Keris Pamor Mlumah?

morel5000 · 25th September 2021, 06:33 PM

Hi All,

I am a novice, but am caught by the Keris beauty. I would like to present another one from my collection (and continue to do so if appreciated). Is this a Pamor Mlumah? Bendo Sagodo?

What kind of dress is this?

Thank you and have a happy weekend.
Michel

Jean · 27th September 2021, 10:22 AM

The scabbard is in Yogyakarta gayaman style with a peculiar pendok (metal oversheath) and selut (metal cup at the base of the hilt).
The blade is very worn-out, the pamor looks like Bendo Sagodo or Melati Rinonce in the upper part but was probably in Ngulit Semangka (watermelon rind) style originally.
Regards

David · 27th September 2021, 06:30 PM

I agree that both the pendok and selut seem to be somewhat peculiar. Is the red material enamel or paint. Both seem like they might be from the same source, but that might just be because of this red material, which seems the same on both. The motif on the selut doesn't look like any i have seem from Jawa before. For some reason it gives me a Chinese feel, but i have nothing to really base that on.

jagabuwana · 28th September 2021, 01:02 PM

What an interesting selut. I've never seen one like that before. Thank you for sharing.

Jean - I would have guessed melati rincone too. If it is true that it had previously been ngulit semangka, how does this get altered? Surface manipulation after the fact?

Also I presume that this could be done to improve on imperfections either in forging or because of time. But would there be less practical and more cultural or symbolic reasons for why a keris would have undergone a pamor change or addition? For example, with tambal, my understanding is that it's often done to cover up flaws, which is an expedient thing to do. However a more symbolic or cultural reason would be too incorporate material from a family's tosan aji or pusaka into another as tambal/welded patches, perhaps to allow heavily deteriorated tosan aji to "live on" or to imbue its properties in a more intact tosan aji.

25th September 2021, 06:33 PM	#1
morel5000 Member Join Date: Nov 2011 Posts: 12	Keris Pamor Mlumah? Hi All, I am a novice, but am caught by the Keris beauty. I would like to present another one from my collection (and continue to do so if appreciated). Is this a Pamor Mlumah? Bendo Sagodo? What kind of dress is this? Thank you and have a happy weekend. Michel Attached Images

27th September 2021, 10:22 AM	#2
Jean Member Join Date: Jun 2009 Posts: 1,740	The scabbard is in Yogyakarta gayaman style with a peculiar pendok (metal oversheath) and selut (metal cup at the base of the hilt). The blade is very worn-out, the pamor looks like Bendo Sagodo or Melati Rinonce in the upper part but was probably in Ngulit Semangka (watermelon rind) style originally. Regards

27th September 2021, 06:30 PM	#3
David Keris forum moderator Join Date: Aug 2006 Location: Nova Scotia Posts: 7,124	I agree that both the pendok and selut seem to be somewhat peculiar. Is the red material enamel or paint. Both seem like they might be from the same source, but that might just be because of this red material, which seems the same on both. The motif on the selut doesn't look like any i have seem from Jawa before. For some reason it gives me a Chinese feel, but i have nothing to really base that on.

28th September 2021, 01:02 PM	#4
jagabuwana Member Join Date: Jan 2018 Location: Sydney, Australia Posts: 281	What an interesting selut. I've never seen one like that before. Thank you for sharing. Jean - I would have guessed melati rincone too. If it is true that it had previously been ngulit semangka, how does this get altered? Surface manipulation after the fact? Also I presume that this could be done to improve on imperfections either in forging or because of time. But would there be less practical and more cultural or symbolic reasons for why a keris would have undergone a pamor change or addition? For example, with tambal, my understanding is that it's often done to cover up flaws, which is an expedient thing to do. However a more symbolic or cultural reason would be too incorporate material from a family's tosan aji or pusaka into another as tambal/welded patches, perhaps to allow heavily deteriorated tosan aji to "live on" or to imbue its properties in a more intact tosan aji.