Bali Keris

nechesh · 10th September 2005, 05:30 PM

I totally agree with you Kai Wee. The ricikan seen quite unique here. Not only the impressions around the more common sogokan, but the way the sogokan seem to start up again further up the blade. This appears to be a very special keris.

Naga Sasra · 10th September 2005, 11:49 PM

Mickey, I sent you a pm last night regarding this piece, but received no answer back.

However, it would properly benefit all the Keris lovers in the forum to repeat my question’s in public.

For a long time I have been under the impression that the art of traditional Balinese restoration, polish and staining was a lost art, in fact I know of Balinese dealers that send their blades to Solo for staining, so my question’s is as follows:

You mention your blade took a round trip to Bali, is this blade restored, polished and stained in Bali to your knowledge?

It is hard to see in the photos, but is the blade polished in the traditional manner?

Do you believe the color of the stain would match that of the blade as it left the maker?

If it is all done the traditional way, would you mind sharing your source with the fellow forum members either via pm or in the forum?

I just love the artistic features of the blade, and look forward to your answers.

BluErf · 11th September 2005, 04:00 AM

Just to share, the older Balinese pieces which have not been re-etched has a lower contrast, and a more 'steely' looking white portions, probably due to polishing or perhaps just because they are older and have lost a bit of the sharpness in contrast. Sometimes, the 'black' looks almost bluish in these older pieces. The recently washed pieces I've seen have this 'matt white and jet black' look. Not sure if the method is more Javanese than Balinese?

Battara · 11th September 2005, 06:38 AM

Bluerf is right. I have noticed that on my Balinese keris. It is older and the nickel is silvery while the rest is a darker bluish-grey color.

Mick · 12th September 2005, 01:44 AM

Gentlemen

I do not consider myself an expert in regard to the keris and I do not mean to start an argument amongst the members of the Forum, but we have had discussions in the past about the colorations of the keris after treatment with warangan. It was noted that a possible cause for different colors was impurities in the warangan. I suggest that the differences are possibly due to at least two reasons. One being the characteristics of the “iron” that the keris is made from and the other impurities in the warangan. Other factors are possibly the temperature of the warangan solution during the process and the length of time that the solution was left on the blade. (Leaving the blade in the solution too long will even turn the nickel bearing material black which is in itself a specific form of a Javanese finish.)

I have a dozen or so Balinese kerises. All of them except for the one shown in this thread were patinated in Bali while I was present on the island. The oldest of these (I make this assumption because the pamor is adeg which is laid out in luks and the piece has been washed and polished so many times that the luks themselves are practically nonexistent) shows the dark gray base that Battara mentions in his post. Others have colors that range from dark black through the almost gun blue finish that BluErf mentions. In fact some of them range from black, dark blue, brown and up to and including a golden color in the base material of the same piece. (That is the material other than the nickel bearing material.)

I cannot say that the patinating of this blade was done in Bali. I can only say what I requested that the individual to whom I sent the blade was to do with it. I do know that he passed the blade down to Bali in order to have the scabbard made and he even had a different grip and mendak made and installed before he sent the ensemble back to me.

Due to these variations in the final colors of Balinese kerises that I know of as facts, I am extremely reluctant to get into a contest regarding the judging of the proper color for the patination of a Balinese keris.

Boedhi Adhitya · 14th September 2005, 07:32 AM

Congratulations, Mick. You have a really fine Bali keris. It certainly portrayed Balinese smith's mastery. About the etching, well, it is properly etch. But, judging from a very limited pictures, IMHO, it hasn't reach it's best appearance, though

I wish I'm wrong.

A Balinese keris devotee (who indeed a Balinese and stay in Denpasar, Bali) told me, today average traditional Balinese would only "sangling" (polishing) their blade and leave it in metalic-white condition. Etching (marangi = to etch with warangan), considered as "re-introduced" by Javanese. I know some Surabaya/East Java peoples who opened the shop/workshop in Klungkung, and also etch and repair the blades. I do not know the Bali's court practices on keris maintenance today or in the past, though. But I have some experience on keris' etching here, in Jogjakarta.

Basically, there are 2 methods on applying warangan to the blade. The most common is immersing the blade in warangan solution, used to be practised by "profesional etcher". The second is brushing the solution onto the blade, exclusively done in Jogjakarta court. The result is considerably different.

Before etched, the blade must be cleaned from oil, rust and old etch. Traditionally, it is done by brushing the lime juice for many times, using "bubat", a traditional brush made of horse tail. Today, we may use toothbrush instead. This process called "methak" (=pethak=putih=white, to make the blade white clean), and best being done in early morning or a night before, since the sun's heat will dry the juice easily. No polishing in Jogjakarta's court tradition. Villagers may polish their blade with pulverized adobe brick. Bad "profesional etcher" would use HCl or H2SO4, which may ruin the blade. Heavily corroded blade should be immersed in ripe-coconut water, at least for a day and night.

After the blade is stainless-steel white, it is immersed or brushed in/with warangan solution, wait a minute or two, pick the blade and clean the blade with fresh water/soap. The first immersion/brushing would only make the blade slightly gray. This proces repeated for several times, until the black and white contrast appeared as the etcher think as "proper". It is VERY important to clean all traces of warangan solution, since the lime juice acidity would cause rust. Unproperly cleaned blade would show some yellowish to brown spot or has a greeny appearance, called "ngadal ijo" (=looks like green lizard). A pale black or gray with not-so-contrast pamor (caused by etching, not material used to make the blade) called "welu" (=looks like someone who just wake up from his bed). Ngadal ijo and welu might also caused by rotten/ruined/too aged warangan solution or unproper "methak" process. Some, though, caused by the iron and pamor material used, that would show a low grade blade. This blade usually made of porous iron/pamor material. Please be carefull not to mix keris blade with copper alloy/brass inlay with other plain keris. Brass/copper alloy will be dissolved to the warangan and then tainted other blade with ugly, copper-red patches. It may also ruin the warangan. Gold inlay would be OK

Properly etched blade colour in traditional Jogjakarta fashion should show some gradation/nuance/hue, from smooth bluish black on iron, black on steel, and deep gray to stainless steel white on pamor. Not a nearly pure "black-and-white" finish. It adds a lot on "living" appearrance of the blade, called "guwaya". Immersion method though, would show less hue. Just remember, the material quality used to make the blade would also play an important role here. Remember also, the etch would change it's color from time to time. For the first week, it may getting darker. Then when it "settle-down", it will keep it's color for years, approx. 4-6 years. Best one could keep it's color for 8-12 years. After that, it may discolor and became grayish. But the hue still maintained

Warangan is a Javanese traditional name for arsenic mineral, probably realgar. The best natural warangan is imported from China, which today may cost approx. 2 million rupiahs for 100g (approx. 200$). "Warangan apotik" (apotik=drugstore) is As2O3, a highly toxic material that could be use as substitute. One and a half teaspoon of warangan powder would enough for a glassful of lime juice, approx 200ml (just don't drink it ! Mr. Munir, may he rest in peace, an Indonesian Human right activist, had showed us the bad effect. His assasination cause the arsenic's price rocketed

). This solution may enough to etch 10-20 kerises in brushing technique, depend mostly on the etcher "habit" (a glass of warangan solution wouldn't enough for immersion technique). The lime juice also play important part. It is "Java lime" which is used, and the skin should be pelled of priorly.

Warangan solution should be prepared at least a day before in brushing technique. Immersion use an aged solution, so the solution should be prepared at least three days before, a week would be better. Brushing technique use mainly fresh or not-to-old solution mixed with a little aged solution. The brushing should be done under shaded sunlight, best around 10.00-12.00 under bright-sunny day. Contrary, immersion method use mainly a bucket-full of aged solution, and could be done day and night. The fresh warangan solution would look milky white if arsenic is used, or slightly pale red if realgar is used. Aged warangan look brownish to black, the older the darker and sometimes thicken slightly. Old rusty nails could be added to fresh ones to make the aging process quicken. Keep the solution away from oil, soap and copper alloy. And children, indeed

I personally etch my kerises in brushing technique with arsenic solution. Every etcher would have their own "understanding" on the process and thus may have a slightly different "favourite" technique. But it is the result, not the process, that would be appreciated (as long as no "destructive" technique used, of course). Wish I give some information here, especially for those DIY fans

Best regards,

Boedhi Adhitya

Mick · 14th September 2005, 03:08 PM

Thank you Boedhi Adhitya. Your input to this Forum (across the board) is just what the members of this Forum are seeking. I have been placing objects up for years attempting to get people to provide real information on the topic of the Keris in the hope of getting the type of dialog that you are providing written into the pages of the Forum. We have often gotten some informants started in this direction, but have bogged down when ego problems entered into the discussions. I have to commend you for avoiding this morass so far and hope that you continue.

I wish to add my compliments to those of the other members who have thanked you for providing excellent material to the Forum from someone who actually lives within the culture which contains this icon.

10th September 2005, 05:30 PM	#1
nechesh Member Join Date: Dec 2004 Location: Cincinnati, OH Posts: 940	I totally agree with you Kai Wee. The ricikan seen quite unique here. Not only the impressions around the more common sogokan, but the way the sogokan seem to start up again further up the blade. This appears to be a very special keris.

10th September 2005, 11:49 PM	#2
Naga Sasra Member Join Date: Dec 2004 Location: Boca Raton, Florida, USA Posts: 108	Mickey, I sent you a pm last night regarding this piece, but received no answer back. However, it would properly benefit all the Keris lovers in the forum to repeat my question’s in public. For a long time I have been under the impression that the art of traditional Balinese restoration, polish and staining was a lost art, in fact I know of Balinese dealers that send their blades to Solo for staining, so my question’s is as follows: You mention your blade took a round trip to Bali, is this blade restored, polished and stained in Bali to your knowledge? It is hard to see in the photos, but is the blade polished in the traditional manner? Do you believe the color of the stain would match that of the blade as it left the maker? If it is all done the traditional way, would you mind sharing your source with the fellow forum members either via pm or in the forum? I just love the artistic features of the blade, and look forward to your answers.

11th September 2005, 04:00 AM	#3
BluErf Member Join Date: Dec 2004 Location: Singapore Posts: 1,180	Just to share, the older Balinese pieces which have not been re-etched has a lower contrast, and a more 'steely' looking white portions, probably due to polishing or perhaps just because they are older and have lost a bit of the sharpness in contrast. Sometimes, the 'black' looks almost bluish in these older pieces. The recently washed pieces I've seen have this 'matt white and jet black' look. Not sure if the method is more Javanese than Balinese?

11th September 2005, 06:38 AM	#4
Battara EAAF Staff Join Date: Dec 2004 Location: Louisville, KY Posts: 7,280	Bluerf is right. I have noticed that on my Balinese keris. It is older and the nickel is silvery while the rest is a darker bluish-grey color.

12th September 2005, 01:44 AM	#5
Mick Member Join Date: Dec 2004 Location: Orlando Posts: 104	Gentlemen I do not consider myself an expert in regard to the keris and I do not mean to start an argument amongst the members of the Forum, but we have had discussions in the past about the colorations of the keris after treatment with warangan. It was noted that a possible cause for different colors was impurities in the warangan. I suggest that the differences are possibly due to at least two reasons. One being the characteristics of the “iron” that the keris is made from and the other impurities in the warangan. Other factors are possibly the temperature of the warangan solution during the process and the length of time that the solution was left on the blade. (Leaving the blade in the solution too long will even turn the nickel bearing material black which is in itself a specific form of a Javanese finish.) I have a dozen or so Balinese kerises. All of them except for the one shown in this thread were patinated in Bali while I was present on the island. The oldest of these (I make this assumption because the pamor is adeg which is laid out in luks and the piece has been washed and polished so many times that the luks themselves are practically nonexistent) shows the dark gray base that Battara mentions in his post. Others have colors that range from dark black through the almost gun blue finish that BluErf mentions. In fact some of them range from black, dark blue, brown and up to and including a golden color in the base material of the same piece. (That is the material other than the nickel bearing material.) I cannot say that the patinating of this blade was done in Bali. I can only say what I requested that the individual to whom I sent the blade was to do with it. I do know that he passed the blade down to Bali in order to have the scabbard made and he even had a different grip and mendak made and installed before he sent the ensemble back to me. Due to these variations in the final colors of Balinese kerises that I know of as facts, I am extremely reluctant to get into a contest regarding the judging of the proper color for the patination of a Balinese keris.

14th September 2005, 07:32 AM	#6
Boedhi Adhitya Member Join Date: Apr 2005 Posts: 103	Congratulations, Mick. You have a really fine Bali keris. It certainly portrayed Balinese smith's mastery. About the etching, well, it is properly etch. But, judging from a very limited pictures, IMHO, it hasn't reach it's best appearance, though I wish I'm wrong. A Balinese keris devotee (who indeed a Balinese and stay in Denpasar, Bali) told me, today average traditional Balinese would only "sangling" (polishing) their blade and leave it in metalic-white condition. Etching (marangi = to etch with warangan), considered as "re-introduced" by Javanese. I know some Surabaya/East Java peoples who opened the shop/workshop in Klungkung, and also etch and repair the blades. I do not know the Bali's court practices on keris maintenance today or in the past, though. But I have some experience on keris' etching here, in Jogjakarta. Basically, there are 2 methods on applying warangan to the blade. The most common is immersing the blade in warangan solution, used to be practised by "profesional etcher". The second is brushing the solution onto the blade, exclusively done in Jogjakarta court. The result is considerably different. Before etched, the blade must be cleaned from oil, rust and old etch. Traditionally, it is done by brushing the lime juice for many times, using "bubat", a traditional brush made of horse tail. Today, we may use toothbrush instead. This process called "methak" (=pethak=putih=white, to make the blade white clean), and best being done in early morning or a night before, since the sun's heat will dry the juice easily. No polishing in Jogjakarta's court tradition. Villagers may polish their blade with pulverized adobe brick. Bad "profesional etcher" would use HCl or H2SO4, which may ruin the blade. Heavily corroded blade should be immersed in ripe-coconut water, at least for a day and night. After the blade is stainless-steel white, it is immersed or brushed in/with warangan solution, wait a minute or two, pick the blade and clean the blade with fresh water/soap. The first immersion/brushing would only make the blade slightly gray. This proces repeated for several times, until the black and white contrast appeared as the etcher think as "proper". It is VERY important to clean all traces of warangan solution, since the lime juice acidity would cause rust. Unproperly cleaned blade would show some yellowish to brown spot or has a greeny appearance, called "ngadal ijo" (=looks like green lizard). A pale black or gray with not-so-contrast pamor (caused by etching, not material used to make the blade) called "welu" (=looks like someone who just wake up from his bed). Ngadal ijo and welu might also caused by rotten/ruined/too aged warangan solution or unproper "methak" process. Some, though, caused by the iron and pamor material used, that would show a low grade blade. This blade usually made of porous iron/pamor material. Please be carefull not to mix keris blade with copper alloy/brass inlay with other plain keris. Brass/copper alloy will be dissolved to the warangan and then tainted other blade with ugly, copper-red patches. It may also ruin the warangan. Gold inlay would be OK Properly etched blade colour in traditional Jogjakarta fashion should show some gradation/nuance/hue, from smooth bluish black on iron, black on steel, and deep gray to stainless steel white on pamor. Not a nearly pure "black-and-white" finish. It adds a lot on "living" appearrance of the blade, called "guwaya". Immersion method though, would show less hue. Just remember, the material quality used to make the blade would also play an important role here. Remember also, the etch would change it's color from time to time. For the first week, it may getting darker. Then when it "settle-down", it will keep it's color for years, approx. 4-6 years. Best one could keep it's color for 8-12 years. After that, it may discolor and became grayish. But the hue still maintained Warangan is a Javanese traditional name for arsenic mineral, probably realgar. The best natural warangan is imported from China, which today may cost approx. 2 million rupiahs for 100g (approx. 200$). "Warangan apotik" (apotik=drugstore) is As2O3, a highly toxic material that could be use as substitute. One and a half teaspoon of warangan powder would enough for a glassful of lime juice, approx 200ml (just don't drink it ! Mr. Munir, may he rest in peace, an Indonesian Human right activist, had showed us the bad effect. His assasination cause the arsenic's price rocketed ). This solution may enough to etch 10-20 kerises in brushing technique, depend mostly on the etcher "habit" (a glass of warangan solution wouldn't enough for immersion technique). The lime juice also play important part. It is "Java lime" which is used, and the skin should be pelled of priorly. Warangan solution should be prepared at least a day before in brushing technique. Immersion use an aged solution, so the solution should be prepared at least three days before, a week would be better. Brushing technique use mainly fresh or not-to-old solution mixed with a little aged solution. The brushing should be done under shaded sunlight, best around 10.00-12.00 under bright-sunny day. Contrary, immersion method use mainly a bucket-full of aged solution, and could be done day and night. The fresh warangan solution would look milky white if arsenic is used, or slightly pale red if realgar is used. Aged warangan look brownish to black, the older the darker and sometimes thicken slightly. Old rusty nails could be added to fresh ones to make the aging process quicken. Keep the solution away from oil, soap and copper alloy. And children, indeed I personally etch my kerises in brushing technique with arsenic solution. Every etcher would have their own "understanding" on the process and thus may have a slightly different "favourite" technique. But it is the result, not the process, that would be appreciated (as long as no "destructive" technique used, of course). Wish I give some information here, especially for those DIY fans Best regards, Boedhi Adhitya

14th September 2005, 03:08 PM	#7
Mick Member Join Date: Dec 2004 Location: Orlando Posts: 104	Thank you Boedhi Adhitya. Your input to this Forum (across the board) is just what the members of this Forum are seeking. I have been placing objects up for years attempting to get people to provide real information on the topic of the Keris in the hope of getting the type of dialog that you are providing written into the pages of the Forum. We have often gotten some informants started in this direction, but have bogged down when ego problems entered into the discussions. I have to commend you for avoiding this morass so far and hope that you continue. I wish to add my compliments to those of the other members who have thanked you for providing excellent material to the Forum from someone who actually lives within the culture which contains this icon.