Ethnographic Arms & Armour - View Single Post

A. G. Maisey · 24th August 2020, 12:12 AM

I understand "genuine ensemble" as meaning a keris that is in the dress that it had when it left the culture of origin. If that keris was with a custodian who actually wore it, or whether it was with a dealer or agent within the culture of origin, I accept that ensemble as genuine.

Why do I include dealers and agents?

Because in the societies with which I am familiar, many people buy a keris fully dressed from a dealer or agent and never touch it as long as they have it.

This can vary of course, sometimes a keris will be redressed to suit an occasion, often a single blade can have half a dozen different forms of dress, for example dress to attend an evening function, dress to inspect ricefields, dress to go to an afternoon of dance practice, dress to appear less than one really is, dress to appear more than one really is.

To form an opinion on the "genuiness" of keris dress based upon a keris seen out of context is unwise and cannot be substantiated. It is an opinion formed without knowledge. We need to see the keris within its context in order to form an opinion that can be substantiated.

The idea of keeping replaced parts on a keris may be something that would appeal to a collector who is based in a society outside the area of origin, but it is something that within society of origin would be regarded as being at best something to smile at. Something like keeping a worn out suit of clothes, or the suit that you wore when you were a junior clerk, as opposed to the suit that you wear when you attend a board meeting.

Frankly, I do not see this keris as a "status" keris. It is made in a particular style, but it is almost a caricature of that style, as if the style has been described and noted, but the maker has perhaps never seen more than one or two of that style in his life.

It is a nice keris, but to paint it as "status" is more than a bit extreme.

Kai, in respect of this:-

" (I'm not sure what you refer to regarding to Si Ginjei or Palembang vs Jambi - feel free to expand, please!)"

I don't have time to go looking for what I wrote, and since I wrote what has piquied your interest I have probably written something like 25,000 words about a number of subjects and for different purposes.

Could you please direct me to the passage concerned and frame your question as precisely as possible? I'll do my best to respond.

24th August 2020, 12:12 AM	#37
A. G. Maisey Member Join Date: May 2006 Posts: 6,697	Refer post 35 I understand "genuine ensemble" as meaning a keris that is in the dress that it had when it left the culture of origin. If that keris was with a custodian who actually wore it, or whether it was with a dealer or agent within the culture of origin, I accept that ensemble as genuine. Why do I include dealers and agents? Because in the societies with which I am familiar, many people buy a keris fully dressed from a dealer or agent and never touch it as long as they have it. This can vary of course, sometimes a keris will be redressed to suit an occasion, often a single blade can have half a dozen different forms of dress, for example dress to attend an evening function, dress to inspect ricefields, dress to go to an afternoon of dance practice, dress to appear less than one really is, dress to appear more than one really is. To form an opinion on the "genuiness" of keris dress based upon a keris seen out of context is unwise and cannot be substantiated. It is an opinion formed without knowledge. We need to see the keris within its context in order to form an opinion that can be substantiated. The idea of keeping replaced parts on a keris may be something that would appeal to a collector who is based in a society outside the area of origin, but it is something that within society of origin would be regarded as being at best something to smile at. Something like keeping a worn out suit of clothes, or the suit that you wore when you were a junior clerk, as opposed to the suit that you wear when you attend a board meeting. Frankly, I do not see this keris as a "status" keris. It is made in a particular style, but it is almost a caricature of that style, as if the style has been described and noted, but the maker has perhaps never seen more than one or two of that style in his life. It is a nice keris, but to paint it as "status" is more than a bit extreme. Kai, in respect of this:- " (I'm not sure what you refer to regarding to Si Ginjei or Palembang vs Jambi - feel free to expand, please!)" I don't have time to go looking for what I wrote, and since I wrote what has piquied your interest I have probably written something like 25,000 words about a number of subjects and for different purposes. Could you please direct me to the passage concerned and frame your question as precisely as possible? I'll do my best to respond.