My Java keris

Johan van Zyl · 5th October 2016, 10:51 AM

Please see my latest pics, and this one of the ukiran. I have read that the shape of this type of ukiran symbolises a human form, but other sources say it is meant to resemble a god in a squat or stooped position. Discernable with the required imagination is the form's back, the back of the head, the crown, forehead, nose, face and stomach. Could you please comment on this seeming ambiguity?
I have read that this form of the ukiran with its seven planes or flats has the Sarakarta shape, which is around the city of Solo in Central and Eastern Java. Mr Maisey has said that the blade is North Coast, towards the west. If this ukiran is indeed Central Java, does it mean the two have come from different parts of the island?
Could you perhaps identify the type of wood of this ukiran for me? And a last question: how is it that the patra (cecekan) resembles a kala face?
As you can see, I have done some homework, so as not to put you to too much trouble, but I realise a little bit of quick knowledge can be dangerous. Your comments are very valuable to me! So please tell me what you think.
Johan

Jean · 5th October 2016, 03:53 PM

Quote:

Originally Posted by Johan van Zyl

I have read that this form of the ukiran with its seven planes or flats has the Sarakarta shape, which is around the city of Solo in Central and Eastern Java.
Could you perhaps identify the type of wood of this ukiran for me?

Hello Johan,
Surkarta is the former name from Solo, it is still used for kris matters especially.
From the pics, the stained wood of the hilt seems to be timoho pelet.
Regards

Sajen · 5th October 2016, 06:26 PM

Hello Johan,

I have rotated two of your pictures for a better view.

Like Alan I think that your keris coming from the North Coast, also the cross piece of the scabbard let me think like this, nice keris! Nice and not often seen wrongko.

Regards,
Detlef

A. G. Maisey · 5th October 2016, 11:01 PM

Good questions Johan.

To clarify a point:-

In 1745 the House of Mataram relocated from Kartasura to Surakarta. This became necessary because the throne of Kartasura had been contaminated by civil rebellion, so the ruler of Kartasura sent out his representatives to find a new location for the Karaton (the place of the Ratu --- ruler --- ke-ratu-an = karaton =kraton) a suitable place was located in the valley of the Bengawan (Solo River), the name of the place was Solo.

When the Karaton relocated it was given the name of Surakarta Hadiningrat.

Karaton Surakarta Hadiningrat is the name of the walled city that is the dwelling place and seat of the principal branch of the House of Mataram. By extension, all the area that was formerly under the control of the ruler is known as Surakarta, but within this area there are various towns and villages, the major city is Solo, the old name of this area prior to 1745.

The city of Solo contains the Karaton of Surakarta, and shares its name. The popular abbreviation for Surakarta is SKA. and this abbreviation can be seen on public buses and in other usages.

Surakarta is more formal, Solo is more colloquial.

The first thing that must be understood about Javanese symbolism is that it is multi symbolism:- there is no one correct answer. The same symbol can and does have many interpretations according to the circumstances and situation.

The most usual, and the easiest to understand, of the interpretations of the faceted Javanese hilt is that it came into being in response to the Islamic prohibition on representing living things as physical objects. In Hindu Jawa, keris hilts were mostly figural and were associated with both the ancestors and with various deities. The multi-faceted hilt was an old Javanese form, and this was enhanced with carvings that were sufficiently abstracted to be acceptable to Islamic norms. These carvings are believed to be the vestigial remnants of the old figures which were previously used as hilts.

In Javanese thought the actual figure of the deity/ancestor does not need to be present, the only thing that needs to be present is the belief that the ancestor is constantly with one, thus the patra can be interpreted as "memory hooks" to constantly remind one of the presence of the deity/ancestor. This is a classical interpretation, and I have no doubt at all that very few present day Javanese people are even aware of this.

Johan, you have asked about the "Kala face". I am aware that this term "Kala" is thrown around fairly freely, but in fact Kala is Yama, the judge of the dead; "kala" is also the abstract idea of "time". The deity Bhoma, who is actually a deity of growth and nature is sometimes called "Kala", but in fact the two are opposites that take quite a bit of philosophical thought to reconcile.

The patra can more readily be understood as a generic interpretation as I have outlined above. It is unlikely that Bhoma alone was fixed upon as the model for the distillation that is the patra. Bhoma in an iconographic sense can be interpreted as a protective element. However, if we do wish to include Bhoma/Kala as an element represented in the patra, this can be understood as the inclusion of an additional protective element, as well as, not instead of, the ancestors.

Mankind is surrounded by an unseen world that is full of dark forces and evil, and it is impossible to have too much protection against this evil.

The wood used in the hilt looks like it might be timoho. I massaged the image of the hilt a bit to more clearly see it, I hope you don't mind.

In respect of the possible mix of the component parts of this keris. The mix of keris components is not at all unusual, in fact, if we consider the entire world population of keris, it is probably the norm,. Generally speaking, serious collectors prefer that all the component parts of a keris share a single origin, but at the present time many keris do exist which have genuine societally correct matings of blades from one place, scabbards from another place, hilts from somewhere else. There are many legitimate --- as well as illegitimate --- reasons for this.

As an example only:- if a Madurese man served as a mercenary for a Central Javanese lord, he would need to change at least the hilt of his keris to a form acceptable to his employer; if the scabbard for the keris was too far different to a Central Javanese form, he would change that as well.

Another factor that might explain the presence of a Central Javanese hilt form on a keris from a different area is that for some time now this planar form has become almost ubiquitous, just as the Surakarta form of dress has become almost the national standard.

The overall form of the Surakarta hilt is supposed to express the posture of a man in the presence of his lord, thus the slightly bowed "head" of the hilt, and the human terminology.

Jean · 6th October 2016, 08:39 AM

Excellent explanation Alan, thanks!

Johan van Zyl · 6th October 2016, 10:11 AM

I was very pleased to have read all your comments, and thank you. Especially Mr Maisey has gone out of his way to give some serious thought, but I appreciate every reaction, even small. Amongst others, I have now as a result researched timoho wood and have noticed the opinions on the dark spots being caused by fungal growth.
I have a further question on the wrangka of my keris. In comparing many pics of the basic shape called ladrang, of which mine is an example, I came under the impression of the outlines of the keel, bow and stern of a boat. I suppose the boat design is simply reminiscent of the Indonesian countries having seafaring people living in them.
I was wondering why the upturned ends of my wrangka does not rise so tall as those I have seen the pics of. There is no indication whatsoever that my wrangka had lost its high point due to breakage. Everything looks fine. Perhaps the very high swirling bow and stern are more modern? Another question: both the ladrang and gayaman shapes seem to be Javanese, but what position would these two different shapes enjoy in their everyday use? Are they both held in the same esteem? And a last question today, if you will be so kind: the wood my wrangka was made of does not seem to be timoho. Some comment on what you reckon it might be? Perhaps kemuning or trembalo?
Johan

David · 6th October 2016, 04:48 PM

Johan, in response to some of your questions regarding your sheath, ladrang sheaths are for formal occasions (weddings, court, etc.) while gayaman sheaths are for everyday use. I am not sure if one is necessarily held in higher esteem, it is simply a matter of application.
As Detlef has already remarked, your sheath (wrongko) is of a lesser seen variety, so no, it has not been re-worked from a normal ladrang sheath.

5th October 2016, 10:51 AM	#1
Johan van Zyl Member Join Date: Sep 2016 Location: I live in Gordon's Bay, a village in the Western Cape Province in South Africa. Posts: 126	Please see my latest pics, and this one of the ukiran. I have read that the shape of this type of ukiran symbolises a human form, but other sources say it is meant to resemble a god in a squat or stooped position. Discernable with the required imagination is the form's back, the back of the head, the crown, forehead, nose, face and stomach. Could you please comment on this seeming ambiguity? I have read that this form of the ukiran with its seven planes or flats has the Sarakarta shape, which is around the city of Solo in Central and Eastern Java. Mr Maisey has said that the blade is North Coast, towards the west. If this ukiran is indeed Central Java, does it mean the two have come from different parts of the island? Could you perhaps identify the type of wood of this ukiran for me? And a last question: how is it that the patra (cecekan) resembles a kala face? As you can see, I have done some homework, so as not to put you to too much trouble, but I realise a little bit of quick knowledge can be dangerous. Your comments are very valuable to me! So please tell me what you think. Johan Attached Images

5th October 2016, 06:26 PM	#3
Sajen Member Join Date: Aug 2007 Location: Germany, Dortmund Posts: 9,213	Hello Johan, I have rotated two of your pictures for a better view. Like Alan I think that your keris coming from the North Coast, also the cross piece of the scabbard let me think like this, nice keris! Nice and not often seen wrongko. Regards, Detlef Attached Images

5th October 2016, 11:01 PM	#4
A. G. Maisey Member Join Date: May 2006 Posts: 7,015	Good questions Johan. To clarify a point:- In 1745 the House of Mataram relocated from Kartasura to Surakarta. This became necessary because the throne of Kartasura had been contaminated by civil rebellion, so the ruler of Kartasura sent out his representatives to find a new location for the Karaton (the place of the Ratu --- ruler --- ke-ratu-an = karaton =kraton) a suitable place was located in the valley of the Bengawan (Solo River), the name of the place was Solo. When the Karaton relocated it was given the name of Surakarta Hadiningrat. Karaton Surakarta Hadiningrat is the name of the walled city that is the dwelling place and seat of the principal branch of the House of Mataram. By extension, all the area that was formerly under the control of the ruler is known as Surakarta, but within this area there are various towns and villages, the major city is Solo, the old name of this area prior to 1745. The city of Solo contains the Karaton of Surakarta, and shares its name. The popular abbreviation for Surakarta is SKA. and this abbreviation can be seen on public buses and in other usages. Surakarta is more formal, Solo is more colloquial. The first thing that must be understood about Javanese symbolism is that it is multi symbolism:- there is no one correct answer. The same symbol can and does have many interpretations according to the circumstances and situation. The most usual, and the easiest to understand, of the interpretations of the faceted Javanese hilt is that it came into being in response to the Islamic prohibition on representing living things as physical objects. In Hindu Jawa, keris hilts were mostly figural and were associated with both the ancestors and with various deities. The multi-faceted hilt was an old Javanese form, and this was enhanced with carvings that were sufficiently abstracted to be acceptable to Islamic norms. These carvings are believed to be the vestigial remnants of the old figures which were previously used as hilts. In Javanese thought the actual figure of the deity/ancestor does not need to be present, the only thing that needs to be present is the belief that the ancestor is constantly with one, thus the patra can be interpreted as "memory hooks" to constantly remind one of the presence of the deity/ancestor. This is a classical interpretation, and I have no doubt at all that very few present day Javanese people are even aware of this. Johan, you have asked about the "Kala face". I am aware that this term "Kala" is thrown around fairly freely, but in fact Kala is Yama, the judge of the dead; "kala" is also the abstract idea of "time". The deity Bhoma, who is actually a deity of growth and nature is sometimes called "Kala", but in fact the two are opposites that take quite a bit of philosophical thought to reconcile. The patra can more readily be understood as a generic interpretation as I have outlined above. It is unlikely that Bhoma alone was fixed upon as the model for the distillation that is the patra. Bhoma in an iconographic sense can be interpreted as a protective element. However, if we do wish to include Bhoma/Kala as an element represented in the patra, this can be understood as the inclusion of an additional protective element, as well as, not instead of, the ancestors. Mankind is surrounded by an unseen world that is full of dark forces and evil, and it is impossible to have too much protection against this evil. The wood used in the hilt looks like it might be timoho. I massaged the image of the hilt a bit to more clearly see it, I hope you don't mind. In respect of the possible mix of the component parts of this keris. The mix of keris components is not at all unusual, in fact, if we consider the entire world population of keris, it is probably the norm,. Generally speaking, serious collectors prefer that all the component parts of a keris share a single origin, but at the present time many keris do exist which have genuine societally correct matings of blades from one place, scabbards from another place, hilts from somewhere else. There are many legitimate --- as well as illegitimate --- reasons for this. As an example only:- if a Madurese man served as a mercenary for a Central Javanese lord, he would need to change at least the hilt of his keris to a form acceptable to his employer; if the scabbard for the keris was too far different to a Central Javanese form, he would change that as well. Another factor that might explain the presence of a Central Javanese hilt form on a keris from a different area is that for some time now this planar form has become almost ubiquitous, just as the Surakarta form of dress has become almost the national standard. The overall form of the Surakarta hilt is supposed to express the posture of a man in the presence of his lord, thus the slightly bowed "head" of the hilt, and the human terminology. Attached Images

6th October 2016, 08:39 AM	#5
Jean Member Join Date: Jun 2009 Posts: 1,740	Excellent explanation Alan, thanks!

6th October 2016, 10:11 AM	#6
Johan van Zyl Member Join Date: Sep 2016 Location: I live in Gordon's Bay, a village in the Western Cape Province in South Africa. Posts: 126	I was very pleased to have read all your comments, and thank you. Especially Mr Maisey has gone out of his way to give some serious thought, but I appreciate every reaction, even small. Amongst others, I have now as a result researched timoho wood and have noticed the opinions on the dark spots being caused by fungal growth. I have a further question on the wrangka of my keris. In comparing many pics of the basic shape called ladrang, of which mine is an example, I came under the impression of the outlines of the keel, bow and stern of a boat. I suppose the boat design is simply reminiscent of the Indonesian countries having seafaring people living in them. I was wondering why the upturned ends of my wrangka does not rise so tall as those I have seen the pics of. There is no indication whatsoever that my wrangka had lost its high point due to breakage. Everything looks fine. Perhaps the very high swirling bow and stern are more modern? Another question: both the ladrang and gayaman shapes seem to be Javanese, but what position would these two different shapes enjoy in their everyday use? Are they both held in the same esteem? And a last question today, if you will be so kind: the wood my wrangka was made of does not seem to be timoho. Some comment on what you reckon it might be? Perhaps kemuning or trembalo? Johan

6th October 2016, 04:48 PM	#7
David Keris forum moderator Join Date: Aug 2006 Location: Nova Scotia Posts: 7,218	Johan, in response to some of your questions regarding your sheath, ladrang sheaths are for formal occasions (weddings, court, etc.) while gayaman sheaths are for everyday use. I am not sure if one is necessarily held in higher esteem, it is simply a matter of application. As Detlef has already remarked, your sheath (wrongko) is of a lesser seen variety, so no, it has not been re-worked from a normal ladrang sheath.