New keris

nechesh · 29th August 2005, 06:05 AM

Hi John. I'm not so sure there is a "true" definition of ANY word, including "culture". Words are mallible things and open to the interpretation of the people using them. And definitions, like everything else, are also constantly evolving.
That being said i'm not really sure what you are trying to say here. I can't tell whether you are agreeing with me or not. My point about the finest examples of keris in European museums being collected as new was merely meant as an encouragement for people to consider the collection of new keris, since some of them are at an extremely high level of keris art and will no doubt find themselves in some museum somewhere 200 or 300 yrs. from now.

John · 29th August 2005, 06:40 AM

That's what I'm implying - culture or tradition are not something that are static but transitory.

New kerises; based on the law of supply and demand, the flow of supply no doubt will not cease as long as there are demand, appreciation of these new ones whether with encouragement or otherwise.

Boedhi Adhitya · 30th August 2005, 07:42 AM

I apologize to all forumities, since I've been away for a while and hence, not answered the questions which was addressed to me.

Mr. Purwacarita, as I discussed before with Mr. Marto Suwignyo, pusaka would mean a lot, but as I insist, it was the empu's intention, which made some blade pusakas or not. The empus used the whole process, not only the physical appearance of the blades, to show their intention, in symbolistic languages. Hence, the good pusakas should be able to show this intention. But as the blade handed down from generations, whether by inheritances or trading, the owner would treat it differently, but the empu's intention, would always be the same. And once again, this intention might be "read" by those who understand the symbolistic language used. Then, no matter how you acquire it, the pusaka is a pusaka, even if you bought it on e-bay

About history of the blades, IMHO, it should be considered as "added value". In Kraton, the history would be important, but only after the blades qualify for "pusaka qualities" as I describes before. As I've been told by the "abdi dalem pusaka", all the kraton pusaka have best iron and steel possible at the time it was made, including the Kyai Klerek, which was belongs to Prince Mangkubumi's servant/soldier. This dapur cacing kanil lance suffered a little chipping on his point while he pierced Clereq's armour. (for information, Kyai Klerek named after Major Clereq, a Dutch officer which was killed by this lance, ca. 18 C.). Other example is Kyai Mangunoneng, a sword, pedang suduk pamor tambal, which was belong to Tumenggung Mangunoneng, a considered rebellious Tumenggung. This sword was used by Prince Mangkubumi / Sultan Hamengkubuwono I to kill his own master, as a warning to any rebels. Now it is always carried by women servant on ceremonies involving the sultan in his full formal-dressing. Kanjeng Kyai Kopek, the most honoured keris in heirlooms array of Kraton Jogjakarta, in fact, was a gift from Sunan Pakubuwono III on Sultan Hamengkubuwono I coronation. It is said that KKA Kopek was belongs to Sunan Kalijaga, and hence, symbolize the unity between the Ulama (religion leader) and Umaro (the goverment/king). You may see the picture of KKA Kopek and others in "Jogja Heritage", the official book of Kraton Jogjakarta. Some errors occur on naming and pictures (reversed) thought.

Yes, it was keris Kyai Setan Kober itself who kill it's own master, while Kyai Plered only injured Arya Penangsang badly. According to the legend, Arya Penangsang was a very powerful Adipati of Jipang, who was considered rebelious to Pajang. He would only be killed by his own keris, Kyai Setan Kober, a fiery keris. In a fight against Danang Sutawijaya (which then known as Panembahan Senapati, the first king of Mataram Islam, ca 16 c), Arya Penangsang suffered a wide wound on his abdoment, causing his intestine to felt out. Disturbed by his own hanging intestine, Arya Penangsang tied it to his keris handle, and continue fighting. In the end of the fight, Sutawijaya, which was a young boy and no match to Penangsang, felt down to the ground and not able to continue the fight. Penangsang then drew the fiery Setan Kober to kill him, and incidently, Setan Kober cut Penangsang intestine which was tied to the handle. This "fatal" wound, killed Penangsang instantly. To commemorate this, according to the folklore, Panembahan Senapati then asking all the bridegroom to put jasmines-on-the strings (melati rinonce) on their keris handle to mimic the intestine and symbolizing the bravery, on wedding ceremony.

Today, the Jogjakarta court, claiming as inheritance of Mataram, sees Kanjeng Kyai Ageng Pleret as "a legitimation to govern" for the court. The lance is honoured more than the Sultan himself. Only Sultan himself who clean it on cleansing ceremony. The servants are forbidden to come close and see it on purpose while it is cleaned. Other pusakas may only cleaned after the cleaning of KKA Pleret finished. From those who has seen it incidently, KKA Pleret has exotericly pusaka qualities. The Surakarta court has Kanjeng Kyai Ageng Baru as a match.

About the Kraton's pusaka, In Jogjakarta court, there are 8 servants who specialized on maintaining and documenting the pusaka, all of these servants are court member / royal families. Detail documentation has been done since around 2000 and still on progress, but sadly, without photographs. There are nearly 150 keris kept on Gedong Pusaka/Pusaka main hall (known as Bangsal Prabayeksa), and documentation of others pusaka which is kept in another building still in progress. Lances, would be the most abundant pusaka, counting around a thousand. Once again, according to the servant which I know personally, all of the keris which is kept in Prabayeksa had a "pusaka" grade quality. History of many of them are unknown and some of them were bought by the Sultan / Court.

So, I conclude, historical values may be an important things, but it is not a main consideration. The main consideration, IMHO, would be the exoteric and isoteric qualities, which also show the ability of the empu to put his intention on the blade properly while he made the keris. What I really mean about isoteric isn't "tuah" or magical properties, but something more philosophically. How did we acquire it, might have a little values, as long as you didn't steal it

So, for me, you may buy kerises on e-bay and call it pusaka, as long as the blades qualify

Sorry, I got to go, and I would post more sharing on "Jimat ngucap pusaka kandha" and how the "isoteric" things work tomorrow

best regards.

Alam Shah · 30th August 2005, 08:58 AM

Quote:

So, for me, you may buy kerises on e-bay and call it pusaka, as long as the blades qualify

Dear Boedhi Adhitya,
How do we see/know whether the blade qualify or not as a pusaka?

Any tips/pointers that you can share with us?

nechesh · 30th August 2005, 10:35 PM

I'd like to wish you all good luck finding your next keris pusaka on eBay!

Boedhi Adhitya · 31st August 2005, 09:29 AM

To assess/judge quality of something, we must understand how those things were made, the material and process used, and what the really purpose of those things. This also apply to keris. Contrary to common belief, judging a pusaka keris, firstly, is a very rational process. After that, you should use your own "feeling". No dukuns and incenses involved

First of all, about the making process and materials used.
One of the important processes in keris making is "mewasuh besi". wasuh=basuh=cuci=to wash/clean. This is the first step in forging pusaka. We all know, the ancient iron produced by smelting, and had a lot of impurities inside. The empu drove off the impurities by layering the iron (heating the bar, elongated it, fold it back, welding it, repeating the process for many times). Remember though, this process done before the iron mixed with the pamor. Basically, the empu was making a very pure iron. It takes a lot of effort and a good materials, and seem to be skipped if the empu just made an ageman keris. Empu Djeno said, it takes 12-14kg iron just to make a single keris, not to mentions the steel and pamor materials, if he followed the process used by Empu Pangeran Sedayu / Supo Mandrangi, the famous empu of Majapahit. The characteristics of clean iron, amongs others, are: withstand the high/welding temperature and giving little sparks in this bright-yellow temperature, resilient, and withstand the corrosion. Having the pure iron is very important, not only technically (that is, giving resilient and corrosion-resistant characteristics to the blade, as a weapon) but also esoterically (empu Jeno said, his prayer would be more easily "answered" and "get into" the blade if he works on this iron), and philosophically (which we may discuss later). On the finished blades, there are 3 classes/categories of this "clean" irons : Nyabak = look like sabak=batu tulis=slate, that is, smooth, clean and dense iron. This would be the minimal iron's quality for pusaka keris; Nyerat=serat=fibrous iron, better quality blades ; gulali = look like gula-gula/candy/melting sugar, the best quality iron/blades. Identifying this "clean iron" would be the most important point in assessing pusaka. Just remember then, the assessor must be able to discriminate the smooth-clean characteristic caused by polishing or by the iron itself.

After passing the "Iron exam", then we should examining how the pamor integrated to the iron. I believe, in better quality keris, the pamor material would also be "washed", just like the iron. The earthly iron symbolize the human, in this case, the owner of keris. Pamor then symbolize the heavenly fate, no matter where it came from (celestial or terrestial). Before "catching" and "unite" with the heavenly fate, the human-being should be "clean" spiritually. That why the "clean iron" is important philosophically. Pamor, in other case, should be integrated "properly" to the iron, according to the empu's intention. Many times, the empu fail to do it properly, just like Monet painting his water lotus series. While he painted over 200 paintings, only a few of them, he himself thought, as "properly" showing his intention.

Other exam would be the "garap", that is, how the ricikan (details) were made, and "guwaya", the overall looking of the keris. This exam involve your "feeling". Pusaka keris should have "personality". Haryono Guritno classified keris in 10 grades. the best would be "mahanani", came from "ana"=being, that is, a keris which is when unsheathed, the "aura" or "character" would be easily felt by any attendants in the room. Just like a good painting changing the "aura" of the room. Once again, need no dukun or incense here. Just your feeling.

Wish may help. Handling a pusaka by ourselves might means thousands words

Good hunting !

Alam Shah · 1st September 2005, 05:00 AM

Hi Boedhi,
Thank you for the interesting piece of information.

Quote:

Haryono Guritno classified keris in 10 grades. the best would be "mahanani", came from "ana"=being, that is, a keris which is when unsheathed, the "aura" or "character" would be easily felt by any attendants in the room.

Is there pictures of these that you can share or point to other references? Is there any "Iron Exam" references to recommend? It would be useful to be able to identify them.

purwacarita · 1st September 2005, 02:24 PM

Quote:

Btw, 4 kerises' pictures I attached on previous posts might be considered as having "nyabak" iron.

Nyabak = look like sabak=batu tulis=slate, that is, smooth, clean and dense iron. This would be the minimal iron's quality for pusaka keris;

...The first keris is the work of Supowinangun, the father of Empu Djeno Harumbrojo, the last living empu today. The keris was commisioned by KRT Puspodiningrat, The son of Prince Puspodiningrat, around 1930. Inherited by the owner today.

...The second is a keris once belongs to KGPA Mangkubumi, the eldest brother of Sultan Hamengkubuwono VII. It was commissioned by the Mangkubumi himself, and the work is done in his own workshop.

...The third is a keris once belongs to GPH Hangabehi, the eldest son of Sultan Hamengkubuwono VIII. Even so, this keris was made in Kraton Yogyakarta, commisioned by the Sultan Hamengkubuwono VII himself.

...This is a very rare dhapur, with elephant head wearing a crown as it's gandhik. I've only seen one and other piece reported to be exist in Jogjakarta Court, named "Kyai Gajahendra".

Hi. Do you know why pusaka keris belongs to great people and rare one only have minimal iron's quality? Is this some sort of gurindam?

29th August 2005, 06:05 AM	#1
nechesh Member Join Date: Dec 2004 Location: Cincinnati, OH Posts: 940	Hi John. I'm not so sure there is a "true" definition of ANY word, including "culture". Words are mallible things and open to the interpretation of the people using them. And definitions, like everything else, are also constantly evolving. That being said i'm not really sure what you are trying to say here. I can't tell whether you are agreeing with me or not. My point about the finest examples of keris in European museums being collected as new was merely meant as an encouragement for people to consider the collection of new keris, since some of them are at an extremely high level of keris art and will no doubt find themselves in some museum somewhere 200 or 300 yrs. from now.

29th August 2005, 06:40 AM	#2
John Member Join Date: Dec 2004 Location: Land below the wind Posts: 135	That's what I'm implying - culture or tradition are not something that are static but transitory. New kerises; based on the law of supply and demand, the flow of supply no doubt will not cease as long as there are demand, appreciation of these new ones whether with encouragement or otherwise.

30th August 2005, 07:42 AM	#3
Boedhi Adhitya Member Join Date: Apr 2005 Posts: 103	I apologize to all forumities, since I've been away for a while and hence, not answered the questions which was addressed to me. Mr. Purwacarita, as I discussed before with Mr. Marto Suwignyo, pusaka would mean a lot, but as I insist, it was the empu's intention, which made some blade pusakas or not. The empus used the whole process, not only the physical appearance of the blades, to show their intention, in symbolistic languages. Hence, the good pusakas should be able to show this intention. But as the blade handed down from generations, whether by inheritances or trading, the owner would treat it differently, but the empu's intention, would always be the same. And once again, this intention might be "read" by those who understand the symbolistic language used. Then, no matter how you acquire it, the pusaka is a pusaka, even if you bought it on e-bay About history of the blades, IMHO, it should be considered as "added value". In Kraton, the history would be important, but only after the blades qualify for "pusaka qualities" as I describes before. As I've been told by the "abdi dalem pusaka", all the kraton pusaka have best iron and steel possible at the time it was made, including the Kyai Klerek, which was belongs to Prince Mangkubumi's servant/soldier. This dapur cacing kanil lance suffered a little chipping on his point while he pierced Clereq's armour. (for information, Kyai Klerek named after Major Clereq, a Dutch officer which was killed by this lance, ca. 18 C.). Other example is Kyai Mangunoneng, a sword, pedang suduk pamor tambal, which was belong to Tumenggung Mangunoneng, a considered rebellious Tumenggung. This sword was used by Prince Mangkubumi / Sultan Hamengkubuwono I to kill his own master, as a warning to any rebels. Now it is always carried by women servant on ceremonies involving the sultan in his full formal-dressing. Kanjeng Kyai Kopek, the most honoured keris in heirlooms array of Kraton Jogjakarta, in fact, was a gift from Sunan Pakubuwono III on Sultan Hamengkubuwono I coronation. It is said that KKA Kopek was belongs to Sunan Kalijaga, and hence, symbolize the unity between the Ulama (religion leader) and Umaro (the goverment/king). You may see the picture of KKA Kopek and others in "Jogja Heritage", the official book of Kraton Jogjakarta. Some errors occur on naming and pictures (reversed) thought. Yes, it was keris Kyai Setan Kober itself who kill it's own master, while Kyai Plered only injured Arya Penangsang badly. According to the legend, Arya Penangsang was a very powerful Adipati of Jipang, who was considered rebelious to Pajang. He would only be killed by his own keris, Kyai Setan Kober, a fiery keris. In a fight against Danang Sutawijaya (which then known as Panembahan Senapati, the first king of Mataram Islam, ca 16 c), Arya Penangsang suffered a wide wound on his abdoment, causing his intestine to felt out. Disturbed by his own hanging intestine, Arya Penangsang tied it to his keris handle, and continue fighting. In the end of the fight, Sutawijaya, which was a young boy and no match to Penangsang, felt down to the ground and not able to continue the fight. Penangsang then drew the fiery Setan Kober to kill him, and incidently, Setan Kober cut Penangsang intestine which was tied to the handle. This "fatal" wound, killed Penangsang instantly. To commemorate this, according to the folklore, Panembahan Senapati then asking all the bridegroom to put jasmines-on-the strings (melati rinonce) on their keris handle to mimic the intestine and symbolizing the bravery, on wedding ceremony. Today, the Jogjakarta court, claiming as inheritance of Mataram, sees Kanjeng Kyai Ageng Pleret as "a legitimation to govern" for the court. The lance is honoured more than the Sultan himself. Only Sultan himself who clean it on cleansing ceremony. The servants are forbidden to come close and see it on purpose while it is cleaned. Other pusakas may only cleaned after the cleaning of KKA Pleret finished. From those who has seen it incidently, KKA Pleret has exotericly pusaka qualities. The Surakarta court has Kanjeng Kyai Ageng Baru as a match. About the Kraton's pusaka, In Jogjakarta court, there are 8 servants who specialized on maintaining and documenting the pusaka, all of these servants are court member / royal families. Detail documentation has been done since around 2000 and still on progress, but sadly, without photographs. There are nearly 150 keris kept on Gedong Pusaka/Pusaka main hall (known as Bangsal Prabayeksa), and documentation of others pusaka which is kept in another building still in progress. Lances, would be the most abundant pusaka, counting around a thousand. Once again, according to the servant which I know personally, all of the keris which is kept in Prabayeksa had a "pusaka" grade quality. History of many of them are unknown and some of them were bought by the Sultan / Court. So, I conclude, historical values may be an important things, but it is not a main consideration. The main consideration, IMHO, would be the exoteric and isoteric qualities, which also show the ability of the empu to put his intention on the blade properly while he made the keris. What I really mean about isoteric isn't "tuah" or magical properties, but something more philosophically. How did we acquire it, might have a little values, as long as you didn't steal it So, for me, you may buy kerises on e-bay and call it pusaka, as long as the blades qualify Sorry, I got to go, and I would post more sharing on "Jimat ngucap pusaka kandha" and how the "isoteric" things work tomorrow best regards.

30th August 2005, 10:35 PM	#5
nechesh Member Join Date: Dec 2004 Location: Cincinnati, OH Posts: 940	I'd like to wish you all good luck finding your next keris pusaka on eBay!

31st August 2005, 09:29 AM	#6
Boedhi Adhitya Member Join Date: Apr 2005 Posts: 103	To assess/judge quality of something, we must understand how those things were made, the material and process used, and what the really purpose of those things. This also apply to keris. Contrary to common belief, judging a pusaka keris, firstly, is a very rational process. After that, you should use your own "feeling". No dukuns and incenses involved First of all, about the making process and materials used. One of the important processes in keris making is "mewasuh besi". wasuh=basuh=cuci=to wash/clean. This is the first step in forging pusaka. We all know, the ancient iron produced by smelting, and had a lot of impurities inside. The empu drove off the impurities by layering the iron (heating the bar, elongated it, fold it back, welding it, repeating the process for many times). Remember though, this process done before the iron mixed with the pamor. Basically, the empu was making a very pure iron. It takes a lot of effort and a good materials, and seem to be skipped if the empu just made an ageman keris. Empu Djeno said, it takes 12-14kg iron just to make a single keris, not to mentions the steel and pamor materials, if he followed the process used by Empu Pangeran Sedayu / Supo Mandrangi, the famous empu of Majapahit. The characteristics of clean iron, amongs others, are: withstand the high/welding temperature and giving little sparks in this bright-yellow temperature, resilient, and withstand the corrosion. Having the pure iron is very important, not only technically (that is, giving resilient and corrosion-resistant characteristics to the blade, as a weapon) but also esoterically (empu Jeno said, his prayer would be more easily "answered" and "get into" the blade if he works on this iron), and philosophically (which we may discuss later). On the finished blades, there are 3 classes/categories of this "clean" irons : Nyabak = look like sabak=batu tulis=slate, that is, smooth, clean and dense iron. This would be the minimal iron's quality for pusaka keris; Nyerat=serat=fibrous iron, better quality blades ; gulali = look like gula-gula/candy/melting sugar, the best quality iron/blades. Identifying this "clean iron" would be the most important point in assessing pusaka. Just remember then, the assessor must be able to discriminate the smooth-clean characteristic caused by polishing or by the iron itself. After passing the "Iron exam", then we should examining how the pamor integrated to the iron. I believe, in better quality keris, the pamor material would also be "washed", just like the iron. The earthly iron symbolize the human, in this case, the owner of keris. Pamor then symbolize the heavenly fate, no matter where it came from (celestial or terrestial). Before "catching" and "unite" with the heavenly fate, the human-being should be "clean" spiritually. That why the "clean iron" is important philosophically. Pamor, in other case, should be integrated "properly" to the iron, according to the empu's intention. Many times, the empu fail to do it properly, just like Monet painting his water lotus series. While he painted over 200 paintings, only a few of them, he himself thought, as "properly" showing his intention. Other exam would be the "garap", that is, how the ricikan (details) were made, and "guwaya", the overall looking of the keris. This exam involve your "feeling". Pusaka keris should have "personality". Haryono Guritno classified keris in 10 grades. the best would be "mahanani", came from "ana"=being, that is, a keris which is when unsheathed, the "aura" or "character" would be easily felt by any attendants in the room. Just like a good painting changing the "aura" of the room. Once again, need no dukun or incense here. Just your feeling. Wish may help. Handling a pusaka by ourselves might means thousands words Good hunting !