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

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well, I do make mistakes on my last thread and I deeply sorry for that

to make up to it, here's couple shots from Pameran Keris Kamardikan (kamardikan keris exhibition) in Jogjakarta, very recently - 26 - 28 August 2016, in Pendopo Jiwangga Spiritual Restort Dusun Sambiroto Desa Purwomartani Kecamatan Kalasan Sleman

there's around 250 keris displayed, to show the world that the art of keris making is not dead and still being preserved, along with its spiritual values

http://krjogja.com/web/news/read/726...Kekuatan_Keris

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more pics

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more pics

there's couple more, but I still asked for permission from the photographer to share it here

please be patient

last one is said as one of the participant, but my friend who actually going there cannot find it on the displays

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courtesy of my brother-in-arms, Sonny

Empu Sungkowo Harumbrodjo is forging a new keris

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also courtesy of my brother-in-arms, Sonny

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I asked one of a friend, who got couple of his keris exhibited during the exhibition for detailed pictures of his blades

He promised me that he'll send me tons of detailed pics tomorrow, this space is reserved for his pictures

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at least 5 judges choose a keris made by Panre Jiwa, Andi Tenri Polowija as the best Kamardikan Keris in heritage preservation category - He won BCA Award in Kamardikan Keris Competition held at Jiwangga Spiritual Resort, owned by Dayu Handoko Family in Bromonilan, Purwomartani on Sunday, 28th August, 2016

What so special about this keris ? the blade materials, both for the blade and pamor was taken from old steel / metals in the bottom of Matano Lake, in South Sulawesi with approximate depth of 90 m, such materials are called 'lemme' and lemme has specific characteristics, named the blackness of the iron and the whiteness of the pamor materials, making it a very distinct contrass on the blade

other special aspect is the technique applied for making this keris, the technique used for the pamor is called 'gamacha' or matress-weaving, and also 'tritik untu walang' on the blade. This technique is extremely difficult and it was made by Panre Jiwa, and well documented

Gamacha or matress weaving is made literally by "weaving" iron and using special technique to produce 'untu walang' pamor

"making this keris really gave me headache ... " said Panre Jiwa, after declared as a winner - in Bromonilan

is this only a mere effort to promote Sulawesi keris ?

Panre Jiwa said it is not, he and his friend will continue to make keris as it was made by their ancestors, using the same method and materials as their ancestors in Luwu Kingdom, and also Bone Kingdom, which usually used mountain stone in Southern and Central Sulawesi, which are known to be very rich in nickel content

We do hope Panre Jiwa won't stop continuing his art

[Marcokeris]

Very nice reportage ! In the last pic i can see my Yogya friend mr. Eko .Thanks for sharing Satsujinken!

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I try to post all pics here, so that it can be viewed for years to come

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enjoy

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and more

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and more

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and more

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still more

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last for today
hope you enjoyed it all

more tomorrow :P

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Originally Posted by Marcokeris

Very nice reportage ! In the last pic i can see my Yogya friend mr. Eko .Thanks for sharing Satsujinken!

still more, Marco

I hope you enjoyed it

Donny

[Marcokeris]

Yes I enjoy a lot. Thanks again Donny

[David]

Thanks Donny. There are some real beauties in here and i certainly support the continued evolution of the keris arts. I will say, however, that i personally prefer when these modern era keris don't deviate too much from traditional pakem. That is not to say that some variation and evolution of design should not take place, but frankly, some of the more outlandish examples posted here seem to be distorted designs done just for the sake of making a keris that looks unusual.

[mariusgmioc]

Thank you!

[A. G. Maisey]

In about 1984 - 5 there was an exhibition of keris art held at the ASKI (Akademi Seni Karawitan Indonesia), in Surakarta. This institution later became the STSI, and then the ISI. All three were/are institutions for the teaching of Indonesian art.

A faculty of keris was created and the first people to attend this faculty of keris were Bagio, Bandi, Kamdi, Widodo, Yanto, Yantono. These people were known colloquially as the "Anak-Anak ASKI".

The driving force behind the formation of this keris faculty was Panembahan Harjonegoro (he had not yet been raised to the rank of panembahan at this time).Harjonegoro left this earth a few years ago, but for a very extended period he was widely recognised as the foremost connoisseur of Indonesian art.

The Anak-Anak ASKI had produced a number of keris that were very extreme interpretations of the form, they had approached the keris as an art form and had created objects that had the overall form of a keris but lacked the refinements of traditional form.

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.

[David]

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]

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]

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]

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]

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]

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

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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]

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.

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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

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Now this is one of the keris who entered as contestant of the exhibition, courtesy of Donny Yonatan (not me), and posted here under his permission

This is as we all know, a Balinese keris, with modern pamor, named by the owner as "kembang separung" - or a field full of wildflowers

the inspiration of the pamor itself come from stone walls, many different stones merged into one, basically the philosophy of Indonesia, Bhinneka Tunggal Ika - many different cultures merged into one Indonesia

technique used for making the pamor is "tambal" technique and each of the pamor are (supposedly) different. There are singkir, batu lapak, kupu tarung, to wos wutah pamor condensed into one keris

enjoy