Kris Junggayan Silver Gold Inlay Filigree

[Battara]

Greetings folks!

I received this kris last year and it has taken a year to fully restore it. The junggayan pommel is tested solid heavy cast silver! Hilt bands are made of twisted silver wire and gold plated silver. I restored the missing silver inlay. There is a plate of silver on top of the ganga and the ansang-ansang clamps are made of low silver.

The scabbard was split and I put it together with a new pin. Down the scabbard are silver bands I replaced (with one exception).

I believe this kris to be Sulu and the 2nd time I have ever seen filigree on a silver pommel (the 1st being CharleS's).

These first pictures are the kris as I got it.

Enjoy!

[Battara]

Here are pictures of the piece now restored:

[Shakethetrees]

Good Night!

How many hours did the inlay take?

[David]

Jumpin' Jehosaphat, José!

[mross]

Any idea on the weight of the pommel? I am assuming coin silver for it or do you think it is a different alloy?

[VANDOO]

FIRST RATE RESTORATION! JUST LOOKING AT THE INLAY WORK ON THE BLADE MAKES MY EYES HURT. THE CHANNELS WOULD HAVE TO BE CUT DEEPER AND THEN THE INLAY DONE, A BIG TIME CONSUMING TASK, IMPRESSIVE WORK JOSE.

[Oliver Pinchot]

Brilliant, Jose. Thanks for sharing, good pics too.
You've recut the channels and hammered in the wire beautifully.
Do you have to use an adhesive to get the wire to hold?

[Andrew]

Beautiful.

[Sajen]

Perfect done! You become by every piece better!

Regards,
Detlef

[Indianajones]

And another great piece ruïned! It makes the good old untouched pieces more rare, but I FEEL for the pieces you ruine FOREVER.
(nomatter what your reply is)

[Sajen]

Originally Posted by Indianajones

And another great piece ruïned!

Because fallen out silver inlays replaced???

[Battara]

Thank you folks.

Shakethetrees - I lost count of the hours involved, but I do know that it took a year to get all the work done, especially the inlay (based on what was already there).

David - yeah, I felt the same way when I got done!

Mross - I would say a good pound to a pound and a half of solid silver.

Oliver - No adhesive used. I tried once on Ian's barung years ago and it didn't work. You're right, it takes cutting and then undercutting the cut, then cold hammering. This is how the original artisans did it and their ancestors all over the planet.

Indianajones - Apparently my work and opinion offend you. A reminder that Moros and Filipinos made these pieces and then later they were altered, changed, upgraded, restored. I won't upgrade, but I am in line with my ancestors.

I will certainly consider and respect your thoughts. I would only ask that you do the same for me..........

[Andrew]

Originally Posted by Indianajones

And another great piece ruïned! It makes the good old untouched pieces more rare, but I FEEL for the pieces you ruine FOREVER.
(nomatter what your reply is)

Just curious, Indianajones--are you Filipino?

[CharlesS]

Hi Jose,

Another lovely job. I had forgotten you got this one last year, but I was tickled to see you get it because the pommel is practically identical to the one I have that you wanted so badly.....now you have an even better one!!

Congrats and again a stunning job.

[CharlesS]

Originally Posted by Indianajones

And another great piece ruïned! It makes the good old untouched pieces more rare, but I FEEL for the pieces you ruine FOREVER.
(nomatter what your reply is)

I believe that we all have our own ideas about the practices and limitations of restorations, some more conservative than others.

Had Jose altered the piece in a way clearly not original to it, then I would agree it was too much and lacked the proper ethnographic vision. However, in this case Jose has only restored what was clearly there and long lost...no more, no less. What's more, he has done it with virtually the same material that the Moros would have used.

I wonder...suppose the original silver/alloy was intentionally melted or chiseled out of the kriss for use on something else...perhaps even as a barter commodity. Would that intentional damage to the kriss by its original(or somewhere down the line) owner not devalue it both aesthetically and as a piece of "original" art???...in that case Jose has done no more than "touch up" an original work of art to make its original appearance more clear to current viewers of the piece.

There are lots of Moro collectors, myself included, but I will tell you I don't know of ANY two collectors more "spiritually" attached to their collections than Battara/Jose and Spunjer/Ron. I think anyone that knows them and their passion will agree.

This makes me know that Jose's heart and his head were in the right place...personally, I commend him!

[RSWORD]

Very well said Charles!

[Ian]

Jose:

Your restoration work is second to none IMO. I remember how you brought my old barung back to life with its brass inlaid blade, and how much you toiled on that piece until it was right and you had mastered the technique. This is another excellent example.

Indianajones, I don't understand where you are coming from with such a strong outburst. How is what was done with this sword different from removing rust and grime from an old piece, etching the blade, polishing the metal, and making it look like it would in its original culture? Would you consider those changes "ruining" an old piece also? Would you let a sleeping beauty slumber on indefinitely, or would you want to wake her up in all her former glory?

Jose brings these back to life in a way which is respectful and in keeping with the tradition in which it was created.

[VANDOO]

I UNDERSTAND BOTH POINTS OF VIEW AND LEAVE IT UP TO EACH COLLECTOR TO MAKE HIS OWN CHOICES. TO PUT A WIG AND MAKEUP ON A OLD BALD MAN TRYING TO RESTORE HIS FORMER YOUTH AND LOOKS IS AN EXERCISE IN FUTILITY.
BUT A GOOD RESTORATION OF A WEAPON TO ITS EARLIER ORIGINAL CONDITION IS NOT THE SAME THING. IF DONE PROPERLY USING THE SAME TECHNIQUES AND MATERIALS TO RESTORE IT TO ITS ORIGINAL FORM AND NOT ADDING ANY EMBELLISHMENTS (DESIGNS, TALESMEN, ECT.) I HAVE NO PROBLEM WITH THAT. ON THE OTHER HAND IT MAKES THE ITEM LOOK NEW AND IS ALTERING ITS CURRENT CONDITION. THIS MAY INCREASE ITS WORTH TO SOME AND MAY RUIN IT FOR OTHERS DEPENDING ON THE POINT OF VIEW.
THE DAMAGE AND WEAR TO THE OBJECT OVER THE YEARS MAY HINT AT ITS HISTORY. WAS THE SILVER, GOLD AND JEWELS STRIPPED DURING HARD TIMES BY THE OWNER? PERHAPS IT WAS TAKEN IN BATTLE BY A ENEMY AND STRIPPED OR MODIFIED TO FIT ANOTHER CULTURE. THE LOOK OF A LESS PERFECT OLD WAR HORSE SPURS THE IMAGINATION AND BRINGS TO MIND ALL THESE QUESTIONS. I JUDGE EACH ITEM INDIVIDUALLY ON ITS OWN MERIT AND AS MOST OF MY COLLECTION IS NOT OF THE HIGH QUALITY THERE IS NO SILVER , GOLD OR JEWELS TO RESTORE.
WHILE WE ALL AGREE ON TAKING STEPS TO PRESERVE ITEMS THERE WILL ALWAYS BE CONFLICTING VIEWS ON RESTORATION.
I AM PLEASED THAT JOSE IS WORKING TO LEARN AND FOLLOW THE OLD TRADITIONAL TECHNIQUES AND THAT PROJECTS ARE AVAILABLE FOR HIM TO WORK ON AND LEARN FROM. I THINK HE LIKELY JUDGES EACH ITEM BEFORE HE DECIDES TO RESTORE OR LEAVE IT AS IS AS WE ALL DO. IT IS GOOD TO HAVE A MEMBER WITH THE DESIRE AND SKILLS TO DO A PROPER JOB OF RESTORATION AND KEEP THE SKILLS ALIVE.

[Sajen]

Originally Posted by VANDOO

I UNDERSTAND BOTH POINTS OF VIEW AND LEAVE IT UP TO EACH COLLECTOR TO MAKE HIS OWN CHOICES. ......
WHILE WE ALL AGREE ON TAKING STEPS TO PRESERVE ITEMS THERE WILL ALWAYS BE CONFLICTING VIEWS ON RESTORATION.

I remember several threads where it was discussed how ethnograhic weapons have to look or should be preserved for future generations and I am sure that there every time will be different points of view.
Here only two examples.
http://www.vikingsword.com/vb/showth...ghlight=ngombe look from post #21
http://www.vikingsword.com/vb/showth...ghlight=tajong, look from post #34
By all this threads was the discussion very respectful and has shown tolerance for the different points of view, this I miss unfortunately in post #10 of this thread.

[Emanuel]

Nice work Battara!

What is the symbolic representation of that inlay, a volcano?

It strongly brought to mind this piece.

Could the complex pattern welding attempt to bring to mind the same "volcanic" symbol, or vice versa, could the inlay be an homage to the twistcore?

Emanuel

[Emanuel]

Another thought.

The quality of the silver pommel casting is spectacular. What surprises me a bit is the simplicity of the silver inlay on the blade. The patterns are crude relative to the refinement of the pommel.

Are we seeing a gap in technological skill/talent between casting and inlay craftsmen, or different sensibilities regarding what is important or what requires more detail (ie. the pommel is more visible than the blade, hence exhibits more refinement, the blade is used and hence needs rougher decoration).

Could the inlay and pommel have been added at different times in the piece's life, by different owners, again with different concerns or ability to afford embellishment?

Thanks,
Emanuel

[VANDOO]

I THINK THE SILVER DECORATION ON THE POMMEL, GRIP AND FERULE ARE JUST THAT, DECORATION TO SHOW STATUS AND WEALTH.
THE INLAY ON THE BLADE IS PROBABLY TALISMANIC AND THERE PERHAPS TO CONTAIN AND HARNESS THE SPIRIT IN THE BLADE THUS MAKING IT A WEAPON IN THE SPIRIT WORLD AS WELL AS IN THIS ONE.
I HAVE NOT HEARD ANY REFERENCE TO A VOLCANO BEING REPRESENTED IN THE LORE OF MORO KRIS. THERE ARE VOLCANOES IN THE AREA SO THERE ARE SURE TO BE OLD BELIEFS AND SUPERSTITIONS ASSOCIATED WITH THEM. IN OTHER MYTHOLOGY THE GOD VULCAN'S FORGE WAS OFTEN THOUGHT TO BE IN VOLCANOES. A INTERESTING THOUGHT.

[Emanuel]

I could also interpret the "volcano" as a symbol of power akin to the triangular representation of the Shiva lingam. Perhaps a remnant of the earlier Javanese keris, absorbed and adapted to Moro culture .

In any case, the silver inlay decoration and the pattern welding had a very similar impact in my mind.

[Battara]

Often the pommel and hilt, and then the blade, and even the scabbard were done by different craftsmen. Vandoo is right in that what is on the blade is probably talismanic, but what I don't know. I also agree that there is a spirit in the blade.

As far as a volcano is concerned, I am not aware of any connection or significance.

[David]

Originally Posted by Battara

As far as a volcano is concerned, I am not aware of any connection or significance.

Well, the list of active volcanos in the Philippines is long. The relationship of the keris to Mt. Meru in Jawa clearly shows the connection between sacred mountains and the keris/kris form. In Alan Maisey's treatise on pre-Islamic influences on the keris he states:
"The Gunungan is a Javanese indigenous symbol, which after the introduction of Hindu culture and belief systems fused with Mt. Meru and the Tree of Life."
So here we see a synthesis of symbolism which in the Javanese culture is perpetuated (and added to along the way) well into the Islamic era of the region. I see no reason why the Moro kris would not retain a connection to some of these early pre-Islamic symbols.
In Jawa the mythology goes that the gods moved a piece of the sacred mountain to Jawa to "nail it down".
"This mythical mountain of gods was mentioned in Tantu Pagelaran, an Old Javanese manuscript written in Kawi language from 15th century Majapahit period. The manuscript is describing the mythical origin of Java island, and the legend of moving some parts of mount Meru to Java. The manuscript explained that Batara Guru (Shiva) has ordered the god Brahma and Vishnu to fill the Java island with human beings. However at that time Java island was floating freely on the ocean, ever tumbling and always shaking. To make the island still, the gods decided to nail the island upon the earth by moving the part of Mahameru in Jambudvipa (India) and attaching it upon Java.[16] The resulting mountain is Mount Semeru, the tallest mountain of Java." ~ Wikipedia
So i see no reason why this connection to the sacred mountain might not emigrate with the keris as it transferred to Moroland or that a local mountain/volcano could not then serve as a surrogate on their land for the sacred Mt. Meru. And what more powerful a mountain than an active volcano?
Of course, the above is all speculation and meaningless if the original intent of the inlaid design is NOT meant to be a volcano, but i can clearly see how it could very possibly be just that in design.

[David]

Just to follow through on this volcano theory, the one i would think it most likely to represent would be Mt. Apo. Not only is it in the Moro region, but like Mt. Semeru in Jawa, Mt. Apo is also the tallest mountain in the active volcano in the country. It is consider sacred by many of the surrounding tribes.
http://en.wikipedia.org/wiki/Mount_Apo

[Battara]

David, the mountain motif is important among Philippine symbols. Bud Bagsak is an extinct volcano right on the Island of Jolo itself (home of the Tausugs who likely made this). However, reference to this volcano is possible, but I am as of yet unaware (and have yet to see evidence of) the connection in symbology to the inlay section near the hilt. If anyone does have research regarding volcano symbolism and its representations in Tausug culture, please let me know. In the meantime, I will check some other sources just in case I missed something.

[Ian]

Originally Posted by David

Just to follow through on this volcano theory, the one i would think it most likely to represent would be Mt. Apo. Not only is it in the Moro region, but like Mt. Semeru in Jawa, Mt. Apo is also the tallest mountain in the active volcano in the country. It is consider sacred by many of the surrounding tribes.
http://en.wikipedia.org/wiki/Mount_Apo

Hi David:

Mt Apo is a beautiful mountain to visit. It is just outside Davao City and looms over that city of over a million people. There is a national sanctuary there for the Philippine eagle.

I had the privilege of visiting that area many times in the late 1990s and early 2000s. It is not really part of Moroland, being located on the eastern side of Mindanao, and more the home of the Bagobo, Tagakaolu, and related tribes.

Jose may be on to something with his reference to Bud Bagsak on the island of Jolo. I believe this volcano has significant meaning to the Tausug, and it was the scene of a famous battle in 1913. A local leader, datu Amil, took his whole population of several thousand people (some estimate 10,000 men, women and children) up the mountain and into the caldera, which was heavily fortified, and challenged the Americans to come and take them.

US forces under command of General John Pershing tried to encourage the women and children to leave, but when it became clear that all of the population was ready to fight Pershing overwhelmed the Moro rebels in several days of fierce fighting. Spears, kris, barung, and a few firearms thrown in, were no match for US artillery. The Moro rebels were annihilated.

Pershing wrote afterwards that the fighting was the fiercest he had ever seen. "They are absolutely fearless and once committed to combat they count death as a mere incident." http://en.wikipedia.org/wiki/Battle_of_Bud_Bagsak

Ian.

Mt Apo overlooking Davao City (1998)

[David]

Originally Posted by Battara

David, the mountain motif is important among Philippine symbols. Bud Bagsak is an extinct volcano right on the Island of Jolo itself (home of the Tausugs who likely made this). However, reference to this volcano is possible, but I am as of yet unaware (and have yet to see evidence of) the connection in symbology to the inlay section near the hilt. If anyone does have research regarding volcano symbolism and its representations in Tausug culture, please let me know. In the meantime, I will check some other sources just in case I missed something.

Well you may never find "evidence" of this connection José. The Moro kris is obviously the child of the Javanese keris. The Javanese held this connection to the Cosmic Mountain well into the Islamic era, perhaps without even understanding the original Hindu significance. We find representations of it in the keris form in sorsoran placed pamor patterns like Sangga Brja, Raja Kamkam and Batu Lapak, little mountainous pamor forms at the base of the keris. It would not seem unreasonable to me then that certain aspects of symbolism used in Javanese keris transferred to the Moro kris, perhaps without even a full understanding of the original symbolic significance (i.e. Hindu). What, for instance, does the carving of sogokan and the outline around it mean to the Moro? These groves don't have any practical purpose on the blade AFAIK. Moro blades seemed to drop this feature for a time after the "archaic" period, but then there seemed to be a revival of this feature in at least some blades late in the 19th century.
I feel that the information on Javanese symbolism in Alan's treatise may be more germane to this subject then we might think at first.
http://kerisattosanaji.com/INTERPRETATIONPAGE1.html

[Henk]

IMHO a great restoration of a beautiful piece. With great skill brought back how it was once. Nothing wrong with that and doing justice to a marvelous piece.

If it was upgraded ore ruined by wrong techniques one could be right it was better not touched. This piece just was brought back to live. Awsome job!!