PAMOR

Pamor is the true spirit of the Keris. The pattern welding work demonstrates the skills of the Empu but also characterizes the power of the blade. The word Pamor means in Malay, mixture of alloys, and in fact the Pamor pattern is obtained by welding together wrought iron and nickel, and then acid etching it. The mystical power of the Keris is said to come from its celestial origin because of the use of meteorite iron. However, it is doubtful that many Keris blades were actually made of meteorite iron. The only fall of a meteorite in Java was recorded in the mid 18th century, near Prambanan. Since there was almost no natural iron deposits in Java, most probably most of the blades were made beforehand from imported iron. Sulawesi is said to have exported its iron which contains a low percentage of nickel, this type of metal is called Pamor Luwu, from the Eastern part of central Sulawesi. While using this nickelous iron, Javanese smiths found they could control specific pattern designs by etching the blade and creating a contrast between the darken iron and the bright nickel. The Prambanan meteor was said to contain 9.4% nickel, which made it very attractive to smiths, but its scarcity restricted its use to top quality blades for wealthy owners. The colonial presence brought, in the late 19th century another source of cheap nickel from scrap iron: bicycles frames, ship propeller, tools... These industrial metal parts contained up to 5% nickel and provided a very high contrast pamor with bright nickel. More recently pure Nickel has been used, thus recently forged blade show a very uniform shiny nickel.It is interesting to note that most Sumatra, Peninsular or Moro blades are in plain iron, whereas most of Java, Bali and Sulawesi blades are in pamor: these later islands had an easier access to the Luwu ore.

Welcome to Keris Galeri

UNESCO has fortified Indonesian keris (a wavy-bladed ceremonial dagger), including Balinese keris, as a masterpiece of cultural heritage that belongs to the world.“The world has admitted the existence of Indonesian keris and gives international appreciation. That encourages us to collect hundreds of inherited keris,” said Pande Wayan Suteja, the founder and manager of Neka Museum at Artist Village Ubud, Gianyar. The Museum, established 27 years ago, has added 272 collection, after the strict selection done by experts and Indonesian keris preserver – Ir. Haryono Haryoguritno and Sukoyo Hadi Nagoro (armorer and keris expert),  besides 312 paintings and sculptures. Some countries such as Singapore, Brunei Darussalam, and the Philippines has struggled to achieve world acknowledgement but until now they are not successful yet.The tradition to use keris as a weapon, hereditary equipment and ritual equipment has become a culture in Indonesian life, especially the Hindus in Bali. The keris at the museum are collected because of their beauty and art not hereditary.Suteja Neka is the heir of a weapon maker, especially supernatural keris. His ancestor, Pande Pan Nedeng, was a keris armorer from Peliatan-Ubud Kingdom when King Peliatan III, Ida Dewa Agung Djelantik led the kingdom in 19th century (1823-1845). His Father, Pande Wayan Neka (1917-1980) was famous as a sculptor with his unique and qualified masterpiece, such as a 3 meter garuda sculpture for New York World Fair, USA (1964).Suteja Neka hoped that Neka Museum could preserve and develop keris as a masterpiece as it was acknowledged in the world.

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INDONESIA

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STATE PHILOSOPHY

Pancasila is the philosophic fundamentals of the state.  The word “Pancasila” is derived from two Sanskrit words, “panca” which means five, and “sila” which means principle. Pancasila consists of five principles that are interrelated and inseparable, namely:1. The belief in one God2. A just and civilized humanism3. Unity of Indonesia4. Democratic citizenship lead by wise guidance born of representative consultation5. Social just for all the people of IndonesiaIndonesia is a democratic country that applies a presidential system and Pancasila is the soul of the Indonesian democracy. Indonesia adopts a democracy that is based on the 5 principles known as the Pancasila Democracy. These state fundamentals were proclaimed by President Soekarno (the first President of Indonesia) on the Declaration of Independence of the Republic of Indonesia on 17 August 1945.

 

GEOGRAPHICAL POSITION

Indonesia is one of the largest archipelagos in the world that has 17,508 islands, situated between 6 degrees northern latitude and 11 degrees southern latitude and spreading from 97 degrees to 141 degrees eastern longitude and it is located between two continents – Asia and Australia/Oceania. This strategic position greatly influences the country’s culture, social, politics and economy.Stretching along 3,977 miles between the Indian Ocean and the Pacific Ocean, Indonesia has a total area of 1.9 million square miles including the ocean waters.The five large islands of Indonesia are: Sumatera covering 473.606 square km, Java with 132.107 square km, Kalimantan (the third largest island in the world) with an area of 539.460 square km, Sulawesi with 189.216 square km, and Papua with an area of 421.981 square km.

GEOLOGICAL HISTORY

The islands of Indonesia were formed in the Miocene age (12 million years BC); Palaeocene age (70 million years BC); Eocene age (30 million years BC); Oligacene age (25 million years BC). As people from Asia started to migrate, it is believed that Indonesia existed since the Pleistocene age (4 million years BC). The islands have a great effect on the change of the Australian and Pacific tectonic plate. The Australian plate changes slowly with an upward movement into the small plates of the Pacific plate that moves southward. Between these lines, the islands of Indonesia are stretched out.This makes Indonesia as one of the most changing geological area in the world. There are 400 volcanic mountains – which 100 of them are active- that dot the islands of Indonesia.  Every day Indonesia experiences three vibrations, at least one earthquake a day and one volcanic eruption in a year.

DEMOGRAPHY

The population of Indonesia can be divided into two major groups: in the western region most of the people are from the Malay ethnicity while in the eastern region there are the Papuans originating from the Melanesian Islands. Indonesia also recognizes specific ethnic groups that come from a certain province/area and have specific language for example the Javanese from Central or East Java, the Sundanese from West Java or the Batak ethnicity from North Sumatra.In addition, there are also minority ethnicities derived from Chinese, Indian and Arabic descendents. These people travelled as merchants through trade exchange since the 8th century BC and migrated to Indonesia. Approximately 3% of the population is from Chinese ethnicity, although the exact percentage is not known as the last ethnicity census was held in the 1930s.Islam is the major religion of 85.2% of the population, designating Indonesia as the largest Moslem country in the world. The remaining population consists of Protestants (8.9%); Catholics (3%); Hindus (1.8%); Buddhists (0.8%) and other religion (0.3%).Many Indonesians speak their ethnic language as their mother tongue. However, the Indonesian language is the official language and it is taught at all schools and most Indonesians are proficient in using the language for communication.

POLITICS

As in other democratic countries, Indonesia applies the Trias Politica that recognizes the separation of the legislative, executive and judicial bodies. The legislative authority is under the People’s Consultative Assembly (MPR) that consists of two bodies namely the Parliament composing of members of political parties and the Regional Representative Council (DPD) composing of representatives from each province in Indonesia.  Each province is represented by 4 delegates that are elected by the people in the respective region.The People’s Consultative Assembly (MPR) is the highest state institution. Upon the Amendment of the 1945 Constitution, the membership of the MPR starting the period of 1999-2004, was amended to include not only the members of the parliament (DPR) but also the members of the DPD. Formerly the MPR consisted of the parliament members and group representatives. Currently, the MPR has 550 members from the parliament and 128 members from the Regional Representative Council (DPD). The parliament members and the DPD members are elected every five years. Since 2004, the MPR has become a bi-chamber parliament with the DPD as second chamber.The executive institution is centralized under the president, vice president, and the cabinet of ministers.  The cabinet is a presidential cabinet in which the ministers report to the president and do not represent the political parties.The judicial institution -since the reform era and upon the amendment of the 1945 Constitution- is administered by the Supreme Court including the administration of the judges.

PROVINCES

Indonesia has 33 provinces (including 2 Special Territories of Nanggroe Aceh Darussalam and Yogyakarta) and one Special Capital Region of Jakarta (DKI). East Timor was once part of Indonesia, but then through a referendum in 1999, East Timor became the Democratic Republic of Timor Leste.Provinces in Indonesia

SumatraNanggroe Aceh Darussalam | North Sumatera | West Sumatera | Bengkulu | Riau | Riau Islands  Jambi | South Sumatera | Lampung | Bangka Belitung IslandsJavaJakarta | West Java | Banten | Central Java | Yogyakarta Special Territory | East JavaKalimantanWest Kalimantan | Central Kalimantan | South Kalimantan | East KalimantanNusa Tenggara Bali | West Tenggara Barat | East Nusa Tenggara Sulawesi West Sulawesi | North Sulawesi | Central Sulawesi | South Sulawesi | South East Sulawesi | Gorontalo Maluku and Papua IslandsMaluku | North Maluku | West Papua | Papua

ECONOMY

In the 1990’s, Indonesia’s economy experienced a set-back as a consequence of the economy crisis that hit most Asian countries. However, the economy is now relatively stable.Indonesia has abundant natural resources outside Java including crude oil, natural gas, tin, copper and gold. Despite being the second largest exporter of natural gas, Indonesia recently has become a net importer of crude oil. The agriculture products of Indonesia include rice, tea, coffee, spices and rubber.The major trade partners of Indonesia are Japan, the United States of America and neighboring countries namely Malaysia, Singapore and Australia.Although Indonesia is rich in natural and human resources, the country is still facing crucial issues of poverty that mainly is caused by the wide-spread corruption in the government.The Central Bank is Bank Indonesia.

CULTURAL ART

Indonesia’s cultural art is greatly influenced by other cultures, such as the Hindu mythology and culture that is reflected in the Javanese and Balinese dances.Many of the dances also reflect some Islamic values. Several of these dances originate from the island of Sumatra, such as the Saman Meusukat dance and the Seudati dance from Nanggroe Aceh Darussalam.Another famous cultural item from Indonesia is the wayang kulit (shadow puppet made from goat skin) that depicts mythological characters and stories. The art of old poetry in the form of quatrain and couplet sayings from various regions such as the Malay quatrain are often cited in special occasions or in cultural performances.One of Indonesia’s cultural heritage that has been acknowledged as a world heritage is the batik cloth. The prominent batik industry areas are in Yogyakarta, Solo, and also Pekalongan.Pencak silat is an art of self defense which is uniquely from Indonesia. This martial art is sometimes shown at certain performances accompanied by traditional music of the region.In the field of music, Indonesia is rich with traditional as well as modern music that extends from the city of Sabang (the western point of Indonesia) to the city of Merauke (the eastern point of Indonesia). Although traditional music including Javanese keroncong is commonly known, modern music is more popular followed by dangdut music. Dangdut is one type of music originating from Indonesia that has also become quite popular throughout the country. This type of music is a blend of Malay and Indian music with elements from traditional music as well. The name of “Dangdut “ is derived from the sounds of “dang” and “dut” (pronounced as “doot”) that come from the dominating resonances of the bongo and the flute. The Dangdut singers usually sing while dancing expressively and gracefully following the beat of the music. There are several varieties of Dangdut music namely Malay Dangdut, Modern Dangdut (using modern instruments) and Coastal Dangdut (influenced by Javanese and Sundanese traditional music). In the 1970s, Dangdut was initially recognized as a type of Malay orchestral music, but in the 1980s, this type of music became more popularly known as Dangdut music.The people of Indonesia consist of various ethnic groups, religions and faith. The various ethnic groups are for example Batak, Karo, Minangkabau, Malay in Sumatra and so forth. Indonesia acknowledges several religions namely Islam, Christianity, Catholicism, Hinduism and Buddhism and the Konghucu faith, but the majority of the population are Moslems.

KERIS GALERI INDONESIA

Thank you for visiting our website, this website is dedicated to all the people who like to know more about Indonesian traditional Dagger. This website content is gathered from all the resource that we can find in the Internet, feel free read the whole content. Thanks to all the resource that we can find, I can't thank you one by one, but I hope the knowledge from your article that I use here is usefull for other that are looking for keris information and Indonesian culture. Thanks a million for everybody.

 

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Kris Galeri Indonesia

The kris or keris is an asymmetrical dagger indigenous to Indonesia, Malaysia, Thailand and Brunei. It is known as kalis in the southern Philippines. The kris is famous for its distinctive wavy blade, but many have straight blades as well. Both a weapon and spiritual object, kris are often considered to have an essence or presence, with some blades possessing good luck and others possessing bad.

In 2005, UNESCO gave the title Masterpiece of the Oral and Intangible Heritage of Humanity to the kris of Indonesia. In return, UNESCO urged Indonesia to preserve their heritage.

WILAH / BILAH or Mata

The most important part of the Keris is the Wilah (blade) because of its magical power, which is related to its dapur  (shape) and pamor  (pattern). A specificity of the Keris  blade, is the Ganja, a separate cross piece fitted on the tang and bounded to the blade.The Keris blade is said to symbolize the union of the Lingga and the Yoni, for hope of fertility, eternity and power.  The blade with its tang represents the Lingga (the phallus of god Siva); the ganja represents the Yoni (the genital of Parvati, wife of Siva). Another symbol of the Keris blade is the Naga, when it is straight it represents a sleeping Serpent, when its is wavy, a moving Serpent.Name of the different parts of the blade:

 

Pesi  (tang) Ganja (the separate cross piece) Sor-soran (the larger part), where the ricikan (blade details) are. Tengah (the middle part) Pucuk (the point)

MAKING THE WILAHA difference is made between a Keris Pusaka, which is made with special rituals and has been ordered for a specific person with a special power, whereas Keris Ageman is a more "industrial" version. Before starting forging the blade of Keris Pusaka, the Empu (smith) fasts and then makes offerings to the gods, this type of ceremony is called sajen. The Empu can then start the forging process. To make a Keris blade, his needs iron, nickel and steel. The contrast of the bright nickel and darken iron will make the pamor pattern, the steel provides the blade rigidity and cutting edges. One of the myth related to the Keris is its magical power because it is forged out of meteorite iron. Probably very few Keris are actually made from meteorite material since it is rare and very difficult to forge. The nickel is either very pure from industrial origin or comes from Sulawesi mines (1). Lower grade Keris can also be made with Penawang (white iron) instead of nickel. The Empu takes a piece of iron, heats it and tempers it, until it is sufficiently stretched and flattened. This piece is then bent in a U shape to insert in its middle a nickel plate. The new assembly is heated, hammered and tempered several times to form the first pamor layer.  It is then bent again in a U shape and welded together to form the second pamor layer. This operation is repeated again and again to form 4, 8, 16, 32, 64 or more layers of pamor. Usually a Keris is made of 64 layers, however some high quality blades may have several hundred layers.  Once the Empu has reached the desired number of layers, a piece of the blade is cut and kept aside to make the ganja. He then bends again the pamor in a U form to insert in the middle a piece of flat steel and welds them together. At this stage, the Empu gives to the blade its form. He makes the Wilah  Lurus (straight) or Luk (wavy) by heating and tempering. The finishing work is initially made with a rough file to give to the blade its shape, then the Empu makes the ricikan details with more triangular files and chisels. The ganja is fitted in the pesi and the blade is finished by using grinding stones, it is then tempered a last time.The blade is etched through a process called marangi by immerging it in an acid solution of arsenic and lemon juice. (1) In prehistoric times iron was a precious metal, used for weapons and agricultural implements. Trade in iron had become large-scale by the 12th century, both in smelted ore and in manufactured products. William Marsden (1783) believed that Minangkabau craftsmen had been supplying arms for Aceh and the rest of northern Sumatra `from the earliest times', using the iron mined from Gunung Besi near Batu Sangkar. Sulawesi iron, rich in nickel, was exported to Java, where it was mixed with `ordinary' iron for kris manufacture. Kalimantan was another source of ore, especially the island of Karimata off its southwest coast. The seizure of Sukadana by Mataram (Java) in 1622 was probably intended to secure control of this source of iron. Karimata ores were `brown iron', ferromanganese, producing a hard steel, but low grade surface ores were also abundant in Borneo. These continued to be worked as isolated local operations into the 19th century. Upland peoples retained a knowledge of smelting long after iron production in other areas had gone into decline

PENDOK

The pendok is a decorative metal sleeve that covers the gandar.  Pendok are common on Java Keris. It is usually made of brass copper, some are in silver, more seldom in gold. The craftsman who decorates the pendok is called the Gemblak.The pendok is often decorated with embossed or engraved designs similar to those used on batik. The Malayu people mainly Muslims, a religion that forbids the portrayal of animal and human forms in a realistic manner, to get around this prohibition, the Gemblak does not attempt to express this matter in a realistic form. Islamic art is essentially two dimensional, covering surfaces with overall patterns, either geographic or vegetal: the distinctive arabesque of curving stems with leaves and flowers. A single element of the form is chosen and then that element is repeated again and again in the pattern.

Variations:

Pendok cukitan is decorated by piercing (dicukit) Pendok krawangan is decorated by carving (ditatah) Pendok kemalo is colored. The color being an indication of the social rank during the colonial period Pendok tretes is decorated with gem stones.

 

CREDITS

Special thank's to Dominique Buttin for the content from his site that I can use. And also I like to thank you from many resource on the internet about Keris that I used, I can not mentioned one by one but thank you for the big constribution in the history of Keris. Hope this site is usefull for everybody visiting this site.

BIBLIOGRAPHY ASIA SOCIETY COURT ARTS OF INDONESIA The Asia Society Galleries 1990, NEW YORK ISBN0878480722 BANKS, E. THE KERIS SULOK OR SUNDANG in : Journal of the Malayan Branch, Royal Asiatic Society 1940, Vol XVIII, Singapore BRONSON, B. TERRESTRIAL AND METEORITIC NICKEL IN THE INDONESIAN KRIS in : Journal of the Historical Metallurgy Society 1987, 21/1 p8-15 BROWNRIGG, Henry BETEL CUTTERS 1992, Thames & Hudson Ltd, London ISBN 0500973768 BUTTIN, Charles CATALOGUE DE LA COLLECTION D'ARMES ANCIENNES EUROPEENNES ET ORIENTALES 1933, RUMILLY CASINO, E THE OLD TRUSTY BLADE in : Filipino Heritage. The Making of a Nation 1987 Vol 7 p1703-1708, Manilla Lahing Pilipino Publishing CATO, Robert MORO SWORDS 1996, Graham Brash, Singapore ISBN9812180591 DRAEGER, Donn F. THE WEAPONS AND FIGHTING ARTS OF INDONESIA Ed. Charles E. Tuttle Company, Inc. 1972, TOKYO ISBN0804817162 van DUUREN, David THE KRIS, an earthly approach to a cosmic symbol 1998, Wijk en Aalburg, the Netherlands ISBN907318732X van DUUREN, David KRISSES, a critical bibliography 2002, Pictures Publishers, Wijk en Aalburg, the Netherlands ISBN9073187427 EGERTON, Wilbrahim AN ILLUSTRATED HANDBOOK OF INDIAN ARMS and those of Nepal, Burma, Thailand, Malaya William H. Allen & Co., London, 1880, re-print 1986 ISBN9748745619 EVANS, I.H.N. TYPES OF KERIS in : Journal of the Federated Malay States Museum 1927, Vol. 12 : 87-99 EVANS, I.H.N. Sampir & Hilts in the Malay States, Java & Celebes in: Journal of the Federated Malay States Museum 1929, Vol. 12 : 171-173 FRANKEL, J. THE ORIGIN OF INDONESIAN PAMOR in : Technology and culture 4/1 : p14-21. 1963 FREY, Edward THE KRIS MYSTIC WEAPON OF MALAY WORLD OXFORD UNIVERSITY PRESS 1988, SINGAPORE ISBN0195889061 Galerie Zacke KRISE und ANDERE WAFFEN 1984, Vienna GARDNER, GB KERIS AND OTHER MALAY WEAPONS Progressive Publishing Company 1936, SINGAPORE Republished by B. LUMSDEN MILE 1973, YORKSHIRE ISBN0854099441 GHIRINGHELLI, Vanna e Mario KRIS GLI INVICIBILI THE INVICIBLE KRISSES BE-MA Editrice 1991, MILAN ISBN9971431111 GHIRINGHELLI, Vanna KERIS HILT MATERIALS in : Arts of Asia 27, 5 :p 91-98. 1997 GREVE, Ruud KERIS 1992, R.G Greve ISBN9050640605 GRONEMAN, J. DER KRIS DER JAVANER in: International Archiv für Ethnologie 1912, T19, liv IV IV/V/VI GUIMET, Musée LES ORS DE L'ARCHIPEL INDONESIEN Musée National des Arts asiatiques-Guimet 1995, PARIS ISBN2711832333 HAMZURI, Drs. KERIS Penerbit DJAMBATAN 1988, JAKARTA ISBN9794281190 HARSRINUKSMO, Bambang ENSIKLOPEDI BUDAYA NASIONAL, Keris dan senjata tradisional lainnya THE NATIONAL CULTURAL ENCYCLOPAEDIA, The Keris and other traditional Indonesian weapons 1988, JAKARTA HILL, A.H. THE KERIS AND OTHER MALAY WEAPONS in: Journal of the Malayan Branch of the Royal Asiatic Society 29/4, 176 : 7-67. 1956 HITCHINGS, F.W., M.D., THE WEAPONS OF THE PHILIPPINE ISLANDS in : Antique Magazine 1926, Vol 9, n° 3 HOLSTEIN, Pierre CONTRIBUTION A L'ETUDE DES ARMES ORIENTALES Les Editions Albert Levy 1931, PARIS HOSE, Charles PAGAN TRIBES OF BORNEO

Mc DOUGALL , William

M.B., F.R.S. 1912 CHAPTER 11 HUAN, Ma - Ying-yai sheng-lan THE OVERALL SURVEY OF THE OCEAN'S SHORES - 1433 Cambridge University Press 1970, Cambridge JASPER De inlandsche kunstnijverheid in Nederlandsch Indië . Jasper, J. E. & Mas Pirngadie De bewerking van niet-edele metalen (koperbewerking en pamorsmeedkunst) 1927, The Hague, Mouton., Vol V, Figs 331-338 p236 JENSEN, Karsten Sejr DEN INDONESISKE KRIS -et symbolladet vaben- Karsten Sejr Jensen redaktion Ole Skott Vaabenhistoriske Aarboger n°43 Devantier ISSN 0108-707X Copenhagen, 1998 JENSEN, Karsten Sejr TIDLIGE OFFERVABEN OG KRISSE (Early offering weapons kriss) in : Vaabenhisterisk Tidsskrift - Journal of the Danish Arms & Armour Society Vol 36 #7 November 2003 KERNER, Martin KERIS GRIFFE aus dem malayischen Archipel. Zurich, Museum Rietberg. 1996 ISBN 3-907070-65-8 KERNER, Martin THE KERIS IN THE MAGIC WORLD-VIEW translation of "The Keris im Magischen Weltbild" 1995 1999, Kirchdorf CH ISBN3-9520908-2-7 KERNER, Martin THE KERIS KI SUDAMALA English translation of "Der Keris Ki Sudamala", 1995 1999, Kirchdorf CH KERNER, Martin ORIGIN OF EARLY KERISES translation of "Uursprung der Frühe Kerise" 1999, Kirchdorf CH KERNER, Martin IKONOGRAPHIE DER FRÜHE KERISE 1997, Kirchdorf CH KERNER, Martin GESCHICHTE DER FRÜHE KERISE 1997, Kirchdorf CH

KERNER, Martin

STATISTIEK DER FRUEHEN KERISE

1997, Kirchdorf CH KREEMER, J ATJEH BRILL 1922, Leiden, Vol 2, 291ff KRIEGER, Herbert W. THE COLLECTION OF PRIMITIVE WEAPONS AND ARMOR OF THE PHILIPPINE ISLANDS IN THE US NATIONAL MUSEUM Smithsonian Institution, US National Museum 1926, Bulletin 137, Washington, Government print office LA ROCCA, Donald J. THE GODS OF WAR, Sacred Imagery and the Decoration of Arms and Armor The Metropolitan Museum of Art 1996, NEW YORK ISBN0870997793 LE DAUPHIN, Cédric LES POIGNEES DE KRISS, The hilts of the Kriss in : Parcours des Mondes, pages 149-169 N° 1 Septembre 2002 PICARON EDITIONS, PARIS LEIGH, Barbara TANGAN-TANGAN TRAMPIL: SENI KERAJINAN ACEH Hands of time: The crafts of Aceh Penerbit Djambatan 1989, JAKARTA ISBN9794281107 LEROI-GOURHAN, A. NOTES POUR UNE HISTOIRE DES ACIERS Le fil du temps. Ethnologie et préhistoire 1935-1970. Paris, Fayard (Le temps des sciences) :p 61-75 1983. L oof-Wissowa The Development and spread of metallurgy in South East Asia: a review of present evidence Journal of Southeast Asian Studies,14 (1) 1983, Singapore MAISEY, A.G. ORIGIN OF THE KERIS AND ITS DEVELOPMENT TO THE 14TH CENTURY in : Arms Cavalcade, Official Journal of the Antique Arms Collectors Society of Australia Co-op Limited, Vol. 1, No. 2 (April 1998), pp. 8 - 11 and 23. MAJUL, C.A. WARRIOR'S CHOICE in : Filipino Heritage. The Making of a Nation 5. The Spanish Colonial Period (17th/18th Centuries), Balo las Campanas (undre the Church Bells) Manila, Lahing Pilipino Publishing : p1164-1169. 1978 MARVAL, Gaspard UKIRAN Essai de Classification des poignées de kris de l'archipet indonésien Gaspard de MARVAL 1993, LAUSANNE MARVAL, Gaspard LE KRIS, JAVA ET BALI Gaspard de MARVAL in Gazette des Armes n° 39, juin 1976 MARVAL, Gaspard LE MONDE DU KRIS, Indonésie - Malaisie - Philippines Musée Militaire Vaudois 1997, MORGES PAWANCHEE, Abu Bakar Bin AN UNSUAL KERIS MAJAPAHIT in Journal of Malayan Branch Royal Asiatic Society VOLXX, part II, Dec., 1947 RAFFLES HISTORY OF JAVA Raffles, Thomas Stamford Oxford University Press, 1817, re-print 1965 RASSERS, W.H. ON THE JAVANESE KRIS 1959 [1940], in : Pañji, The Culture Hero. A Structural Study of Religion in Java, The Hague, Martinus Nijhoff: 217-297 SCMELTZ, J.D.E. Indonesiche Prunkwaffen in : International Archiv für Ethnologie T7, liv III Shahrum, bin Yub Keris dan senjata2 Pendek 1967, Kuala Lumpur Shahrum, bin Yub THE KERIS AND OTHER SHORT MALAY WEAPONS Museums Association of Malaysia SHELFORD, R obert Walter Campbell A PROVISIONAL CLASSIFICATION OF THE SWORDS OF THE SARAWAK TRIBES Journal of the Anthropolical Institute, Vol. XXXI, page 219-228 Presented 12th November, 1901, SKEAT, Walter William MALAY MAGIC An Introduction to the Folklore and Popular Religion of the Malay Peninsula Dover Publications Inc. 1967, New York, originally published in 1900 SOLC, Vaclav SWORDS AND DAGGERS OF INDONESIA SOLYOM, Garret & Bronwen THE WORLD OF THE JAVANESE KERIS East-West Center Pub. 1978, Honolulu, HAWAII ISBN 0 9620340 0 2 STONE, George Cameron A GLOSSARY OF THE CONSTRUCTION, DECORATION AND USE OF ARMS AND ARMOR 1934, NEW YORK TAMMENS, G.J. DE KRIS 1, Magic relic of old Indonesia 1990, EELDERWOLDE, NL ISBN909004342X TAMMENS, G.J. DE KRIS 2, Magic relic of old Indonesia 1993, EELDERWOLDE, NL ISBN9090062378 TAMMENS, G.J. DE KRIS 3, Magic relic of old Indonesia 1994, EELDERWOLDE, NL ISBN9080218510 TAMMENS, G.J. DE KRISSENWERELD VAN DR. I.J. GRONEMAN a compilation of articles published in Dutch and German in several magazines by Dr. Groneman. 1999, EELDERWOLDE, NL HULMANN, Werner BLANKWAFFEN AUS OST- UND SÜDOST-ASIEN 1999, WÜRZBURG VAN HOEVELL, Der Kriss von Sud-Celebes in : International Archiv für Ethnologie 1906 :T18, liv I & II VISCOM, KERIS, HERITAGE OF THE MALAY ARCHIPALEGO Viscom Design Associates WIENER, M. J. Visible and Invisible Realms. Power, Magic, and Colonial Conquest in Bali The University of Chicago Press 1995, Chicago & London WOOLEY, G.C. THE MALAY KERIS: its origin and development + Notes on two Knives in the Pitt-Rivers Museum in : Journal of Malayan Branch Royal Asiatic Society 1947, Dec., VOLXX, part II ZENER, Charles Signs of the Spirit, Signatrue of the smith: Irons forging in Tana Toraja 198, April, Indonesia, Vol 31,, pp 88-112 ZONNEVELD, Van, A.G. DE WAPENS VAN INDIË 1996 Leiden ZONNEVELD, Van, A.G. TRADITIONAL WEAPONS OF THE INDONESIAN ARCHIPELAGO C. Zwartenkot Art Books 2001 Leiden ISBN 90-5450-004-2

WARANGKA or Sarong

The origin of a Keris can be determined by the shape of its sheath. There are four basic shapes:

Gayaman in Java or Bali, for every day use Ladrang in Java or Bali for ceremonies Sandang Walikat, the most simple type Tengah, which is found in the Northern part of the archipelago.

In Sulawesi, the Peninsula and some regions of Sumatra, the sheath has a shoe called buntut.

When making a Warangka, the Mranggi pays a special attention to the choice of the wood, it is made from the most ornamental wood, which is often not the strongest.

Many Gandar (lower part of the sheath) are fitted with a metal sleeve: the Pendok. A painted warangka is called "sunggingan".

The choice of the wood is an essential part of the Keris, as for the pamor, each Kayu (wood) and each Pelet (wood pattern), has a special power. Examples of Kayu (wood) :

Teak or Jati, Tectona grandis Cemara Gunung, Dysoxylum acutangulum Trembalo, Cassia glauca Kemuning, Murraya Paniculata Timoho, Kleinhovia hospita Awar Awar, Ficus Leucantatoma Sono or Angsena, Pterocarpus indicus Cendana, Santalun Album Tayuman, (Cassia Laevigata), extremely fine harwood used for Keris ukiran Mahogoni (Swietenia macrophylla) Sanakeling (Dalbergia latifolia). Kendayaan (Bauhinia malabarica)

Examples of Pelet, mostly found on Kayu Timoho and their Tuah (magic power): Sembur, numerous small dark spots

Tulak, thick vertical dark lines Segoro Winotan, few large dark spots, increases wisdom Pudak Sinumpet, similar to Tulak, but the center part of the lines is not as dark Pulas, a mix of spots and lines, looks like clouds Nyamel, big black spots Ngingrim, thin parallel dark lines, some are shorter than others Kendit putih, a single horizontal dark line, brings respect Kendit rante, a single horizontal dark line that looks like a chain, helps public prosecutors to prevent defendants from escaping Kendit Ilat-Ilatan, similar to kendit putih, but the line is not as flawless, helps the owner to have great influence Gandrung, middle size black spots, brings fame and love Doreng, looks like tiger skin Dewaduru, a mix of thin and large vertical dark lines, brings fortune Ceplok banteng, many dark spots close together, gives authority Ceplok kelor, similar to cepok banteng but less dense, prevents from having a bad behavior

UKIRAN or Hulu

Ukiran is the term used in Java for the Keris hilt, in Malay it means "carving". In the Malay Peninsula, the word Hulu is preferably used.

Keris hilt shapes varies from region to region. It is one of the prominent ways of recognizing the origin of a Keris. However, the Ukiran does not always match the Warangka. For instance a Keris owner might want to combine the magnificence of a Madura Ukiran with the elegance a Surakarta ladrang Warangka.

 

Some collectors specializes in Ukiran and they can be valued more than the keris itself. A special care is taken in making the hilt from selected woods, ivory, horn, precious metal or fossilized teeth. The Ukiran and Warangka craftsman is called a Mranggi, he is an artist with a deep knowledge of traditional symbolism. The engraver is called the Pengukir. The generic shape of the Ukiran symbolizes a god in a squat position.

 

To allow the blade cleansing , keris hilts are removable, they are wrapped on the tang with a strip of cloth or string to keep it in place. The following woods are used to make Ukiran :

Tayuman (Cassia Laevigata) Kemuning (Murraya Paniculata) Occasionally Kendayaan (Bauhinia malabarica)

To obtain its color, the Ukiran is bathed in a mixture of mashed red leaves of pacar (Lawsonia inermiss Lann), then into coconut oil mixed with sambakeling berries (Bixa orellana inn) and finally they are polished.

PARTS OF A KERIS

Hilt : Ukiran (Indonesia) - Hulu (Malaysia)

Hilt Cup :Mendak = lower ring below the hiltSelut = larger upper ring that fits into the hilt

Blade :Wilah (Indonesia) - Mata (Malaysia)

Sheath :Warangka (Indonesia) - Sarung (Malaysia)Gambar or Sampir (Malaysia) upper wooden partGandar or Batang (Malaysia) lower wooden part

Metal cover : Pendok

Shoe : Buntut

BIRTH OF THE MODERN KERIS

The Keris as we know it today is the result of a long evolution. It has probably slowly evolved from a short blade leaf shaped dagger, to a proto Buda Keris (10th century) with some dapur characteristics, but still used as a stabbing dagger. The modern Keris is a unique thrusting dagger. It has reached its current shape during the Majapahit Realm (14th century) and its height during the Mataram Kingdom (17-18th century).In other parts of the archipelago it has evolved in other thrusting daggers (the Badik in Sulawesi, the Rencong in Aceh, the Sewar in Minangkabau or the Kujang in West Java), they probably all have common origins. One of the specificity of the Keris is its connection with the serpent deity Naga. A Chinese monk, I- Ching, who lived in Java during the late 7th century noticed the local Buddhism possessed a unique characteristic: praying Naga deities. According to the tradition, the straight Keris represents a still serpent, whereas the wavy represent a moving serpent. The Naga is often represented on Keris blades. Candi   Sukuh,the 14th  century temple, has a bas-relief representing a blacksmith shop with the god Bima forging a straight Keris. The tools to make the blade are below the Keris and above there is a display of blades of different shape:

symmetrical leaf shape with pronounced tips at the base asymmetrical similar to the West Java Kujang or the Kudi.

In the same Candi Sukuh, there is also a Lingga (a phallus) with a straight Keris blade. Most of the information we have about the East Java kingdoms, comes from two books the Nagarakertagama (1365) and the Pararaton (early XVIth century). The first one does not mention the Keris, whereas the second tells us the story of Ken Angrok who ordered a magical Keris to the famous empu Gandrin. The earliest description of we believe to be a pamor blade is made by Ma Huan in "The overall survey of the ocean's shores". Ma Huan was a translator who accompanied the Chinese Admiral Zheng He. During Zheng He third expedition they visited the Majapahit kingdom in 1416 and provided the following account: "... men in Java have a pa-lak stuck in their girdle. Everybody is carrying such a weapon, from the child of three years up to the oldest man. These daggers have very thin stripes and whitish flowers and made of the very best iron alloy; the handle is of gold, rhinoceros or ivory, cut into the shape of devil faces and finished carefully". The pa-lak name applied probably both to badik or keris daggers, and according to Ma Huan, they were already very popular at the early 15th century. The Yogyakarta Sonobudaya Museum, has a 15th century sculpture representing Bima with a dagger on its back. Although the blade can not be seen, the sheath, the hilt and the Mendak are characteristic of the Keris.From the 16th century, according to European travelers the Keris is commonly worn in Java, Bali, Sumatra and Sulawesi. French sailors mention the Keris on several accounts. In 1613, the Portuguese, Godinho de Eredia, provides a detailed description of the dagger. In the 17th century it was worn at the Siamese court. Through trade and immigration, the Keris came to be known in remote places places such as Okinawa.

KERIS AND SIVAISM

Early Indonesian kingdoms (6th–13th centuries A.C.) were heavily influenced by Buddhist and Hindu culture. Temples in central Java are an excellent source of representation of these cultures. What is most striking is that very little testimony is made of the Keris. Most daggers seem to be part of the old Indian leaf shaped blades. For instance the early 9th century Borobodur Buddhist temple does not show, on its 1460 bas-reliefs, any dagger similar to a Keris.

 

In the Prambanan complex (early 10th century), a few bas-relief have leaf-shaped bladed daggers, which have some commonality with the Keris Budha: a short heavy and broad blade, a separate piece at its base like the ganja and a central ridge. One dagger has a slight asymmetry at its base. These daggers may considered as proto Keris.

 

It should be noted that representations of the proto Keris seem to be related to the cult of Siva. In East Java, some Siva and Durga, 13th century statues, are represented with a proto Keris. Although the Prambanan dagger straight hilt is designed for stabbing, the Durga statue dagger has a slightly angled hilt, which could indicate a thrust use, like the modern Keris.

 

Durga Statue  East Java, Pasuruan district, Candi Jawi, c 1300 Mpu Tantular Museum, Surabaya

Durga, the wife of Siva holds a dagger in one of its hand. The dagger is shinning like a pamor blade. The shape is very similar to the daggers that can be seen on Candi Siva at the Prambanan complex. Siva Bhairava   East Java, Malang district, Singosari complex, c 1300 Rijksmuseum voor Volkenkunde, Leiden

This Singgaraja statue shows Siva holding in one hand a dagger with a jambiya shape, similar to one of the 10th century unearthed daggers, and in the other hand a Khatvanga.

CHINESE INFLUENCE

Dong Son (c. 4th–1st centuries B.C.) civilization brought metal work knowledge to the Malay world. This culture is known for its elaborate bronze working, especially for its drums, which were found in most S.E. Asia, including Java.

Although the leaf shaped blades of the Dong Son daggers have not much in common with the Keris, the human shaped hilt has some similarities with the Keris Sajen.

 

Dong Son dagger Sajen Keris Bronze Zhou Ge dagger axe Bronze Shang dagger

 

Dong Son is the name of a small village in today's Vietnam. Indochina is known to have been a link between the Chinese world and the Malay world.

The Chinese Shang (1766-1122 B.C.) and the Western Zhou dynasties (1122-771 B.C.) were the first to cast metal. As all bronze age cultures they used this technique to make better weapons.

 

It is interesting to note the similarities between the Keris Budha and daggers from theses dynasties. The Shang ceremonial dagger, like the Keris is a thrusting weapon and has a revolver shaped hilt representing a zoomorphic creature.

KERIS BUDA

A keris buda from the period 11th to 13th Century. No pamor is in evidence, and the laminated construction technique has not yet appeared. A late keris buda. The blade is of early form, but laminated construction was used, and pamor is in evidence. This keris was probably made after the mid 14th Century, as a copy of an earlier piece. Transitional form of keris. In this blade the emergence of the modern keris has begun. Some features of the keris buda are still in evidence, such as the square tang, high gandik, and broad gonjo. However, the tang, although still essentially square has a slight radius on its front and back, and the blade has lengthened, and become lighter. Close examination reveals residual traces of black iron with what appears to be an inclusion of nickelous material. The bulk of the blade material is heavily grained iron or steel, and as it retains much of its original form, indicates that the laminated outer skin would have been very thin. This blade appears to be an early attempt at laminated construction, and probably dates from 13th to 14th Century East Java. A modern keris made in 1987, the blade executed in the Central Javanese Surakarta style.

 

All scholars seem to agree that the proto keris was of the Keris Buda type, which is characterized by a straight, short, wide and thick blade.

The earliest datable Keris, providing the date has not been added at a later period, is the famous Keris of Knaud dated 1342 AD

Two offering daggers were recently unearthed in Malang near Singgaraja and Janggala, East Java and dated from the 10th century. Thanks to volcanic ash, these daggers were very well preserved, including the bone and wooden hilts, therefore allowing a C14 test.

 

One of them has some of the Keris dapur shapes, such as a ganja, gandik, pejetan and ada-ada. It can therefore be associated with a Keris Budha. This would be the earliest known Keris Budha.

 

Janggala happens to be one of the places, which old Indonesian sources mention as being the cradle of the Keris.

"Journal of the Danish Arms & Armour Society" (Vol 36, #7, Nov. 2003), Karsten Sejr Jensen

ORIGIN OF THE KERIS

by A. G. Maisey. All rights reserved. Country of first publication: Australia

The origin of the Keris still remains a mystery. Javanese temple bas-reliefs are rich of warrior representation, but with edged weapons that have more to do with the Indian world than with the specificity of the Malayu Keris.

A paper which sets forth evidence to be found in the monuments of Central and East Java as the basis for a commentary upon the origin and development of a traditional Javanese weapon.

The modern keris has existed since at least the mid 14th Century. It developed in East Java from an earlier form known in Java as the keris buda. The keris buda was preceded by and, coexisted with, a Javanese dagger with a leaf shaped blade which resembled the leaf shaped blades of Indian swords.

The period during which the keris buda, and its immediate predecessor, came into being was the Early Classical Period (end 7th Century to end 9th Century). This period of Javanese history was heavily influenced by Indian culture and ideas. The evidence, although incomplete, points to the keris being a descendant of the line of weaponry which embraces the leaf shaped blades of India, and proposed by Rawson as " ...a common Aryan heritage of the Indo Aryan peoples".

Note: In this paper keris buda, pre-modern keris and Prambanan II have the same meaning, and modern keris and keris have the same meaning.

 

Description

The keris is a South East Asian dagger.Typically the blade of a keris is of asymmetric form, with the blade wider on one side than on the other. The blade can be either straight or with an uneven number of waves, is usually about 12" to 15" long, and is sharpened on both edges. The surface of the blade frequently bears a pattern, produced during the forging process, and made visible by etching, which is known as pamor.The foregoing blade description relates to the modern keris, which dates from at least the 14th Century. Some keris do deviate from this description, however, for the purposes of this paper, these deviations are not material.

 

Origin

A number of theories have been put forward to explain the origin of the keris (Hill). These range from adaptation of a broken spear, to development from the sting of the stingray. Javanese and Malay traditions attribute origin to legendary figures. An examination of these theories would use much time and space and would contribute little. Suffice to say that when viewed against evidence available in the country of origin of the keris, Java, these theories are difficult to support or accept.Solyom states: "We may only speculate about how and when the keris and its manner of use evolved." He then goes on to mention an early form of keris known in Java as keris buda, which the Javanese attribute to the Central Javanese Hindu Buddhist era (c. 700 A.D. to c. 900 A.D.). He comments further: "Apparently no reliable dating has been obtained for them."Examination of monumental evidence in Java demonstrates that the keris buda did indeed exist during the Central Javanese period. The same sites where representations of the keris buda can be found, contain representations of another very similar dagger which can reasonably be considered to be the direct predecessor of the keris buda. The form of this predecessor is very similar to the leaf shaped blades identified by Rawson as one of the two chief forms of Indian sword blades. Considered in the time and cultural frame work of the Central Javanese period this would seem to indicate the influence of post-Gupta culture on this weapon design. These blade forms are leaf shaped, waisted and with a splayed base. Rawson states that, along with a second Indian blade form, "Both these blade forms are consistently represented in Greek vase paintings from antiquity, so it is very probable that they are a common Aryan heritage of the Indo-Aryan peoples."Another point of similarity with Indian weapon design is in the pommels shown on the swords and daggers of the Central Javanese period. On the swords, these are the common Indian round disc, surmounted by a small dome. On some of the daggers, this disc has become an oblong shape (Harsrinuksmo, p.19), an alteration which would facilitate a waist level, vertical carry.

 

Central Javanese Period (Early Classical)

It is generally accepted that there had been Indian contact with Java from about the second century A.D. (Coedes). By the early 8th Century, the Shailendras, a Buddhist dynasty, had established themselves as rulers in Central Java. Between 775 A.D. and 864 A.D., during the reign of King Samaratunga, the great Buddhist monument of Borobudur was completed, and was probably consecrated in 824 A.D. (de Casparis). Not long after this, early in the 10th Century, the temple complex of Lara Jonggrang was completed.The Lara Jonggrang complex is situated near the village of Prambanan, not far from Jogjakarta in Central Java. Because of its siting it is often referred to as Candi Prambanan (Prambanan temple). This is a Hindu temple devoted to the worship of Shiva.Both Borobudur and Prambanan are examples of Indian art and architectural influence in Java. The architecture of Borobudur is influenced by Indian Gupta and post-Gupta styles (Britannica), and the art and architecture of Prambanan is a synthesis of northern and southern Indian styles (Kempers). The reliefs at both these monuments, although influenced by Indian culture, do not show Indian settings, but place the stories related by the reliefs in a Javanese context.

Borobudur

Harsrinuksmo reports a short weapon, similar to a keris, portrayed in the reliefs of the Buddhist monument of Borobudur. I have searched these reliefs several times in an effort to locate this representation, but to date, I have had no success. A number of other weapon types are shown, however, nothing remotely similar to a keris has been identified.

 

The temple complex at Prambanan consists of the central temple of Shiva, flanked by the temple of Brahma (south) and Visnu (north), and 5 smaller temples. On the inside of the balcony wall of Candi Shiva, and continued on the balcony wall of Candi Brahma, the story of the Ramayana is carved in relief. The relief carvings of Candi Shiva contain at least three representations of weapons, which I shall refer to as "Prambanan I", that I consider to be forerunners of the keris buda. These weapons are daggers with leaf shaped blades, splayed blade base, and with a separate piece fitted to the blade base, as is the gonjo on a modern keris blade. All are fitted with heavy pommels, topped by a dome, in the Indian fashion, and are held in a manner which dictates an overarm stab, rather than a thrust.

 

Candi Visnu carries a representation of at least one dagger similar to Prambanan I in its relief carvings.

All the daggers mentioned above are short, broad, and heavy, and of the same proportions as a keris buda. They display a leaf shaped blade, with greater or lesser waist definition, a distinct central ridge, and splayed blade base. Representations of swords found in the same reliefs also carry leaf shaped blades, however, of a form more suited to the cut, than to the thrust. Many are similar to Rawson's Harasnath khanda, but I am not suggesting a link here, because of the time difference. It is, however, interesting to note the existence of a form similar to the Harasnath khanda, in Central Java in the 9th Century, when Rawson places this form in the 11th Century in India. Was this a separate Javanese development from the same root, or did the Harasnath form exist prior to the 11th Century?

The generally accepted date for completion of the Prambanan complex is early 10th Century, however, evidence does exist in the form of an inscription, dated to the year 856, which implies that this temple complex already existed in that year (R. Soekmono, in Fontein, p. 78).

 

East Javanese Period (Late Classical)

In the late 10th or early 11th Century, the centre of Javanese cultural and political life shifted to the East. The first king after the shift of the court from Central to East Java is known to be King Sindok. He is mentioned in several inscriptions, the earliest dating from 919. He claimed descent from the dynasty of Mataram, which ruled in Central Java following the failure of the Shailendras in about 870 (Vlekke).We know little of East Java in the period from the arrival of Sindok up until the establishment of the kingdom of Majapahit in 1292. Sindok ruled over the kingdom of Kadiri, which was destroyed around the year 1000. Airlangga reunified East Java, and then divided his kingdom between his two sons. Almost nothing is known of this period. In 1222 the kingdom of Singosari arose, followed by Majapahit in 1292. Vlekke suggests that the constant change in the centre of power during this period of Java's history indicates the existence of a number of small principalities in more or less permanent competition with each other. If this was the case, the resulting political instability probably generated unrest and a less than peaceful social environment. History tells us that in such a social environment, the members of that society customarily carry arms as they go about their daily business.From this late classical period there are further examples of the evolution of the keris. An 11th Century East Javanese carving (Fontein, plate 19), shows a demon grasping a weapon with two blades, both of which display the same short, broad, heavy form with waisted blade, splayed base and heavy central ridge, as found in the Prambanan I dagger. However, in this East Javanese example, the blade features are more accentuated than in the Prambanan examples.Candi Singosari (c. 1300), located not far from present day Malang, provides an example of gandik and gonjo, albeit, not on a keris. These features, which are now accepted as being typical of the keris, are found on a dagger with a jambiya shaped blade and bearing a domed, disc shaped pommel (Fontein, plate 25).Fontein also presents a 14th Century East Javanese finial, which shows a man holding a keris of modern proportions. This keris is held in the rapier like fashion of the modern keris.In the Museum Mpu Tantular, in Surabaya, can be found a stone carving of Durga originating from Candi Jawi (14th Century). In one hand Durga grasps a dagger very similar to the Prambanan II dagger, however, the form is considerably more refined, being of a lighter construction than Prambanan II, and fitted with a waved gonjo. This dagger is held in a manner which dictates a thrust, rather than an overarm blow.

 

Candi Panataran

Candi Panataran is located near Blitar, and is the largest temple complex in East Java. Its existence covers the period from 1197 to 1454 (Kempers), and it is a Javanese Hindu complex. The main temple at Panataran dates from 1347 (Kempers), and its base carries reliefs telling the story of the Ramayana.There are many representations of weapons in these reliefs, and swords, spears and daggers bearing blades similar to those found in the reliefs of Prambanan can be identified. Included in these representations of 14th Century Javanese weaponry is a relief of Hanoman using a dagger with many of the features of Prambanan I, and using it as an overarm stabbing weapon. However, in the Panataran relief, this dagger has become a little longer and proportionately thinner.

There are several representations of keris in the Panataran reliefs. Two of these representations are particularly interesting in that one shows clearly the manner of use; and the other the way in which the keris was worn. These keris are still represented as short and broad, however, the relief which depicts use shows that the grip has changed from an overarm stabbing grip to a grip which will allow a rapier thrust. Moreover, the relief showing the way in which a keris was worn demonstrates that the heavy pommel of Prambanan II has disappeared.

Transition

Examination of physical specimens of pre-modern keris and of early examples of modern keris, shows that on some pre-modern keris, a line drawn through the centre of the blade deviates from a line drawn through the centre of the tang by 3°, on other pre-modern keris, this deviation is 8.5° to 9°, and on the modern keris the deviation varies from 8° to 12.5°. The smaller angle of deviation found on some pre-modern keris, and resulting in a blade with a straighter presentation, is consistent with a weapon used to stab overarm, whilst the wider angle of deviation found on other pre-modern keris, and on all modern keris, is consistent with the thrusting style of use of the modern keris. The existence of two distinct angles of deviation in pre-modern keris would seem to indicate that even before the appearance of the modern keris, its immediate predecessor was being used to thrust, as well as to stab.Further evidence that the keris buda was used as, and developed from a weapon used with an overarm stabbing action, is to be found in the tang. The tang of the keris buda is of square section. Such a tang was necessary to prevent the blade from turning in the handle, something very undesirable in a weapon used with a powerful overarm, downwards stabbing action. Conversely, the tang of the modern keris is round, which allows adjustment of the orientation of the blade to the grip, to suit the individual user, a desirable feature of the keris used as a thrusting weapon, which is unimportant where the weapon is used overarm.

Conclusion

In the period from at least 900 A.D. to circa 1300 A.D. stabbing weapons with leaf shaped, waisted, splayed base blades, similar in shape and mounting to Indian leaf shaped blades, were an established form of Central and East Javanese weaponry. The existence of a variation of this weapon, similar in all respects, except for the shortening of one side of the splayed base, is substantiated by representations of this weapon in relief carvings on monuments in Central and East Java, dating from 10th to 14th Centuries.It is an established fact that Indian culture and ideas were a major factor in the development of Javanese culture from at least the 8th Century.The existence in Java of a weapon bearing similar blade shape and mounting to a major Indian style indicates that the design of the Javanese weapon was generated by the Indian design.

The variation of this dagger with one side of the splayed base shortened, resulting in an asymmetric blade base, does not exist in Indian weaponry. This weapon with leaf shaped blade and asymmetric base is original to Java and marks the commencement of the development of the keris. This weapon is known as the "keris buda".In Central Java the keris buda was used primarily, perhaps solely, in an overarm stabbing action. In East Java, during the period from circa 1000 A.D. to circa 1300 A.D., the keris buda underwent changes which resulted in it becoming a longer, lighter, thinner weapon, used to thrust, rather than with an overarm action. These changes saw the appearance of the modern keris.

Reasons for Change

The development of the keris buda from Prambanan I, and the modern keris from the keris buda can be supported with evidence, and accepted with reasonable confidence. However, the reasons for this development are pure hypothesis. Nonetheless, I would like to present the following for your consideration.As a rule form follows function. The Prambanan dagger which eventually developed into the modern keris was a personal weapon. If we can judge by later historical records of the society in which this dagger was found, such personal weapons were carried constantly (Groeneveldt). The mode of dress adopted in Java would make carrying a dagger of the size and design of the Prambanan dagger quite inconvenient. The manner in which such a dagger was carried can be seen on a statue to be found in the north alun-alun of the Surakarta Kraton (Harsrinuksmo, p. 19).I submit that loss of the heavy pommel and refinement of the blade form of the Prambanan daggers, were changes made to permit more convenient wear of the dagger for someone in the everyday dress of a sarung. When the pommel disappeared, and the blade became lighter, the weapon became more suitable for use with a rapier grip, than with an overarm action. As a rapier, the blade became longer, and consequently thinner; for it to have remained the same width and thickness would have made it too slow for effective use as a thrusting weapon. As a thrusting weapon, the necessity for a symmetrically splayed blade base, acting as a cushion for the side of the hand, lessened, thus the blade base became asymmetric, its function now simply to support the first joint of the index finger.Actually, the blade had already become asymmetric prior to any modification along the lines outlined above. Witness Prambanan II, the keris buda. The reason for this earlier adoption of asymmetric form can possibly be explained by the grip used with the keris buda. The shortened side of the blade base supports the fingers, the longer side, the side of the hand. With the use of this grip it is obvious that a projection in front of the fingers is unnecessary, and in some circumstances could cause inconvenience.The political unrest of the late classical period, prior to Majapahit, is also a possible factor in the development of the modern keris from the keris buda. In such times a light, fast, thrusting weapon would tend to be more useful than a weapon used with a slower overarm stabbing action. The lighter weight, and greater convenience of carry of the modern keris would have tended to see this longer, lighter, faster version of the Javanese personal dagger, favoured over the heavier, slower keris buda. Particularly so if the social environment was unsettled, and it was considered desirable to always have a means of defence at hand.However, without technological advancement in forge processes, this development of a longer, lighter, faster, more convenient weapon for personal use, may not have been able to be achieved. Most keris buda do not carry pamor. "They are plain iron..." (Solyom). Conversely one of the distinctive features of the modern keris is its pamor. Weapons constructed with pamor are essentially a sandwich; a core which forms the cutting edge, supported by a laminated plate on either side. This form of blade construction provides much more strength for equal cross section than does a blade of homogenous construction. I believe it is probable that weapons of pamor construction made their appearance in East Java, during the same period which saw the modern keris developed, that is, the three hundred years between 1000 A.D. and 1300 A.D. It is possible that proximity to the north coast, and consequent contact with traders from Persia and the Indian sub-continent played some part in the technological advancement of forge processes, which saw the introduction of blades of pamor construction.The decrease in width of the blade caused a deterioration in the capacity of the weapon to cause haemorrhage. In an effort to compensate for this shortcoming a waved form of blade came into being. This waving of the blade had the additional advantage of allowing it to be more easily withdrawn from a wound. The development of the distinctive features of sogokan, kembang kacang and greneng were probably attempts to divert blood from the grip.These changes had already taken place by the mid 14th Century.

Summary

The modern keris has existed since at least the mid 14th Century. It originated in East Java and was a development of the keris buda, which was a transitional form of an earlier dagger. The development was occasioned by the custom of habitually carrying a dagger as a personal weapon, and the mode of dress.BibliographyBritannica Encyclopedia, 15th Edition, 1983.Casparis de, J.G., quoted in Forman.Coedes, G., The Indianised States of South East Asia.Fontein, Jan, The Sculpture of Indonesia.Forman, B., Borobudur.Groeneveldt, W.P., Historical notes on Indonesia and Malaya compiled from Chinese sources.Harsrinuksmo, Bambang, Ensiklopedi Budaya Nasional.Hill, A.H. (M.A., D, Phil) The Keris and Other Malay Weapons, Journal of the Malayan Branch of the Royal Asiatic Society, Vol. 29, Part 4, No. 176.Kempers, A.J. Bernet, Ancient Indonesian Art.Moertjipto, Drs., Prasetyo, Drs., B., Kusumo, Drs., I.D., Darmoyo. The Ramayana Reliefs of Prambanan.Rawson, P.S., The Indian Sword.Soekmono, R., in Fontein.Solyom, Garrett and Bronwyn, The World of the Javanese Keris.Vlekke, Bernard H.M. Nusantara.

THE KERIS

The Keris is the distinctive edged weapon of the Malayu World. The origin of the word is from the Malayu verb "iris", to cut. It is widely spread in the Archipelago, but has its origin in the island of Java. It is associated with special power due to its blade pattern welding (pamor) and shape (dapur).

 

The Keris is a mystical weapon, Malayu people believe it is inhabited by a spirit, and the choice of a good Keris goes with a thorough knowledge of the power, the magic and the wealth of each pamor and dapur to match your personality and needs. Some keris are transmitted from generation to generation as pusaka (heirlooms).

 

The Keris origin is a subject of controversial theories. The Keris History page is a tentative contribution to this debate. A primitive variation of the Keris called Sajen or Majapahit, often wrongly identified as a proto Keris, is in fact a talisman.

 

The Keris is a unique thrusting dagger from the Malayu world. It covers a geographical area which extends from Southern Thailand, to the Sunda Strait and from Sumatra to the Philippines Moro Land. Although each region has its particularities in terms of blade, hilt or sheath shape, there are four common denominator to make a Keris:

A sinuous or straight double edged blade (wilah) of rough texture often damascened (pamor). A unique asymmetrical part at the base of the blade (ganja). Usually, a separate piece of metal welded together with the blade. A removable hilt (ukiran), to allow the blade cleaning (siraman), with a pistol grip shape, often representing a deity. A sheath (warangka) with a protruding base to accommodate the asymmetrical blade base.