old keris for comments

[JamesKelly]

Thank you both.

Just like with antique guns, one must, I believe, personally handle and examine many of these objects, along with reading what is available, before being able to make a decent purchase.

I didn't spend much on this one & can probably get the $ back. It is a relatively inexpensive step in my education.

Hmmm. . . been doing this since 1951 with old muskets . . . wonder if I've time to learn catch-up with blades? Well, it keeps the synapses firing.

By the way, collectors/dealers destroy many an old firearm with much the same mentality as used on this keris blade. Got a fine old model 1816 Springfield musket dated 1817 at the same show, would be even finer if some genius hadn't removed that ugly old prickly raised walnut grain with his fine steel wool. Even respected dealers will scrape off patina so one may more readily read the serial number.

Doubt that I will ever be a smart keris collector.
Also doubt that I can leave them alone now.

[A. G. Maisey]

Very often when we find a feature added to a keris at some time after its manufacture, we form the opinion that this has been done to increase its saleability. In many cases this is true, but there are numerous cases where it is not true, or may not be true.

In the case of James' keris it is my opinion that it is extremely unlikely that the sogokan were added for any commercial reason, but rather because of religious belief.

The symbolism attached to the sogokan is that it is an icon of Siwa (Shiva). It is an upwards pointing triangle that first appeared in the early keris (Keris Buda) when Jawa was still dominated by the Hindu-Buddhist faith known as Jawa-Hindu. After the Jawa-Hindu faith was replaced by Islam, this faith was taken to Bali, along with the Javanese people who migrated to Bali during the years prior to the collapse of Majapahit, and especially towards the end of the Majapahit era. In Bali the old religion of Jawa evolved into the Bali-Hindu faith.

In fact, pre-Islamic Jawa-Bali probably should be viewed as a nexus, rather than as two separate entities, so probably it is incorrect of me to say that the faith was taken to Bali, rather it very probably formed a part of Balinese culture and society from around the time of its appearance in Jawa, but it remained alive and vibrant in Bali, after it was replaced in Jawa by Islam.

The features that we find in a keris are not just haphazard curlicues that have been added for ornamentation or personal adornment, these features are a language of symbols that must be read according to the religious and societal conditions that prevailed in Jawa when they began to appear in the blades of early keris. The upwards pointing triangle is one such symbol, and it symbolises Siwa.

I am of the opinion that one of the previous owners of James' keris carved these rudimentary sogokan into this blade as a symbol of Siwa. It is a Balinese blade, it is a blade with some age. Until quite recently it seems probable that knowledge of the ancient symbolism locked into the keris blade was understood by some Balinese people. I believe that a previous owner of James' keris was one of these people.

[David]

Thanks Alan, that's a very viable alternative. For what ever reason though i do wish that it had been added with more craft, though if your theory is correct i am sure that the symbolism of the addition would probably trump art.

[Rick]

The logic seems to be there Alan; these details are likely not what would strike a tourist at first inspection .

The dress and pamor however, would .

[A. G. Maisey]

As the keris developed into an art form, the sogokan also developed as art, but in the very early representation of the sogokan it is no more than a simple rudimentary triangle. You can still see this later weapons, such as tombak and pedang from periods as late the 18th-19th centuries. If an owner, rather than an artisan added the sogokan, as I believe is the case with this keris, he would simply add the symbol of Siwa, he would not necessarily strive for artistic effect.

Often we tend to overlook the fact that in both Balinese and Javanese keris, the keris is a living entity, and as with all living things it can alter over time. If we find a naga, or a singo barong that has the appearance of having been added to the blade after its completion, this is not necessarily an attempt to increase commercial value, but could be a reflection of a change in status, or in esoteric belief of a previous owner.

Similarly with kinatah work, there is the historic example of Sultan Agung honouring his commanders with entitlement to various kinatah motifs after the Pati conflict. Gonjos can come and go, for more reasons than one.

When a keris has been made, the form does not always stop exactly right there at that point.

If we see a keris that looks as if it might have been altered we need to appraise it objectively, not just automatically assume that the alteration is the work of some shonky little twister trying to screw more money out of a buyer.

[David]

Originally Posted by A. G. Maisey

As the keris developed into an art form, the sogokan also developed as art, but in the very early representation of the sogokan it is no more than a simple rudimentary triangle. You can still see this later weapons, such as tombak and pedang from periods as late the 18th-19th centuries. If an owner, rather than an artisan added the sogokan, as I believe is the case with this keris, he would simply add the symbol of Siwa, he would not necessarily strive for artistic effect.

Often we tend to overlook the fact that in both Balinese and Javanese keris, the keris is a living entity, and as with all living things it can alter over time. If we find a naga, or a singo barong that has the appearance of having been added to the blade after its completion, this is not necessarily an attempt to increase commercial value, but could be a reflection of a change in status, or in esoteric belief of a previous owner.

Similarly with kinatah work, there is the historic example of Sultan Agung honouring his commanders with entitlement to various kinatah motifs after the Pati conflict. Gonjos can come and go, for more reasons than one.

When a keris has been made, the form does not always stop exactly right there at that point.

If we see a keris that looks as if it might have been altered we need to appraise it objectively, not just automatically assume that the alteration is the work of some shonky little twister trying to screw more money out of a buyer.

Good points, all, Alan. And i'm sure that James is happy to read them.
One other point about this keris that might please James is that it is a somewhat rare one due to it's relatively high wave count. 15 luk blades are not all that common AFAIK.

[A. G. Maisey]

Yes, true David, 15 is in fact outside the normal parameters.

That, plus the way in which some of the features have been carved might indicate that we're looking at Bali-Lombok.