20th Century Solonese Keris

[Raden Usman Djogja]

Gonjo,

Give me time till monday or tuesday to post urubing damar pictures. I do this reply at home. To upload is easier from my pc in the office.

As I know, there are thousand patents inside a single car. Perhaps, even with identical-end Keris shape/dhapur but using different process, the keris smith is able to patent it. He has a right to patent his specific process while "the shape/dhapur" belongs to somebody else (even anonym).

I think for Empus, recognition is very important (first priority) and money follows behind (second, tenth or last priority). The problem is, Empus hesitate to champaign for himself. To patent is a part of selfcampaign. What Empus want is people recognizing Empu automatically. Unfortunately, modern system doesnt provide their preference. Now, they live not in Majapahit era. Some approaches must be changed by themselves or by people who care them.

By having open recognition, the Kerissmith/Empu innovation will grow day by day. It does not matter if after that, business as usual in Indonesia, so many unresponsible men recopy it without any permission.

If I am not mistaken, by receiving a certain award from UN bodies, such as intagible heritage for Keris by Unesco, there will be a certain nasional body (either governmental body, NGO or community group) supported/funded by UN bodies (Unesco). Which Indonesian Body has received that fund? I think it is interesting to propose (to the Indonesian Body which receiving Unesco Fund) to patent one of your collection on behalf of its creator (Sukamdi).

It is just my idea. Forget it soon if unrealistic.

Usmen

[David]

Yes Usmen, a car's parts have many patents, but car parts are not keris. Keris are works of art and spirit. I am sorry, but i have a hard time seeing exactly what the purpose of a patent would be. Would it stop others from copying the style? I doubt it if it is a desireable style. Many talented painters can copy a Picasso painting, but for those who study the art, few will be able to fool those who know or collect it. And if someone can make a copy of someones style so perfectly that even the experts can't tell then i would image that copy must be pretty damn good and every bit as collectable in it's own right as the original. No two keris will ever be exactly alike. Patents are for machine made things that can be exactly repeated again and again, not for works of art and personal expression.
This isn't to say that a smith who creates a new and imaginative form doesn't deserve credit and recognition. You don't need to patent something for that.
BTW Usmen, when you speak of "empus" who are you referring to. It is my understanding that those who can truly be called empu would number less than the fingers on a single hand. That is not to say that there aren't many very talented pandai, some perhaps with greater skills that some who held the title of empu. But i do understand that title as being a rather specific one.

[ganjawulung]

The world of painting, maybe the right analogy for keris, I agree with David. It is difficult to copy the style, even not patented. And I'm still thinking with Raden's statement that "to patent is a part of self-campaign.."

You know already, in the old days the authority of such campaign was not at the hand of the empus, but the king's will. So now there is a kind of "cultural gap" (I don't know the right term): who is the authority of such campaign now? The empu himself, the king? The president? If the King. Which king? King of Yogya? King of Solo? King of Mlalaysia?

About "certain amount of money" from the UN. What I've heard is: UN won't give the fund to a state which once had received such aid from the UN. In this matter, Indonesia had received certain amount of dollar from the UN three years before keris was announced as the intangible heritage.. from Indonesia. Three years before, wayang also recognized as the intangible heritage from Indonesia. Malaysia too. (If I'm not mistaken: mahyong. Pls correct me if I'm wrong). So? No money for whatever Indonesian keris body, SNKI, whatever. No money. Still complicated problem...

[A. G. Maisey]

I do not know what Indonesian patent law is like, but I do have a rough idea of how it operates in Australia.

Effectively, it is useless unless you are a multi million dollar organisation with a team of patent lawyers who are prepared to prosecute every infringement of that patent.

Patenting a design might be a nice idea, but firstly you need to very clearly identify what exactly it is that you are going to patent, and then ensuring that what you think you can patent can in fact be patented.

After you have spent a very considerable sum of money in securing your patent you then need to rigorously patrol the area of your patent and follow-up on every infringement, and prosecute where necessary.

Let's get serious.

Patenting is not for works of art that sell at relatively miniscule prices.

Patenting is for commercial ideas and undertakings where very big money, and very serious, very aggressive people are involved.

[ganjawulung]

From what Alan said just now, I dare to say that: self-campaigning for an empu, or 'prominent keris maker' like Sukamdi is almost impossible. Spend money for hiring lawyer? Even "hiring" himself Sukamdi can not. He is living in a simple condition, although not poor enough to starve...

At least, Sukamdi is still "the son of natural heritage" (?), who has nothing but his ability to create such good keris creation.. He has no power to control infringement like Alan just said. Still a long way to go, for patenting the creation in this keris world.

Insurance? Yes, until now the ability to insure something in the world of keris is still in the hand of the haves. Rich keris collectors in Jakarta, they insured their valuable kerises and put their valuable belongings in the bank's safe deposit box. Prominent bank like BCA (Bank Central Asia), who sponsored also the publishing of Keris Jawa (Haryono Haryoguritno's book), has deposited many valuable kerises from prominent collector (if I may mention) as Mr Sani Gondomono. Sani is a great keris collector, who collecting valuable kerises with valuable ornaments...

[Boedhi Adhitya]

Actually, there are some money for keris protection. There is also an Action Plan for Protection, Revitalization and Development of Indonesian Keris. But Unesco will not give the money until Indonesian government signed/ratified the Unesco's convention for protecting cultural heritage. The document is already in the secretary of states office, waiting to be passed to the DPR/parliament for ratification. SNKI has been trying very hard to push it, but as we all know, the bureaucracy work very slow, not even to consider the parliament's priority today. It is also worth to note that the fund would be considerably reduced, as Unesco is trying to tighten their budget now.

Today's kerismakers would be more concern to the low acceptance of newly made keris than to patenting the design. We all know that people would love the old blades more than the new ones. It is hard to sell the new keris 'as it is'. Irresponsible dealer (and makers too) would be artificially aging the blade, to make it look older. Many makers also trying very hard to copy the nem-neman (than making their own styles), as it is easier to sell to the inexperienced ones. So, it is easily understood that many makers, as Alan said, would like to keep their works and themselves anonymous, because once their works easily identified by the market (as a new blade, certainly), it will be harder for them to sell their works. Sukamdi is one among very small keris makers who enjoys the niche market of the new-keris collectors. Even so, only small amount of money go into his pocket, as the larger amount would go into the dealer's.

Actually, the real threat to keris culture is the popular misunderstanding that keris is a dukun's tool, and thus, an evil things. This misunderstanding amplified by massmedia such as TVs and movies, and keep alive by those who make living from it. This misunderstanding leads to two ends : 'keris avoidance', that is, peoples are reluctant to deal with keris/tosan aji, even if they inherit it. Other is the tendency of some religion leaders/priests, whom are lack of understanding, against the keris/tosan aji.

[Alam Shah]

Originally Posted by Boedhi Adhitya

... Actually, the real threat to keris culture is the popular misunderstanding that keris is a dukun's tool, and thus, an evil things. This misunderstanding amplified by massmedia such as TVs and movies, and keep alive by those who make living from it. This misunderstanding leads to two ends : 'keris avoidance', that is, peoples are reluctant to deal with keris/tosan aji, even if they inherit it. Other is the tendency of some religion leaders/priests, whom are lack of understanding, against the keris/tosan aji.

I agree. Even in Singapore and Malaysia, the same problem exists. On hindsight, we can still get keris for a reasonably low price... from those who wish to part with it.

[A. G. Maisey]

Pak Boedhi, seldom do I read anything about keris with which I am in total agreement.

I endorse your comments completely.

[ganjawulung]

Wow,

Interesting discussion. Thanks Alan, David, Raden, Shahrial and all.. Go ahead. Still have no idea yet...

[Raden Usman Djogja]

hi Kerislovers,

From now, I realize how really difficult to patent a thing (especially a thing likes keris). If patenting is considered as "impossible" action, I would like to highlight the idea beneath.... (recognition, champaign, recording). Anymean can use for it, sure, including this forum.

Dik Boedhi,
how wonderful your explanation.
yupe, too many problems/difficulties.
lets go along the edge.

Usmen

[ganjawulung]

Oops,

Don't forget, Raden... to post your "urubing damar"...

[Raden Usman Djogja]

Gonjo,

I promise to send it.

I apologize if there will be delayed email sending. This morning, I got information that Indonesian Minister of Finance and Governor of Central Bank would visit Senegal started on next Sunday. Because of that, I forgot to take picture Urubing Damar before leaving home.

Now, I am still in the office. So this is my new scenario. I will take picture this late evening and upload by tomorrow afternoon (in the morning, there will be a meeting).

Keris description (based on my sense):
urubing damar, sepang, mojopahit, kelengan.
Tomorrow, I would like to ask (demand ) your opinion about it.

Usmen

[Raden Usman Djogja]

Gonjo,

I have taken pictures. Hope I can post it tomorrow. Now, it is 23.45. Time to go to bed. Perhaps, the picture quality is not as good as if taken at noon because of the flash effect.

c u tomorrow,

Usmen

[Raden Usman Djogja]

Originally Posted by ganjawulung

Oops,

Don't forget, Raden... to post your "urubing damar"...

Gonjo,

here, I post "urubing dilah"

I request your comments

Usmen

[Raden Usman Djogja]

Gonjo,

lanjutan

[Raden Usman Djogja]

lanjutan

[Raden Usman Djogja]

penutup

[Marcokeris]

Usman I like this keris... but i like more the wood panel in the back

[David]

Originally Posted by Marcokeris

Usman I like this keris... but i like more the wood panel in the back

I think that might be because it is the wood panels that are in focus and not the keris itself.
Usmen, this looks like an interesting keris. I have not seen a sepang with this "urubing damar" aspect before. But i am afraid it is hard to comment based on these photos.

[ganjawulung]

Originally Posted by Raden Usman Djogja

Gonjo,

here, I post "urubing dilah"

I request your comments

Usmen

Yes, Raden...

Your pusakas, both are old. Noting the style, (although not knowing the iron or the blade), your "urubing dilah" or "urubing damar" (the flame?) supposed to be Majapahit's style -- thinner than Mataram style.

The keris' sheath, certainly is a type or an "iras" (one piece of wood). I suppose, tayuman wood (a kind of bush wood, I will search the name in Latin, later). The ukiran or handle (hilt -- according to David) is maybe "yudowinatan style" (Mas Boedi may correct me if I'm wrong), from "kemuning werut" wood (I will search the Latin word later).

Your tombak, (I suppose) also from Majapahit era. (probable the dhapur is "sigar jantung" or "a piece of heart" -- not correct English word maybe). The tombak sheath is maybe from cendana wood or sandal-wood. The "methuk" of tombak (I don't know the English word), ornamented with "kinatah sultan agungan" (special ornament from Sultan Agung era, 16th century).

From the form of your pusakas, I guess they were (your family's) heritage.. Please, forgive me Raden, if I'm wrong...

[ganjawulung]

Raden and All,

This is the "sepang luk" that was made by Sukamdi. Really, the material is a very very broken "sedayu" keris blade, reforged, and than reshaped like this. Formally a straight keris, very badly broken. Sukamdi also made the ganja, (ganjawulung type) with a ganja wilut (double curved). The ganja was made from other black iron. Such ganja called by common Javanese as "ganja susulan", or ganja which is made in the later time..

The hilt, is a gading hilt, Yogyakartanese and also the sheath. The scabbard (pendhok) is silver, and was made and crafted in Kota Gede, Yogyakarta. But the hilt was specially made by one of the best Yogyakartanese hilt carver for this time being, by Kamijo or more known as Gatot..

[Marcokeris]

Ganja, a very nice keris.
a question: has the gading hilt also the hole (tusk nerve) on the top of the hilt?

[ganjawulung]

Originally Posted by Marcokeris

...has gading hilt also the hole (tusk nerve) on the top of the hilt?

Dear Marco,

Here are the Yogyakartanese "gading" (ivory) hilts made by Kamijo or Gatot, and also two Solonese wooden hilts (with old "selut" style "banyumasan") made by him too. Now, Kamijo or Gatot is one of the best hilt carver in Yogyakarta.

Ganjawulung

[Alam Shah]

Originally Posted by ganjawulung

Dear Marco,

Here are the Yogyakartanese "gading" (ivory) hilts made by Kamijo or Gatot, and also two Solonese wooden hilts (with old "selut" style "banyumasan") made by him too. Now, Kamijo or Gatot is one of the best hilt carver in Yogyakarta.

Ganjawulung

Very beautiful. Thanks for sharing ... unfortunately, I do not own a keris worthy of such fittings.

[Newsteel]

Having such ivory hilt is a beauty. A compliment to a collection. Would love to have it one day...

[Raden Usman Djogja]

I hope so, dear

[ganjawulung]

Dear All,

Disturbing you again with pictures... This time, a 20th century Solonese (Surakarta) sheath with "sunggingan" and a brand new keris tangguh 21th century of Madura. I hope you are not fed-up with pictures and pictures...

"Sunggingan" is a specific ornamenting tradition, usually for "wayang kulit" or puppet-leather. But during the older era of Solonese King Paku Buwono (especially during the reign of Paku Buwono X, 1893-1939), "sunggingan" also used in ornamenting the keris-warangka, or keris-sheath.

"The art of sunggingan" in keris-sheath developped in Solo, even until nowadays (but not in the neighbouring city of Yogyakarta). There are some kinds of motives in sheath-sunggingan, which usually bear the symbol (logo) of Paku Buwono X, and also the other motives such as "kala" or "raseksa" (giant's face) like these pictures below. This sheath's sunggingan, bear the motive of "modang" (I don't have the English word of this name), and was painted in my sheath by a Jakartanese (but Solonese origin), Mas Amien.

The red "pendhok" called "kemalo red". Kemalo, in the older Paku Buwono era, was not a common paint, but rather "traditional paint", natural paint. There are many colours of kemalo, such as red kemalo (for high rank officer), green kemalo (for 'penewu' officer, or middle rank officer). And there are also black kemalo for lower officer.

The Madurese keris, was made by the young keris-maker Zulhan (2006). Although the style of this blade is not true Madurese, but rather Mataramese and Solonese style. The dapur, is Sengkelat of 13 luks. It is pamorless, or in keris term we call it "kelengan" (all-black). The iron? It was from old and unused flatcar rail-track from an old sugar-cane field in East Java. Probably from 18th century, or even older...

Ganjawulung

[Newsteel]

Interesting metal used there ganjawulung.

Typical Javanese keris would show pitch black blade or uniform dark ash grey colour. Could be the different techniques or metal combination used here. Probably, the iron extraction method during the making of this keris is slightly different from the old traditional way. Or is it the pictures that turn out that way...

[A. G. Maisey]

That's good sunggingan work!!

I used to like the work Pak Legiman in Pajang did (near Makam Haji), but his quality fell off years ago, as his eyes started to go. Back 15 or 20 years ago, a lot of people used to reckon he was the best ever.The old kemalo is actually natural lacquer. New kemalo can be anything that looks right. In super cheap pendoks it is often automobile lacquer.

There are some nice older sungging pendok in Musium Radyopustoko.

[ganjawulung]

Originally Posted by Newsteel

Interesting metal used there ganjawulung.

Typical Javanese keris would show pitch black blade or uniform dark ash grey colour. Could be the different techniques or metal combination used here. Probably, the iron extraction method during the making of this keris is slightly different from the old traditional way. Or is it the pictures that turn out that way...

Yes Newsteel,

Madurese keris maker is usually "creative" in finding the metal to make their kerises. Some of their metals came from very old ship-anchor from the sea, or old flatcar rail-track. The pamor -- if the make pamor -- sometimes from unused nikel-rim of bicycle wheels! And they reforged all the metals like they forge traditional kerises. This "rail-track" keris is really look dark ash grey, and pretty cute... And Zulhan finished the keris very well. ...

Ganjawulung