[Philip]

Rick,
Nice example! These motifs are seen on keris handles on occasion; yours is quite a good specimen of the type. Considering that many of the Chinese who settled in Indonesia were merchants and craftsmen, and more than a few of them were purveyors of luxury goods, you can see why the Chinese aesthetic would acquire a certain cache. At the very least, people tend to be attracted to novelty, and foreign styles come into vogue in many cultures for this reason.

The "rope design" you mention is indeed common on Scottish dirk hilts, and is reflected in many forms of medieval Irish and Scandinavian art. It is also found in Islamic motifs, and is generally referred to as the "endless knot" . This theme appears frequently in the Far East as well, and is regarded as a Buddhistic element. The design is interpreted by some to represent the Buddha's intestines. (Just as swastikas are believed to be the marks present on his footprints).

On a functional note, I've seen the Chinese influence on keris manifest in an extreme and highly unusual example: DOUBLE KERIS FITTING INTO ONE SCABBARD! Rick, remember the dealer I took you to see in LA when you visited last? Over ten yr. ago, he showed me this. The mounts were Javanese. Each hilt was half-sectioned, so even the mendak or ferrule was flat on one side. The flat of one grip had a little mortise which nested into a matching tenon on the other grip so that both daggers would "lock" together when side-by-side. The scabbard had a thin divider to separate the blades.

This double keris was otherwise of typical size and dimension for Javanese. A Chinese martial artist would undoubtedly consider them too insubstantial, so I believe the set was made for an Indonesian who practiced a double-blade form and was inspired by the Chinese hudiedao or "butterfly knife".

This double weapon was rather plainly dressed, it had none of the rich motifs that your hilt has. Looking back, I kick myself for not making an offer on the piece.