3 Brothers

[BluErf]

These 3 hilts were brought here by a runner. Interestingly, all 3 are different forms from the North Coast of Java. 2 of them have forms linked to the Jawa Demam form seen in Sumatra and the Peninsula. The interesting one is the rashaksa-type hilt with the Jawa Demam posture of one arm wrapped across the other, holding onto a piece of fabric/cover(?)

[BluErf]

The rashaksa-type with Jawa Demam posture

[BluErf]

Rashaksa-type with arms crossed over the chest and covered in 'c' motifs. I thought there is a variant of this from Palembang too, but I cannot recall where I saw it, and what the differences are.

[BluErf]

The Jawa Demam type, most abstract amongst the 3, and the closest to the Malay/Sumatran Jawa Demam.

[BluErf]

Also, some people think the rashaksa type hilt, esp like hilts 1 and 2, could be depicting Garuda, because of the prominent nose/beak. And Garuda was described in some old texts as a man with bird-like features. I thought there could be such a possibility. If carvers want to depict a divine figure, why not a major deity, instead of a generic rashaksa/giant?

[BluErf]

More suspected Garuda hilts

[BluErf]

Deer horn Garuda(?)

[BluErf]

Old ivory one.

[David]

Nice hilts Kai Wee. I am not prepared to argue either way if this figure is meant to be garuda or not, but i do feel fairly certain that this example of mine is meant to be the very same character as the last few you have shown yet the nose is not nearly as prominent as to be described as a beak.
They also lack what seems to be included in most depictions of garuda that i have seen, some kind of wings, either obvious or stylized.

[BluErf]

Which is where these pictures of statues in Jkt's National Museum comes in handy...

[BluErf]

2 more.

[tunggulametung]

This always an interesting subject, but I think not as simple.
Other than Garuda, Bhima or Yaksha, Gandharva and Vanaspati seems to be other figure worth to mention (the last two are quite popular in Javanese tale). When relate further north (Sumatra/Peninsula Malaysia), as well as Bugis hilt, I sometime thought they depict Islam influence (salah/sholat position like ruku etc) as Islam seems to spread quite early in these areas. Probably also Western/handgun influence although I'm not sure how early it was seen by people in Nusantara.

[Jean]

Originally Posted by BluErf

Rashaksa-type with arms crossed over the chest and covered in 'c' motifs. I thought there is a variant of this from Palembang too, but I cannot recall where I saw it, and what the differences are.

Hello BluErf,
According to my references, this type of hilt is said to originate from South Sumatra and not North Java (of course I can't guarantee that this is correct), you can find a similar specimen on page 112 of my hilt book.
Best regards
Jean

[Sajen]

Hello Kai Wee,

all hilts are very nice and good photographed. The last one from post #1 is clearly from Cirebon/north coast Java (look attached picture).
By the second one I am with you, I've heard that this type of hilt is found in Cirebon and Palembang too but I am not able to differentiate them. I have four hilts of this type in my own collection. And I am with you also that the "c" carving is normally a sign for Cirebon. If you want I can take pictures of my hilts for comparison.
The first hilt is the most interesting one. It have features of the Cirebon rashaksa hilts and also of the jawa demon hilts so it may a connector between both types.
I am also like David not prepared to argue either way if this figure is meant to be garuda or not.

Regards,

Detlef

[David]

Well Kai Wee, i see what very well may be a representation of wings in a few of the statues you posted. Others are not positioned to be able to tell. If these hilts in question showed some kind of stylized wings it would definitely reinforce the notion that they might represent Garuda, but they do not so it is still an open question in my book.

[tunggulametung]

I personally do not believe we can solve this puzzle completely. So much has happened in the archipelago since the birth of keris until this minute, and among the recorded either in tangible or intangible form, many are lost and forgotten.

However, further I think that at least we can contribute our ideas so that we have more options to think about rather than accepting the general conception as is. On this occasion I would like to describe further about the reasons why I recommend to remember Genderuwo and Banaspati.

We all aware that in the archipelago people do syncretism-aculturism in some degree, in this regard characters and stories that come from other countries, eg India sometimes are remembered in local names/dialects so does their character and genealogy may differ from the original. Outside the art of Wayang, many Hindu gods are long forgotten in everyday life.

After the entry of Islam in the archipelago, people change their idol. Gods of the old is replaced with a new one, but some spirit remained even to this day, like Genderuwo, Banaspati and Kala in Java. This apparently because in Islam the similar being are believed (Jin). These characters are already imbued to the local belief so that by mentioning above names for example, you wouldn't any longer directed to certain religion, but merely to folk culture.


If you want to depict Hindu Gods, people can describe it more accurately, I would very much agree with this. In my opinion, in an earlier era this is what mostly possible, the same as those still to be found in Bali, because they did not find any reason to replace it. Beyond Bali, generally, let's say we were in the late 15 C-early 16 C, adherents of Islam, of course we do not want to have our kris hilt depicting Bayu or Shiva. But people has live with keris since their early life, idolize it so much, inherete it from their beloved and respected forefathers, heard a lot of stories about how powerful it is, etc etc so well let's compromise, you can keep the blade but please change the hilt!

The stylized bird like figure such as found in Bugis, Sumatra and peninsular Malaysia style, might be acceptable. Probably something like Garuda into Burung or Ganesh into Gajah. We saw beak like feature in these bird-like creatures-although I generally regard them as nose because mostly we saw mouth-like feature beneath, stylized feather throughout the body. Sure it is much possible. But we shouldn't forget that creatures like what I suggest also told for being hairy in appearance. Although with doubt I personally thought that these style might be once trying to depict a more human like figure in terms of body structure, it's just stylized as far as possible so that what is actually portrayed really can not be recognized anymore, in this case is actually the purpose of the artist or initiatives behind this (Kyai/Ulama/Wali etc) is actually sort of works. In the next generation, this is probably even less understood by the younger who regard it as another character from what once described by a predecessor, or a mistaken understanding (like perhaps what we are doing right now) also has spawned a new form.

When we see far to the north to the border between Malaysia and Thailand, we can see a more human-like figure. This may be caused by contiguity with the Thai culture who still adhered to the belief of the old where sculpture art in a more naturalistic portrayal of figures can still be found today.

For the case of Cirebon and surrounding areas where this thread has been started, I am attaching a snippet from google book: The Islamic traditions of Cirebon: cults and customs Among Javanese Muslims. In this excerpt we can observe that the figures I mentioned above is generally believed by the local community to this day. So it might be reasonable to speculate that one or some of these more generally accepted figures are what once described into what we now understand as Cirebon Giant hilts to replace a more specific Hindu Gods/character.

Thank you.

[BluErf]

Ya, I just remembered why none of the threads end up with anything conclusive. ;p

But comparing hilt 1 and 3, it does make me think about my assumption that the jawa demam was depicting a man with his face down. The 'eyes' at the top could really be eyes after all...

[simon]

Originally Posted by Jean

Hello BluErf,
According to my references, this type of hilt is said to originate from South Sumatra and not North Java (of course I can't guarantee that this is correct), you can find a similar specimen on page 112 of my hilt book.
Best regards
Jean

I see reference to your hilt book. I am a newish hilt collector and hope it is okay to ask for details of your book.....

[tunggulametung]

To enrich our study, I quote below article:
....Drs. Supratikno Rahardjo, M. Hum., UI professor of archeology who is an expert Dvarapala, states, statue of a rod holder that is also known by the name yakshas.....
Full text in bahasa & complete interesting text in the bottom of my post.

And to remind us with good discussion of the past:
link 1
link 2

Highlight on Pak Maisey opinion which I'm agree at this point:
I am of the opinion that the Javanese hilt style that has usually been referred to as the "raksasa" style could more correctly be referred to as the "dvarapala" style.

Moreover not only Java, I think this can be the character we've seen in so many hilts including Pattani, Peninsula Malaysia, Bugis, Sumatra etc. The appearance might change with era and interpretation of the local and artist which differ from one region and another; this might be the answer why we have different styles. Also, we might have different character in this regard, Yaksha and (Yaksha as) Dvarapala.
If Dvarapala or Dharmapala is indeed "evolution" or another name of Yaksha itself in different role (you know how complex they are) then I guess this could really be a good candidate. It is believed that many ancient remain in Java has not been excavated yet, so perhaps in the future if we find the "missing link" statue which share similarities in personality, gesture or mudra we can come into conclusion.

Note: For the case of Central Java, Dvarapala physically seems to be an accepted figure until these 'modern' days even if the meaning and importance might long gone.


Complete text below (credit to google translate):

Rocky dirt road toward the southern slopes of the mountain can actually be crossed by motor vehicles. However, overnight rain made the road slippery and muddy. Forced to proceed on foot. Way more climbing when the destination is approaching. Shortly afterwards, the figure of a stone building looks vague, shrouded in cold fog and trees.

Clearly, the building of the temple. The locals call it Jawarombo Temple, who entered the Village area Mulyoasri, Ampel Gading district, Malang regency, East Java. Building the Hindu-Buddhist relics were discovered in 1983 + population in a state of pent-up soil. The location of the site located at position 8 § 08 '50.9 "South latitude and 112 § 53' 21.05" East Longitude with an altitude above 1,400 m asl.

Dvarapala midget funny nan

This temple stay the shelf (base) square berdenah with size 6 X 6 meters high and 60 cm. On the shelf floor there are four stone base with a hole in the middle to enforce the pole. Perhaps this sacred building using wooden poles with thatched roofs or fibers, since no tile fragments found at the bottom.

Profile of the foot of the temple form a half circle seam and square. The four sides are decorated shelf reliefs depicting lotus (lotus), pilasters, and the cross. On the side of the building was decorated by five lotus, four-cross and 10 pilasters placed criss-cross. Sculptures of human figures depicted on reliefs such as puppets, sculptured style as the temple reliefs the end of Majapahit. This can be seen in buildings on the slopes of Mt Guarantee, in Mojokerto regency, East Java.

Temple Site Jawarombo peak overlooking G. Mahameru aka G. Semeru, the highest mountain in East Java. Temple entrance is on the south by the remnants of a stone arch structure. Ribut Hariyanto, interpreters keep the site shows nowhere near that gate. "This statue was found in a rod holder," he says firmly.

Actually, exhausting climb to the slopes Mahameru only to find out the location of the discovery of a stone statue which holds the mace. Arca had been observed previously in Noise Hariyanto house at the foot of the mountain. Arca findings November 1999 it amounted to two pieces that were a couple. Statue carved in a squatting position with a height of 60 cm.

Supposedly, the image arising from the figure and statue attributes that make people afraid. Head statue wearing a crown with shoulder length hair was twisted backwards. Bulging eyes, open mouth, and ears bersubang. The right hand holds a mace, while a large knife tucked in the waist visible sticking out of the handle. This feature Dvarapala statue, which was made frightening scary.

However, the opposite impression arises after seeing it. Two statues Dvarapala was more like a cute baby is healthy again. Called a baby because of the short round body size. Compare with other Dvarapala statues are generally huge. Gaping mouth which makes the appearance of the statue seemed friendly as well as witty. In short, when looking at his face, a mace and a big knife he assumed was to be more like a toy that is not scary.

Carers sacred building

In any case, Dvarapala is scary figure and looking fierce. Two sharp eyes bulging stare suspiciously at everyone who entered the temple, the holy building. Canine-sharp fangs, typical of a giant, sticking out, it makes people shudder. Moreover, his great height, and some even as high as 3.70 m, such that in Singosari Dvarapala, Malang. Though he was in a squatting position.

Drs. Supratikno Rahardjo, M. Hum., UI professor of archeology who is an expert Dvarapala, states, statue of a rod holder that is also known by the name yakshas. Before the Hindu gods and Buddha emerged in the belief system in India, which is Dvarapala supernatural beings, the Indians revered as the source of life for protecting agriculture. Then after the Pantheon gods appear in the belief system in India, yakshas incorporated into the class one level below the gods.

In the following development, yakshas a companion of the Buddha. He decorated the stupa along with other creatures, such as contained in Bharhut Stupa, India, in the first century AD. While at Sanchi, yakshas as if "protect" and "keep" on top of sacred buildings Torana. Yakshas duty as protector is what later evolved to become Dvarapala.

Dvarapala is being placed at the front door or gate to the temple shrine. He has the power to protect from the attacks of evil forces. Suitable duties, the Dvarapala the keeper of the temple not only portrayed as a hideous creature physical form, but still equipped with various weapons and other attributes. The weapons are assumed to create the impression intentionally scary.

Most Dvarapala is holding a mace. Bat is considered a symbol of destruction, as well as a symbol of strength and power. Also believed, weapons of death serves as a stick of death or punishment. Another attribute is generally a snake or dragon. Two animals were celebrating the life of water (water spirit) that can bring rain. But do not make Dvarapala wrath, as the destroyer of the original character will appear.

Look at the dragon attribute that strapped Dvarapala Plaosan guards in the area of Prambanan, Central Java. The guard was using a rope noose (pasa) in the form of a snake as a weapon to ensnare and capture the enemy, especially the evil creatures. The rope noose in the form of dragon, in iconography of science, called nagapasa.

Another weapon is a machete or knife blade. The weapon symbol of victory over evil creatures. To enhance the dashing and ferocious appearance, the keeper of the temple was still felt the need to equip themselves with brown shoulder, belt, Samur, earrings, necklaces, anklet (binggel), bracelet hand, and a headband to tie curls.

Viewed from the physical form as well as his weapons, it seems clear the destructive nature as a strong feature Dvarapala. However, in conjunction with observance of the function of destructive aspect that should be considered noble. That's because what is considered evil enemies must be destroyed from the outside who are against the teachings of religion. So long as people do not intend evil, guts do not need to sink into the cluster of temples that kept this creepy supernatural creatures.

What parents do not hold cudgel

Rahardjo Supratikno collect data on statues Dvarapala Central Java in the study in 1983, and continued again today. Most are found in the area and Kalasan Prambanan, Yogyakarta, which came from the temples Kalasan, Lara Jonggrang, Granary, Sewu, Asu, Plaosan Lor, Sajiwan, Kalongan. He also compares it with Dvarapala Borobudur which is now in Bangkok, Thailand.

In observations of these statues, Borobudur Dvarapala not considered a high-quality works of art. Sculpture technique is still rough. The weapon is only one, namely the right hand held a dagger. Expression on his face is not scary, even looked "sad" with the mouth that shows expression of calm. Supratikno argues, it might be simple Dvarapala guards nearby Borobudur temple building smaller, but age older than Borobudur temple (expected before the year 770 AD). So instead of Borobudur temple guard, because apparently artists do not need Dvarapala Borobudur. At Borobudur guard function has been replaced by the lions that flank the entrance to the top of the temple.

While Dvarapala Sewu-dvarapala of art shows higher than that of Borobudur. If Dvarapala Borobudur was not wearing a headband and upawita (rope caste), and do not hold a snake and a mace, then Dvarapala Sewu has all the attributes that. Garapannya even more subtle and complicated. Supratikno opinion, Dvarapala Sewu may be made before the year 782 AD

Bernet Kempers in his book Ancient Indonesian Art (1959) had observed a number of sites Dvarapala temples in Central Java and East Java. Four dvarapala found in southern Kalasan, Yogyakarta, measuring 1.90 meters high. Dreads unravel without a headband, right hand holding nagapasa, while the left palm rests on a club down to the ground. Not forgetting a large knife tucked in his waist. Kempers suspect it is the statues guard the entrance Kalasan, but now it is not in place anymore.

Dvarapala located in the vicinity of Temple Singasari in Malang, East Java, according to Kempers, is a giant square guard Singhasari Kingdom (1222-1292). This giant guarding the entrance Palace Singhasari estimated location is not far from Temple Singasari now. Dvarapala Singasari it has a more peaceful character, Kempers said. When in fact the guard expression intended by the artist Java to make it look frightening. His eyebrows arched with bulging eyes. From the curve of his mouth visible fangs, fangs. Left hand leaning on a heavy cudgel decorated with vajra. Snake and skull it bears should make opponents tremble.

Dvarapala from East Java are more varied expression and appearance. Dvarapala statues temple in Blitar Panataran appear to be different. Besides dvarapala squatting, others standing. There is also dvarapala women, even while holding her child. Of course, even though the baby, still looks fierce.

Dvarapala the physical appearance looked grim but calm expression was guided by a philosophy. According Supratikno, dvarapala also plays a role similar to Dharmapala or "protector of dharma," as known in Buddhism in Tibet. As Dharmapala, despite tangible Dvarapala creepy, but his role is not evil. Understanding that apparently inspired the artists of Java to describe these creatures are not too scary. Note the mouth, oral expression is often described as a "smile".

Prime minister

A pair of tiny Dvarapala from the south slope of Mt Semeru only a year ago revealed people. After hundreds of years of maintaining the sanctity G. Semeru and buildings of worship that is on its slopes, now dvarapala was slumped in a cramped space home residents. His job otherwise complete. Evidently, there is no effort to restore its position as the keeper of the temple in G. Semeru.

Unfortunate fate of not just overwrite Dvarapala G. Semeru it. Dvarapala-dvarapala experienced similar fate. Dvarapala down rank. When they used to be guardians of the sacred buildings and Buddha's companion, now Dvarapala many installed in hotels, offices, and even a private mansion. Whatever the name, whether Thotok Kerot in East Java or Reco Gupolo in Prambanan and the surrounding areas. Now, it seems dvarapala has lost meaning.

[Jean]

Originally Posted by simon

I see reference to your hilt book. I am a newish hilt collector and hope it is okay to ask for details of your book.....

I tried to send you a PM but failed...

[tunggulametung]

I found this beautiful hulu picture while browsing for "pipit teleng" and thought that it will be good to add to this thread. Thank you to kerisarchipelago.150m.com for the informative website.

[tunggulametung]

Originally Posted by BluErf

Ya, I just remembered why none of the threads end up with anything conclusive. ;p

But comparing hilt 1 and 3, it does make me think about my assumption that the jawa demam was depicting a man with his face down. The 'eyes' at the top could really be eyes after all...

Now I understand why you thought that jawa deman is depicting a man with his face down.. perhaps that's the case in earlier times, but the "eyes" might been "moved" to the top either intentionally (to transform into other form) or by error I wish we have more samples like above to better understand the evolution.

[BluErf]

Ah, Dave's 'missing link' hilt. But one thing that's not consistent with the modern Jawa Demam is that it's posture is not one arm hugging the other, and though the face is looking downwards, it doesn't have a pointy garuda mungkur at the back of the head...

[Gustav]

Another possibility of a "missing link".

[Gustav]

Here we have another possibility of a "missing link". In van der Hoop's trilingual book "Indonesian ornamental design" from 1949 (which still now is a reference book) on page 99 there is a depiction of a hilt, he writes: Ditto (which means ivory in this case), Middle Java: KBG no. 22900 ( museum of Koninklijk Bataviaasch Genootschap). To my oppinion, this book is for its age very precize with descriptions.

Of course, it's just a 2-dimensional front picture of a Keris hilt. Interesting for me is the symbol on the belly of this figure - Lotus or Amerta (associated with Garuda), on similar place found also on some Bugis hilts?

[Jean]

Originally Posted by Jean

Hello BluErf,
According to my references, this type of hilt is said to originate from South Sumatra and not North Java (of course I can't guarantee that this is correct), you can find a similar specimen on page 112 of my hilt book.
Best regards
Jean

I found a reference of a very similar hilt described in Jensen's Krisdisk (Chapter 9.2, , page 2, figure 148 and Chapter 9.1, page 3, figure 123b). The hilt is and part of a kris dating from the 17th century and in the Dresden Museum collection, and Jensen depicts it as Garuda and attributes it to Palembang/ Lampung area. Sorry I can' post a picture due to copyright.
I attach a picture of my hilt for comparison.
Best regards
Jean

[David]

Originally Posted by Jean

I found a reference of a very similar hilt described in Jensen's Krisdisk (Chapter 9.2, , page 2, figure 148 and Chapter 9.1, page 3, figure 123b). The hilt is and part of a kris dating from the 17th century and in the Dresden Museum collection, and Jensen depicts it as Garuda and attributes it to Palembang/ Lampung area. Sorry I can' post a picture due to copyright.
I attach a picture of my hilt for comparison.
Best regards
Jean

Yes, but what does Jensen base his assumption of this being Garuda on exactly?

[Jean]

Originally Posted by David

Yes, but what does Jensen base his assumption of this being Garuda on exactly?

Hello David,
My point was mainly to confirm that these hilts are probably from South Sumatran origin.
Unfortunately our friend Karsten Sejr Jensen is no longer with us for supporting his opinion that these hilts (which he calls the naturalistic Garuda hilts) represent Garuda but I will summarize what he says about it in chapter 9.1 of his Krisdisk:
Quote: The main part of the hilts from Sumatra represents Garuda.
The early Palembang/ Lampung hilts have some relationship to the Raksasa hilts from Banten or Cirebon. Now the hilts do not represent a Raksasa but a Garuda bird, the mount of the God Vishnu. But its squatting position indicates that he is an ancestor, too. Unquote
He gives 3 interpretations for supporting that these hilts represent Garuda:
1. The Kings of Srivijaya (now Palembang) used to worship the snakes as their ancestors and were known as the Lord of the Nagas/ snakes. The introduction of Garuda (the enemy of the Nagas) may be related to the conquest of Srivijaya by the Javanese during the 13th century as a symbol of the defeat of Srivijaya.
2. The cult of Vishnu may have taken over the area.
3. It may be connected to the introduction of Islam in the region, as Garuda seems to be a locally accepted figure by Islam.

I will not comment these interpretations but may be Alan or Chandra could voice their opinion.
Best regards
Jean

[A. G. Maisey]

Interesting Jean, but I feel that sometimes it is wise to keep one's opinions to oneself.

As you note, Mr. Jensen is no longer with us to put a cogent argument in support of his opinions.

[Amuk Murugul]

Originally Posted by A. G. Maisey

Interesting Jean, but I feel that sometimes it is wise to keep one's opinions to oneself. .....

I agree......
Reminds me of the Oglala "Kicizap Peji Sluta"

Best,