honest dealers have marketed keris in the western world as the product of one or another of the better known makers, when in fact these keris were the product of lesser known people, and in some cases were low quality blades from Madura or Surabaya. At the request of one well known Solo maker I have always refrained from publishing his name, and have in general followed the policy of being very sparing in the use of current era Solo makers names, except in the case of high profile people such as Empu Suparman Supowijaya (alm.), or Empu Pauzan Pusposukadgo. In Jawa, it can under some circumstances be a very positive thing for individual makers to be named and known, but in Jawa the expertise exists to identify the work of these makers. In the western world, it is not always in a maker's best interests, nor in the best interests of collectors, to have a maker's name become public property. Incidentally, who is the "senior Sukadgo (Solo)" from whom Pak Bandi recieved instruction?

16th May 2007, 03:06 AM	#10
David Keris forum moderator Join Date: Aug 2006 Location: Nova Scotia Posts: 7,227	Thanks for showing these hilts Alan. Just for the record i believe the hilts that Marco was referring to and certainly the ones i meant when agreeing with him are the fanciful new models which bear no resemblence to these classic styles of hilt forms. I'll see if i can find some examples to post. I think the Madurese have always been damn good carvers and the quality of that work, at it's best, seems to continue to this day. I do understand, to a point, your case of the "double-edged sword". I suppose i am looking at this from a more ideal world viewpoint. It just seems right to give credit where credit is due. But i can also see how in this imperfect world that might lead to deception and confusion. It is not at this point in time much in my personal interest to own a keris based upon the name of it's maker. I would want to own a keris based more on my own impressions of it's style, execution and feel. But i do understand that other collectors have different criteria for what they collect and might be enticed to buy a keris based on false information about it's maker. That would indeed be unfortunate.

16th May 2007, 03:19 AM	#11
ganjawulung Member Join Date: May 2007 Location: J a k a r t a Posts: 991	Dear Alan, Subandi, or his formal name now (named by Keraton Solo) Kanjeng Raden Tumenggung (KRT) Subandi Supaningrat, wrote in KERIS magazine (1st edition) that he had been two months with the senior Yosopangarso (elder brother of Empu Djeno in Yogyakarta). But the late Empu Yoso only gave basic instruction in keris making. And on keris knowledge, his 'teacher' was for instance Mr Sukat (or Saukat?) so I've mistaken with Sukadgo. (See KERIS, page 50-51 on the Process of the Making of Pusakas). Very sorry for that big mistake. Sukat is an expertise in keris, like Mr Hardjonagoro or Go Tik Swan. I know too, Mr Fauzan Pusposukadgo. Now he doesn't make kerises no more and has changed his profession. The wellknown of his work is dhapur "gumbeng", it was the German Dietrich Drescher who promoted that work (if I'm not mistaken). You still may see this gumbeng in Bambang Harsrinuksmo's Ensiklopedi Keris. I know also, that in the past many of Solonese keris maker "only" ordered the kodokan (forged iron for keris) from Madura, and than finished it in Solo, or shaping the kerises in Solo. Until the Institut Seni Indonesia (ISI, an art institute) Solo had their own besalen. (Now no more, but Yantono still has his own besalen at his house. You know it well). Subandi now makes his own blade. He is one of the best. (Garap, or workmanship for the keris finishing, I'd prefer Sukamdi). Yes, many of the keris maker in the old days they were (if I may say) 'keris dealer'. But they learned from many kerises they sold. They were like reading books, and books, and books. Keris blade, or old keris blade is the keris book itself. You know it well...

18th May 2007, 07:40 PM	#13
Raden Usman Djogja Member Join Date: May 2007 Posts: 199	Gonjo, Yes, imho, sukandi needs to do that. It's good for all stakeholders, even to keris itself. As Alan said "over the years a number of less than honest dealers have marketed keris in the western world as the product of one or another of the better known makers, when in fact these keris were the product of lesser known people, and in some cases were low quality blades from Madura or Surabaya." When I received my commisioned keris, I received its certificate, too. I think it's an improvement to deal within (cons) piracy era.

19th May 2007, 02:58 AM	#14
ganjawulung Member Join Date: May 2007 Location: J a k a r t a Posts: 991	But Raden, Usually, keris makers are people with traditional attitude. In someway: a little bit anti-modernism. Mr Sukamdi too. Very-very traditional. He likes to sleep in cemetery, watching stars and moon, long haired and not tidy. Of course, doesn't think to patent his "invention" on dhapur. Not only this new dhapur he had created. I keep one other dhapur, maybe it called "sepang luk". Keris with sor-soran sepang, but with seven luks upward. Sukamdi seems to learn hard all the pakems of kerises. So, everytime he invented or created a new model or dhapur, always based on pakem but modified with "philosophical" reason. Like the "peksi dewata" dhapur, actually he made this model after he was looking at my mata tombak (spears). I remember, he turned the tombak upside down, and show me a kind of hidden carving, showing two birds with jambul. I think it was "peacock" bird. Quite long time, he watched that ornament in my old tombak (dhapur baru kuping, tombak with two "ears" in sor-soran). Upside down the kuping, Sukamdi saw ornament of two birds. And some months later, he made this dhapur. I bought this Sukamdi keris from the first hand owner, Kanjeng Raden Tumenggung Benny (sorry I forgot his last name)... I don't think people like Sukamdi is thinking about patenting his keris model. Maybe there must be someone else who may encourage him to do that. Otherwise, people won't know that such dhapur is his. Like motives of pamor. Who can claim to patent the pattern? If you see in the website, the development of pamors (patterns) in damascus steel is incredible. Event they can comercialized the pamor itself, and sell the pamor by inch per inch, in such dollar... Just watch the website of Devin Thomas (please http://www.devinthomas.com see the products) Yes, they are machinal. But in a certain way, keris world now is far behind the development of damascus steel world. At least in commercialization of the new product. This world of keris is still looking back and admiring at the past all the time. Yes, of course "describing the past, inscribing the future", like the thesis of Dr Nancy Florida (specialised in Javanese litterature of Ranga sasmita -- not Ranggawarsito -- on Babad Jaka Tingkir). But actually, we must not forget to look forward, the future... Ganjawulung