Pameran Keris Kamardikan - Kamardikan Keris Exhibition 27 - 28 Aug 2016

David · 30th August 2016, 07:39 PM

Thanks Donny. There are some real beauties in here and i certainly support the continued evolution of the keris arts. I will say, however, that i personally prefer when these modern era keris don't deviate too much from traditional pakem. That is not to say that some variation and evolution of design should not take place, but frankly, some of the more outlandish examples posted here seem to be distorted designs done just for the sake of making a keris that looks unusual.

mariusgmioc · 30th August 2016, 08:53 PM

Thank you!

A. G. Maisey · 30th August 2016, 11:11 PM

In about 1984 - 5 there was an exhibition of keris art held at the ASKI (Akademi Seni Karawitan Indonesia), in Surakarta. This institution later became the STSI, and then the ISI. All three were/are institutions for the teaching of Indonesian art.

A faculty of keris was created and the first people to attend this faculty of keris were Bagio, Bandi, Kamdi, Widodo, Yanto, Yantono. These people were known colloquially as the "Anak-Anak ASKI".

The driving force behind the formation of this keris faculty was Panembahan Harjonegoro (he had not yet been raised to the rank of panembahan at this time).Harjonegoro left this earth a few years ago, but for a very extended period he was widely recognised as the foremost connoisseur of Indonesian art.

The Anak-Anak ASKI had produced a number of keris that were very extreme interpretations of the form, they had approached the keris as an art form and had created objects that had the overall form of a keris but lacked the refinements of traditional form.

I was in the company of Harjonegoro when he saw these creations of the people whom it was hoped would become the new generation of Surakarta keris makers.

His comment was:-

"Yes, these are art, but are they keris?"

If the keris is approached as an art form then it is probably legitimate to produce objects of art in a keris-like form.

However, one is forced to question whether the people who produce these artistic keris-like objects have any idea at all of their heritage and the place of the keris in that heritage.

David · 31st August 2016, 04:34 AM

Quote:

Originally Posted by A. G. Maisey

I was in the company of Harjonegoro when he saw these creations of the people whom it was hoped would become the new generation of Surakarta keris makers.

His comment was:-

"Yes, these are art, but are they keris?"

If the keris is approached as an art form then it is probably legitimate to produce objects of art in a keris-like form.

However, one is forced to question whether the people who produce these artistic keris-like objects have any idea at all of their heritage and the place of the keris in that heritage.

To coin a new phrase based as on a related expression, i may not know keris, but i know what i like.

Battara · 31st August 2016, 09:17 PM

I'm with you David.

It would seem that since keris making is a living tradition, then evolution will naturally occur. Who knows what keris will look like in 50 years?

David · 31st August 2016, 10:42 PM

Quote:

Originally Posted by Battara

I'm with you David.

It would seem that since keris making is a living tradition, then evolution will naturally occur. Who knows what keris will look like in 50 years?

José, yes, i believe it is a living art as well, though i also believe that there are rules and a hierarchy which should probably be followed if the keris is ton stay at all true to is nature. Some might argue that that original nature is long past, however, i firmly believe that for the keris to continue to be an icon and symbol of the culture of Jawa and other parts of Indonesia that some homage must constantly be paid to its roots.
It is my fervent hope that in 50 years the keris in current production will still look very much like a keris as we know it today.

Rick · 31st August 2016, 11:37 PM

Quote:

Originally Posted by Battara

I'm with you David.

It would seem that since keris making is a living tradition, then evolution will naturally occur. Who knows what keris will look like in 50 years?

Jose, like Haiku poetry I consider the Javanese Keris as having certain inflexible rules; rules that can be interpreted by the imagination of the maker, but not violated.
Just as with Haiku, you must stay within the parameters of form and it is up to the Smith/Author to make that work beautiful to the beholder.

A. G. Maisey · 1st September 2016, 12:09 AM

Very nicely put Rick.

This is spot on.

Jose, I do understand what you have said, and if we address the keris purely as an art work, and purely from the position of the Modern World, none of us could disagree that the keris as an art work must continue to develop and go through change.

However, from the Javanese traditional point of view, that change and development must be constrained within the laid down parameters.

The thing is this:- the current generation of keris makers have not had the benefit of personal training from an empu who was recognised by an active karaton. Since WWII, and according to what I have been able to discover, there have only been two empus who have been appointed to the position of empu by a karaton:-

Empu Suparman Supowijoyo and Empu Pauzan Pusposukadgo, both appointed by Pakubuwono XII of Surakarta

of these two genuine Empus, only one acknowledged the designation of Empu, and that was Empu Suparman Supowijoyo; Empu Pauzan was a devout Muslim and refused to use the title to which he was entitled because in his understanding an Empu was capable of giving life to a keris, and his beliefs prevented him from attempting this.

Unless the maker of a keris understands that he is in fact making a representation of the Gunungan, and further understands the position of the Gunungan in the indigenous Javanese belief system, all he is making is a keris that lacks the deep cultural values of the Javanese people.

Such a keris can be an item of dress, or an art work, or a store of wealth, but it cannot be a keris that occupies the position of Javanese icon.

EDIT:- some will disagree with what I have said about "two genuine empus" and point to one or more recent examples. I would prefer to reserve comment on my refusal to acknowledge these recent appointments.

drdavid · 1st September 2016, 10:24 PM

Quote:

Originally Posted by Rick

Jose, like Haiku poetry I consider the Javanese Keris as having certain inflexible rules; rules that can be interpreted by the imagination of the maker, but not violated.
Just as with Haiku, you must stay within the parameters of form and it is up to the Smith/Author to make that work beautiful to the beholder.

Great analogy
DrD

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30th August 2016, 07:39 PM	#1
David Keris forum moderator Join Date: Aug 2006 Location: Nova Scotia Posts: 7,237	Thanks Donny. There are some real beauties in here and i certainly support the continued evolution of the keris arts. I will say, however, that i personally prefer when these modern era keris don't deviate too much from traditional pakem. That is not to say that some variation and evolution of design should not take place, but frankly, some of the more outlandish examples posted here seem to be distorted designs done just for the sake of making a keris that looks unusual.

30th August 2016, 08:53 PM	#2
mariusgmioc Member Join Date: Sep 2014 Location: Austria Posts: 1,911	Thank you!

30th August 2016, 11:11 PM	#3
A. G. Maisey Member Join Date: May 2006 Posts: 7,056	In about 1984 - 5 there was an exhibition of keris art held at the ASKI (Akademi Seni Karawitan Indonesia), in Surakarta. This institution later became the STSI, and then the ISI. All three were/are institutions for the teaching of Indonesian art. A faculty of keris was created and the first people to attend this faculty of keris were Bagio, Bandi, Kamdi, Widodo, Yanto, Yantono. These people were known colloquially as the "Anak-Anak ASKI". The driving force behind the formation of this keris faculty was Panembahan Harjonegoro (he had not yet been raised to the rank of panembahan at this time).Harjonegoro left this earth a few years ago, but for a very extended period he was widely recognised as the foremost connoisseur of Indonesian art. The Anak-Anak ASKI had produced a number of keris that were very extreme interpretations of the form, they had approached the keris as an art form and had created objects that had the overall form of a keris but lacked the refinements of traditional form. I was in the company of Harjonegoro when he saw these creations of the people whom it was hoped would become the new generation of Surakarta keris makers. His comment was:- "Yes, these are art, but are they keris?" If the keris is approached as an art form then it is probably legitimate to produce objects of art in a keris-like form. However, one is forced to question whether the people who produce these artistic keris-like objects have any idea at all of their heritage and the place of the keris in that heritage.

31st August 2016, 09:17 PM	#5
Battara EAAF Staff Join Date: Dec 2004 Location: Louisville, KY Posts: 7,325	I'm with you David. It would seem that since keris making is a living tradition, then evolution will naturally occur. Who knows what keris will look like in 50 years?

1st September 2016, 12:09 AM	#8
A. G. Maisey Member Join Date: May 2006 Posts: 7,056	Very nicely put Rick. This is spot on. Jose, I do understand what you have said, and if we address the keris purely as an art work, and purely from the position of the Modern World, none of us could disagree that the keris as an art work must continue to develop and go through change. However, from the Javanese traditional point of view, that change and development must be constrained within the laid down parameters. The thing is this:- the current generation of keris makers have not had the benefit of personal training from an empu who was recognised by an active karaton. Since WWII, and according to what I have been able to discover, there have only been two empus who have been appointed to the position of empu by a karaton:- Empu Suparman Supowijoyo and Empu Pauzan Pusposukadgo, both appointed by Pakubuwono XII of Surakarta of these two genuine Empus, only one acknowledged the designation of Empu, and that was Empu Suparman Supowijoyo; Empu Pauzan was a devout Muslim and refused to use the title to which he was entitled because in his understanding an Empu was capable of giving life to a keris, and his beliefs prevented him from attempting this. Unless the maker of a keris understands that he is in fact making a representation of the Gunungan, and further understands the position of the Gunungan in the indigenous Javanese belief system, all he is making is a keris that lacks the deep cultural values of the Javanese people. Such a keris can be an item of dress, or an art work, or a store of wealth, but it cannot be a keris that occupies the position of Javanese icon. EDIT:- some will disagree with what I have said about "two genuine empus" and point to one or more recent examples. I would prefer to reserve comment on my refusal to acknowledge these recent appointments.