Java Keris

[Gavin Nugent]

I have kept several Java keris over the years but have never really dived beyond the surface or the type, typically, just kept what I have liked for one reason or another.

When I think about this and it may be what I consider the complex science behind them that hasn't had me delve deeper...

So, in the interest of learning, I present this example. I kept it for the robust blade and 3 luks mostly. The sleeve is silver washed and the motif repeated to the end.

My knowledge, may be incorrect, but in the interest of learning, this is about as far as my knowledge goes. Surakarta "Gayaman" style dress, 3 luk blade.

I welcome data and insights that can lead me to further learnings. Having the subject matter in hand will help this.

I am also curious as to an age estimate.

With thanks

Gavin

PS, I have aligned the images in the best orientation I could, if incorrect, please edit.

[David]

Hi Gavin.
I wouldn't say this is a very old keris, but has some age. Sorry i can't be more specific. The ricikan have not been very expertly formed. The greneng is most confusing to me. Besides being badly cut it looks as if the upper ron dha crosses between the gonjo and the blade. I have never seen that before and wonder if the greneng might have been added later as an after thought.
I am curious why it being a 3 luk is one of the reasons you have kept it.

[Gavin Nugent]

Originally Posted by David

Hi Gavin.
I wouldn't say this is a very old keris, but has some age. Sorry i can't be more specific. The ricikan have not been very expertly formed. The greneng is most confusing to me. Besides being badly cut it looks as if the upper ron dha crosses between the gonjo and the blade. I have never seen that before and wonder if the greneng might have been added later as an after thought.
I am curious why it being a 3 luk is one of the reasons you have kept it.

Hi David,

Thank you. I look forward to learning through the eyes of more learned students of Keris.

Funny, thing, and I know it should be properly treated, but in the first image of the blade's base... mid way, left side, there also appears to be Ron Dha like symbolism in the pamore... probably nothing and an etch would clear this up, but I figured it worth a mention.
The Greneng appears consistent with age, wear and pamor as the blade, and the subtleties elude me.

Why 3 luk was a mitigating factor in keeping it... overall, the entire keris and it's form appealed to me as did the thick nature of the blade and the (to my eye) the strong beautiful curves of the luk. be it folklore or modern lore, I read somewhere that 3 luk is symbolizing a success to achieve some wishes.. I thought that was pretty interesting... in other keris cultures, 3 luk is the symbol of a warrior... I do not know if that equates within Java Lore.

[David]

While I certainly believe it is true the the number of luk have meaning I believe that meaning is very likely different not only based upon which keris bearing culture we are discussing, but also which era or kingdom the keris originated from. I am afraid I cannot at this time confirm what you have heard about 3 luk keris regarding Javanese keris. If I am not mistaken I believe originally in the time before Islam the number of luk would relate to you particular station in life. And related to the number of roofs in temple shrines.
I was not suggesting the greneng was added at a much later date, just a possible afterthought. It may in fact be original to the keris, but it is cut incorrectly for a Javanese blade. Probably a better reason for this is simply that it was done by an inexperienced village smith who didn’t know any better. At any rate it looks odd.
Staining the blade could be helpful in revealing more information about this blade .

[Gavin Nugent]

Thanks David,

I figured there would have been more to the learning about this keris.

So Village made Gayaman style dress, 3 luk blade sums it up.

Gavin

[Marcokeris]

Years ago a great scholar in yogya told me that 3-curved kris are quite rare for the reason that it is very difficult to find the right harmony on three curves that develop over the entire length of the blade and only a few blacksmiths are (or were)able to obtain it. One of them was L'empu Jeno.
This right harmony I can see in your kris, Gavin
About the pendok, at first glance it seems to me a motif used in Yogya...but maybe I'm wrong, because the upper end of the pendok fits perfectly to the gayaman

[David]

Originally Posted by Marcokeris

This right harmony I can see in your kris, Gavin
About the pendok, at first glance it seems to me a motif used in Yogya...but maybe I'm wrong, because the upper end of the pendok fits perfectly to the gayaman

Also this is not a Yogyakarta gayaman, is it?

[Gavin Nugent]

Originally Posted by Marcokeris

Years ago a great scholar in yogya told me that 3-curved kris are quite rare for the reason that it is very difficult to find the right harmony on three curves that develop over the entire length of the blade and only a few blacksmiths are (or were)able to obtain it. One of them was L'empu Jeno.
This right harmony I can see in your kris, Gavin
About the pendok, at first glance it seems to me a motif used in Yogya...but maybe I'm wrong, because the upper end of the pendok fits perfectly to the gayaman

Thank you Marcokeris. This is interesting about the 3 luk.

Originally Posted by David

Also this is not a Yogyakarta gayaman, is it?

David, I do not know, that is why I am here, you have much more experience where this type is concerned.

[kai]

I'm certain that Marco was referring to the possible discrepancy between the crosspiece obviously being in Surakarta style and his opinion on the pendok style...

[Marcokeris]

Yes Kai, exactly that! If the pendok was cut at the top, whoever folded it in past time did a good job

[David]

Originally Posted by kai

I'm certain that Marco was referring to the possible discrepancy between the crosspiece obviously being in Surakarta style and his opinion on the pendok style...

Yes, i understood what he meant about the style of how the pendok is finished and fitted at the top, but he also mentions his thought the motif appeared at first to be Yogya. So i'm not sure what you are pointing out.

[Jean]

Originally Posted by David

Yes, i understood what he meant about the style of how the pendok is finished and fitted at the top, but he also mentions his thought the motif appeared at first to be Yogya. So i'm not sure what you are pointing out.

IMO and although the pendok motif looks like one of the Yogya designs (but quite crudely made), it is not from Yogya because the motif extends to the tip and the pendok is not narrowed at the tip like the Yogya pendoks, see example.
Regards

[David]

Originally Posted by Jean

IMO and although the pendok motif looks like one of the Yogya designs (but quite crudely made), it is not from Yogya because the motif extends to the tip and the pendok is not narrowed at the tip like the Yogya pendoks, see example.
Regards

Yes Jean, while i do agree that the motif presented in Gavin's pendok bears resemblance to a particular Yogya pattern, the over all form of this pendok seems to be Surakarta.

[A. G. Maisey]

Jogja?

Surakarta?

Jawa Tengah in general?

East Jawa to conform with wider standard?

The pendok motif is sort of not quite anything.

The gambar is generic Jawa Tengah, tending to Solo.

But there is one slightly unusual feature in the entire scabbard assembly:- the pendok has a lis, not a very well executed one, but a lis just the same.

Once any keris moves away from the influence of a socio-cultural dictate, wide ranging variation in recognised forms & motifs can & often does, creep in.

This is a very ordinary keris, but when it was new, it was very probably the pride & joy of somebody, he had achieved ownership of possibly the best that could be done in his particular location.

My personal opinion is that it is sufficient to describe this keris as stylistically Central Jawa.

[Gavin Nugent]

Thank you gents, the learning has been enlightening.