[A. G. Maisey]

One of the beliefs surrounding pamor material is that the materials used should come from 7 different sources. This idea is also reflected in another belief that the blade when completed should be heat-treated by quenching in water from 7 different streams. These are only two of a myriad of beliefs associated with the keris, and almost none of these beliefs are universal. But they could be an interesting field of research for somebody so inclined.

The appearance of pamor in Jawa was very probably the result of the need to cleanse the poor quality, high phosphorus irons that could be produced from local sources, so that these irons could be put to use in the construction of weapons. The same thing that happened in Europe with the Scandinavians and Merovingians.

In Jawa the art of pamor was raised to another level with the influx of Islamic metal workers to the North Coast, together with the expansion of Islam and the decline of the Javanese-Hindu social structure. The early forms of the Modern Keris (ie, the keris as we know it now) had relatively simple pamors, and the earliest forms of the keris carried no pamor at all, but were plain iron.

Lists of various types of iron exist in the 19th and early 20th century literature, and these names and descriptions seem not to have been present prior to the rise of the form of keris mysticism that was associated with Dutch domination of the Javanese royal houses and aristocracy. In the little booklet "Wesiadji" published by Bliksem in Solo in 1934 there are 21 types of iron listed, along with descriptions including the sound made when struck, no mention is made of "Om" or "Aum". It may be an attractive idea to search for a belief that a particular type of iron could produce the "Om" when struck, but I have not yet encountered this belief.

Om is the smallest mantra, it is used to begin and close prayers. Since the symbolism included in the ornamentation of a keris can be interpreted as a prayer to several deities, the appearance of Om should be expected, and it can be found in the Ron Dha. However, for a Javanese Muslim the Ron Dha will be interpreted as "Allah". (see images)

The Modern Keris at its inception relied upon form for its position in Javanese court society, and it was an accoutrement of men of the palace hierarchy. The Muslim traders who lived in enclaves along the North Coast of Jawa were much given to imitating palace style, and they adopted the keris as an item of dress. When Islam replaced the Javanese-Hindu courts the keris began its spread to the common people, and lost the function it had in the courts as a hierarchical indicator. With this change in function the keris in Jawa acquired a whole new character, one that was a mixture of indigenous Javanese belief, Hindu-Buddhist-Javanese belief, and Muslim belief. This amalgam of beliefs generated a mystic character for the Javanese keris that was in many ways quite different to its original character. It is not so difficult to understand this ongoing societal development of the keris when we look closely at it over time.

The ceremonies performed in the making of a keris in Jawa are a reflection of one of the aspects of Javanese society, and in recent history have included elements of indigenous tradition, Hindu-Buddhist tradition and Muslim tradition. Layer upon layer of tradition, so to speak. For the most part these ceremonies seek to establish a harmonious atmosphere for an occasion or undertaking, an aura of wellbeing and the avoidance of misfortune. Participation in these ceremonies tends to settle the mind.

Shown here from left to right are:-

Om as the Ron Dha, one of the ways in which Om can be written, this particular way is probably the most prevalent way used in Bali, the name of Allah.

I posted these as separate images, but they have appeared as a single image. For those with belief in unseen forces this could well carry a special message.