New keris

[Freddy]

Pak Boedhi and Pak Marto, I totally agree with John. Both of you are offering us, Westerners, an insight in the study of 'keris' which comes from the people who cherished (and still cherish) these weapons.

Thanks for showing us master pieces from renowned empus. Most of our pieces are of far lesser quality and by unknown empus, I am afraid. Nevertheless, I think it's important that keris enthousiasts, as myself, care for their kerises. For us, perhaps they can become 'pusakas'. Who knows, perhaps at one time I will give one of my better kerises to my son ? Isn't this the first step to becoming a family heirloom ?

I appreciate your contributions to the forum and I am eager to read some more.

Freddy

[marto suwignyo]

Pak Boedhi, I believe we may have reached the end of our discussion on the meaning of the word "pusaka". A rereading of the views we have exchanged on this matter will demonstrate that the term "pusaka" can have different meanings, for different people, dependent upon the value system being used.

I believe it is fair to say that the value system applied by yourself has its roots in the physical properties of the keris; the value system that I have applied has its roots in Javanese culture.

As you say, the whole thing in its final analysis is subjective, however, although application may be subjective, the values governing the subjective application must remain objective.

In respect of the comments attributed to Pak Suwarsono Lumintu, I would agree that his recommendations would assist in an understanding of craftsmanship in a keris, however, there is much more to the keris than only the skill of the maker.

In order to reach some understanding of the place of the keris in Javanese culture, study on a much wider base is required. It is regretable, but unavoidable, that Javanese culture has undergone change, and that much of the tradition and belief of Jawa has been altered or modified by contact with other cultures, societies, and belief systems.

I would suggest that although our primary interest may be the keris, that interest cannot exist in isolation from an interest in Javanese culture and history.

It is my firm belief that to understand the keris , we must have an understanding of Javanese culture, history, and society; such understanding can only be gained from serious and consistent study in the relevent fields.

Pak Boedhi, the academics are always telling us that correct usage of the Javanese language will be dead within a very short space of time, some people are claiming that within 20 years the only people who will be able to speak Javanese correctly will be professors in universities.

I will not comment as to whether I agree with this , or not, however, I think that this demonstrates that unless those of us who do maintain an interest in Javanese culture, take a serious and studious approach to the preservation of that culture, eventually the unique features of the culture will be forgotten.

It is one thing to appreciate and preserve a cultural icon. It is something else entirely to understand the place of that icon within the culture.

Because of this, my own approach to the study of the keris is a culturally based approach, rather than an approach rooted in craftsmanship.

I thank you for sharing your photographs of these superior keris.

[John]

Empu

Whilst we've basically covered for Empus in Java and Bali, wonder if more light could be shed pertaining to areas like Celebes (Sulawasi) and Sumatra? eg like if those areas have had smiths addressed as Empus and their local unique circumstances, customs/traditions to which they may have been appointed as such etc...

Can you help Pak Marto, Pak Boedhi? Almost breaks the heart to see some of those great old Bugis, Sumatran and all the rest of it of course and knowing so little of those great craftsmen who once made them...

[Alam Shah]

John,
Great idea. While we are at it, could somebody shed some light on those made in Peninsular Malaysia and Patani as well.