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It has spread its influence far beyond its initial beginnings to Bali, Lombok, Kalimantan, and even to Brunei Darussalam, Malaysia and Mindanao. From a stabbing weapon it has developed into a social status symbol and a symbol of manhood For you who are interested and aspiring Keris collectors, the following are the "rules" you should follow: TUHSIRAPUH MORJOYO NGUNNGGUH This acronym applies basically to the Keris blade, WUTUH Wholeness, completeness of the blade WESI The metal of the blade GARAP Workmanship SEPUH Age of the blade, the older the more valuable PAMOR The Damascening WOJO The "steel" cutting edge GUWOYO Appearance WANGUN Elegance MUNGGUH Appropriateness GENERAL DESCRIPTION OF THE JAVANESE KERIS The Keris, a double edged assymetrical stabbing weapon, is found not only all over Indonesia except Maluku and Irian Jaya, but also in Malaysia, Singapore, Brunei Darussalam, the Philippines and Thailand. According to Javanese keris lore, the development of the Keris can be assumed to take a parallel course with the kingdoms of Java. Unfortunately myth and fact are also intertwined that it is sometimes difficult to separate the two. From the "Keris-World" chronology, the development of the Javanese Keris is as follows: Period The "Empu"s Time Life 1st Purwocarita / Kadewan Days of the Gods 2nd Buda (Cailendra/Borobudur ?) 8th-10th Century AD 3rd Jenggala/Kediri/Singasari 928-1292 4th Pajajaran Empu Kuwung, Empu Ni Sombro 13th-14th Century AD 5th Majapahit Empu Supa, Empu Jigja 1293-1528 --- Tuban Empu Bekeljati 14th-15th Century AD 6th Demak Empu Supa 1478-1548 --- Madura Empu Kasa 16th-17th Century AD 7th Pajang Empu Umyang, Empu Kodhok 1546-1586 8th Mataram (Senopaten - Plered) Empu Kinom, Empu Guling 1586-1678 9th Kartasura Empu Lujuguna, Empu Brajaguna I 1678-1745 10th Surakarta Pakubuwana IV Empu Brajaguna II-III 1788-1820 ----- Surakarta Pakubuwana IX Empu Japan, Empu Singawijaya 1861-1893 ----- Surakarta Pakubuwana X Empu Jayasikadga, Empu Wirasukadga 1893-1939 11th Yogyakarta Hamengkubuwana VII Empu Taruna Dahana 1877-1921 After the reign of Pakubuwana X, there was no significant development of the Keris. Only about 20 years ago was there a significant renaissance of the Keris. It is the duty of the new king to create a powerful new Keris, or at least to make an "offspring" or mutrani of an existing ampuh or powerful Keris. The knowledge of the Javanese Keris has been passed on mainly by word of mouth. However, some written material has been found in the literature of RNg Ronggowarsito, or in the old documents like Arjuna Wiwaha, Serat Pararaton, Babad Tanah Jawi and some others. Information in the Keraton is not available to the general public. Some information concerning the Keris is also found on the reliefs of the Candis Borobudur, Prambanan, Panataran, Sukuh and others. THE PHYSICAL SIDE OF THE KERIS There are two main physical characteristics of the Keris, namely: The Dapur or Shape and the Pamor or Damascening / Interlay. The DAPUR or SHAPE The following diagram describes the detailed parts of the Keris blade, giving the Javanese names for each part. A combination of these parts gives the name of the Dapur or Shape. It is of course obvious that prior to all these main separation is between a straight blade Keris LERES or a curved blade Keris LUK. Some names of the Dapur are derived from the names of the Keris itself. These names may be mythical or factual. For instance, the following table gives the names of the Keris and their Mythical owners ( WAYANG ). Name of Weapon Owner Form of Weapon Kyai Brojol Prabu Kresna Keris Kyai Jalak Adipati Karna Keris Kyai Pulanggeni Raden Arjuna Keris Kyai Pasopati Raden Arjuna Arrow In the story of BHARATAYUDHA (the war among the Bharata family), one of the well known episodes is the duel between Adipati Karna and Arjuna. Both warriors are the sons of Dewi Kunthi, fighting on opposite sides. In the tradition of Bharatayudha, the duel is conducted from a horse-drawn carriage, Adipati Karna has Prabu Salya, King of Mandaraka who is also his father-in-law as kusir or coachman, and Arjuna has Batara (Prabu) Kresna, King of Dwarawati. Adipati Karna is a good example of loyalty to one's sovereign lord but knowing full well that actually he is in the wrong. The victor, Arjuna killed Adipati Karna using the arrow "Pasopati". Pasopati is now the name of a Dapur Keris with the following characteristics or ricikan: Kembang Kacang one; Lambe Gajah two; Sogokan two; Ri Pandan and Gusen Not only do wayang characters have special Kerises, but Dapur Keris are also named after wayang characters: e.g. Dapur Karna Tinanding, Semar Tinandhu and so on. The underfollowing are some images of the kerises bearing the wayang characters. Dapur Keris; from left to right: Semar Tinandhu, Karna Tinandhing, Anoman, Pandhawa Lare, Pandhawa Karna Tinandhing, Buto Ijo The PAMOR or DAMASCENING / INTERLAY The word Pamor is derived from the Javanese word awor which means mixed. Beside the Dapur, the Pamor visually defines the characteristics of a Keris. The following is one of the famous and typical Pamor named the Pamor Nagasapta: There are basically two techniques of making the Pamor: "PAMOR JWALONO" There is no intent to design or form the Pamor. The material is mixed during the making of the Keris. Repeated folding results in a Pamor like the Beras Wutah and Kulit Semangka. "PAMOR ANUKARTO" The Empu has the intent to make a certain type of Pamor, perhaps on order. A specific design indicates a certain "power". For instance: "Pamor Udan Mas", this Keris is good for trading, brings luck. "Pamor Ron Genduru / Kenduru" is good for managing people in business, and so on. Sometimes the Empu intends to make one type of Pamor (eg. "Pamor Ron Kenduru"), but the result is a different type of Pamor (eg. "Pamor Ganggeng Kanyut"). Albeit its similarities, it is a different Pamor. This is not indicative of the Empu's failure, but more like devine intervention. This brings us to the story of Ken Arok, who was so enamoured by Ken Dedes, the wife of Akuwu Tunggul Ametung, after catching a glimpse of the heel calf and ankle as she alighted from her carriage. He ordered a special Keris from Empu Gandring. The book, Pararaton, however, does not give a detailed description of what type of Keris it was. The Keris was actually unfinished. When Ken Arok came to collect it from Empu Gandring at the promised time and found the Keris unfinished, he became so angry that he took the Keris from Empu Gandring and stabbed him to death. Before he died, Empu Gandring cursed Ken Arok, "You and seven generations to come will die by this Keris!". Ken Arok lent the Keris to Kebo Ijo who bragged about the Keris and showed it off to everyone. Many people admired it and it became associated with Kebo Ijo. To cut a long story short, one day Ken Arok "stole" the Keris from Kebo Ijo and used to kill Akuwu Tunggul Ametung, so that Kebo Ijo got the blame. Ken Arok then married Ken Dedes and became Akuwu and later King Rajasa of the Singosari Kingdom. What can we deduct from this? The Keris is endowed with power, the Keris is alive, the Keris is Ampuh. But to what extent? Can it kill? Yes, but it can also give the holder the power to become king (like the story of Ken Arok). The Pamor brings with it certain "power" characteristics. Is this true? Wallahu'alam bisawab! Qien sabe! There are many stories about the "power" of the Keris. Most of them are hearsay. They cannot be scientifically demostrated. But it IS there, many people believe it is there!. THE FUNCTIONS OF THE KERIS There are many functions that attributed to the Keris First and foremost as a weapon. It is used as a stabbing weapon at close quarters. Myth has it that some Keris can "fly" and "home in" like a missile. A symbol of Social Status. The following table indicates the usage of the Keris for social status. It is based however on the pendhok or metal sheath of the scabbard, not so much on the blade. Red Pendhok Kemalo Only for the King and his close relatives. The lowest is a nobleman with Bupati rank. Green Pendhok Kemalo for ministers Brown Pendhok Kemalo for courtiers Black Pendhok Kemalo for palace servants and people in general Ceremonial and Ritual. As a token of appreciation. For instance, Sultan Agung, after sacking of Kadipaten Pati, gave his general Keris with gold embelishment on the ganja depicting an elephant and lion. As an emblem of personification. Ambassador: At the wedding of Princess Juliana of the Netherlands to Prince Bernhard, Sultan Pakubuwana X of Surakarta, sent his son, GPH Suryohamijoyo to represent him at the ceremony wearing the Sultan's Keris called Kanjeng Kyai Pakumpulan. If one cannot attend one's wedding, for whatever reason, one can send one's Keris instead. As a token of surrender. Pangeran Diponegoro, when surrendering to the Dutch, gave up his Keris. As a complement when wearing traditional Javanese clothing. There are many more functions that are attributed to the Keris. EMPU DARI ZAMAN KE ZAMAN Dua arti dalam istilah empu, pertama dapat berarti sebutan kehormatan misalnya Empu Sedah atau Empu Panuluh. Arti yang kedua adalah ‘Ahli’ dalam pembuatan ‘Keris’. Dalam kesempatan ini, Empu yang kami bicarakan adalah seseorang yang ahli dalam pembuatan keris. Dengan tercatatatnya berbagai nama ‘keris’ pastilah ada yang membuat. Pertama-tama yang harus diketahui adalah tahapan zaman terlahirnya ‘keris’ itu, kemudian meneliti bahan keris, dan ciri khas sistem pembuatan keris. Ilmu untuk kepentingan itu dinamakan ‘Tangguh’. Dengan ilmu tangguh itu, kita dapat mengenali nama-nama para Empu dan hasil karyanya yang berupa bilahan-bilahan keris, pedang, tombak, dan lain-lainnya. Adapun pembagian tahapan-tahapan zaman itu adalah sebagai berikut: 1.Kuno (Budho) tahun 125 M – 1125 M meliputi kerajaan-kerajaan: Purwacarita, Medang Siwanda, medang Kamulan, Tulisan, Gilingwesi, Mamenang, Penggiling Wiraradya, Kahuripan dan Kediri. 2.Madyo Kuno (Kuno Pertengahan) tahun 1126 M – 1250 M. Meliputi kerajaan-kerajaan : Jenggala, Kediri, Pajajaran dan Cirebon. 3.Sepuh Tengah (Tua Pertengahan) tahun 1251 M – 1459 M Meliputi Kerajaan-kerajaan : Jenggala, Kediri, Tuban, Madura, Majapahit dan Blambangan. 4.Tengahan (Pertengahan) tahun 1460 M – 1613 M Meliputi Kerajaan-kerajaan : Demak, Pajang, Madiun, dan Mataram 5.Nom (Muda) tahun 1614 M. Sampai sekarang Meliputi Kerajaan-kerajaan : Kartasura dan Surakarta. Telah kami ketengahkan tahapan-tahapan zaman Kerajaan yang mempunyai hubungan langsung dengan tahapan zaman Perkerisan, dengan demikian pada setiap zaman kerajaan itu terdapat beberapa orang Eyang yang bertugas untuk menciptakan keris. Keris-keris ciptaan Empu itu setiap zaman mempunyai ciri-ciri khas tersendiri. Sehingga para Pendata benda pusaka itu tidak kebingungan. Ciri khas terletak pada segi garap dan kwalitas besinya. Kwalitas besi merupakan ciri khas yang paling menonjol, sesuai dengan tingkat sistem pengolahan besi pada zaman itu, juga penggunaan bahan ‘Pamor’ yang mempunyai tahapan-tahapan pula. Bahan pamor yang mula-mula dipergunakan batu ‘meteor atau batu bintang’ yang dihancurkan dengan menumbuknya hingga seperti tepung kemudian kita mengenali titanium semacam besi warnanya keputihan seperti perak, besi titanium dipergunakan pula sebagai bahan pamor. Titanium mempunyai sifat keras dan tidak dapat berkarat, sehingga baik sekali untuk bahan pamor. Sesuai dengan asalnya di Prambanan maka pamor tersebut dinamakan pamor Prambanan. Keris dengan pamor Prambanan dapat dipastikan bahwa keris tersebut termasuk bertangguh Nom. Karena diketemukannya bahan pamor Prambanan itu pada jaman Kerajaan Mataram Kartasura (1680-1744). Bila kita telah mengetahui tangguhnya suatu keris maka kita lanjutkan dengan menelusuri Empu-Empu penciptanya. I.Zaman Tangguh Budho (Kuno) : 1.Zaman Kerajaan Purwacarita, Empunya adalah: Mpu Hyang Ramadi, Mpu Iskadi, Mpu Sugati, Mpu Mayang, danMpu Sarpadewa. 2.Zaman Kerajaan Tulis, Empunya adalah: Mpu Sukmahadi. 3.Zaman Kerajaan Medang Kamulan, Empunya adalah: Mpu Bramakedali. 4.Zaman Kerajaan Giling Wesi, Empunya adalah: MpuSaptagati dan Mpu Janggita. 5.Zaman Kerajaan Wirotho, Empunya adalah Mpu Dewayasa I. 6.Zaman Kerajaan Mamenang, Empunya adalah: Mpu Ramayadi. 7. Zaman Kerajaan Pengging Wiraradya, Empunya adalah Mpu Gandawisesa, Mpu wareng dan Mpu Gandawijaya. 8. Zaman Kerajaan Jenggala, Empunya adalah: Mpu Widusarpa dan Mpu Windudibya. II.Tangguh Madya Kuno (Kuno Pertengahan) 1.Zaman Kerajaan Pajajaran Makukuhan, Empunya adalah: Mpu Srikanekaputra, Mpu Welang, Mpu Cindeamoh, Mpu Handayasangkala, Mpu Dewayani, Mpu Anjani, Mpu Marcu kunda, Mpu Gobang, Mpu Kuwung, Mpu Bayuaji, Mpu Damar jati, Mpuni Sumbro, dan Mpu Anjani. III.Tangguh Sepuh Tengahan (Tua Pertengahan) 1. Zaman Kerajaan Jenggala, Empunya adalah Mpu Sutapasana. 2. Zaman Kerajaan Kediri, Empunya adalah : 3. Zaman Kerajaan Majapahit, Empunya adalah: 4. Zaman Tuban/Kerajaan Majapahit, Empunya adalah: Mpu Kuwung, Mpu Salahito, Mpu Patuguluh, Mpu Demangan, Mpu Dewarasajati, dan Mpu Bekeljati. 5.Zaman Madura/Kerajaan Majapahit, Empunya adalah: Mpu Sriloka, Mpu Kaloka, Mpu Kisa, Mpu Akasa, Mpu Lunglungan dan Mpu Kebolungan. 6.Zaman Blambangan/Kerajaan Majapahit, Empunya adalah: Mpu Bromokendali, Mpu Luwuk, Mpu Kekep, dam Mpu Pitrang. IV. Tangguh Tengahan (Pertengahan) 1.Zaman Kerajaan Demak, Empunya adalah: Mpu Joko Supo. 2.Zaman Kerajaan Pajang, Empunya adalah Mpu Omyang, Mpu Loo Bang, Mpu Loo Ning, Mpu Cantoka, dan Japan. 3.Zaman Kerajaan Mataram, Empunya adalah: Mpu Tundung, Mpu Setrobanyu, Mpu Loo Ning, Mpu Tunggulmaya, Mpu Teposono, Mpu Kithing, Mpu Warih Anom dan Mpu Madrim V.Tangguh Nom (Muda) 1.Zaman Kerajaan Kartasura, Empunya adalah: Mpu Luyung I, Mpu Kasub, Mpu Luyung II, Mpu Hastronoyo, Mpu Sendang Warih, Mpu Truwongso, Mpu Luluguno, Mpu Brojoguno I, dan Mpu Brojoguno II. 2.Zaman Kerajaan/Kasunanan Surakarta, Empunya : Mpu Brojosentiko, Mpu Mangunmalelo, Mpu R.Ng. Karyosukadgo, Mpu Brojokaryo, Mpu Brojoguno III, Mpu Tirtodongso, Mpu Sutowongso, Mpu Japan I, Mpu Japan II, Mpu Singosijoyo, Mpu Jopomontro, Mpu Joyosukadgo, Mpu Montrowijoyo, Mpu Karyosukadgo I, Mpu Wirosukadgo, Mpu Karyosukadgo II, dan Mpu Karyosukadgo III. Demikian sekilas uraian tentang Mpu-Mpu dan zaman ke zaman. Keberadaannya sudah tentu menyemarakkan dunia perkerisan selalu sarat dengan karya-karya baru yang terus berkembang dari zaman ke zaman. Dari keris-keris lurus hingga keris-keris yang ber luk. Ditambah dengan beraneka macam ragam hias pada bilahannya. Semua menuju ke arah maju, tetapi tidak meninggalkan pakem (standar). Ragam hias itu berupa kepala hewan yang diletakkan pada gadik misalnya kepala naga, anjing, singabarong, garuda, bahkan puthut. Dengan ditambahkannya bentuk-bentuk itu, sekaligus nama keris itupun berubah, naga siluman, naga kembar, naga sosro, naga temanten, manglar monga, naga tampar, singa barong, nogo kikik, puthut dan lain-lainnya. Bahkan zaman Kasultanan Mataram sejak masa Pemerintahan Sultan Panembahan Senopati, dunia Perkerisan tampak makmur lagi, lesan mewah tampak pada bilahan keris yang diserasah emas. Sultan yang arif dan bijaksana itu membagi-bagikan keris sebagai tanda jasa kepada mereka yang berjasa kepada pribadi Sultan maupun kepada Negara dan Bangsa. Tentu saja ragam hiasannya satu dengan lain berbeda walaupun demikian tidak meninggalkan motif aslinya. Hiasan yang terasah emas itu terletak pada gonjo atau wadhidhang dengan bentuk bunga anggrek atau lung-lungan dari emas. Atau sebantang lidi yang ditempelkan pada gonjo atau dibawah gonjo terdapat Gajah dan Singa terbuat dari emas juga. Tentu saja penciptanya adalah para pakar perkerisan yang kita kenal dengan sebutan Empu keris senjata tradisional indonesia,tosan aji,kabudayan jawi,empu supo,kerajaan jawa,kebudayaan jawa,ilmu kasepuhan,ilmu kejawen,ilmu ghaib,ilmu hikmah,toak bala,ruwatan,nogososro sabuk inten,senjata perang,perebutan kekuasaan,piandel,ageman,busono jowo,babad tanah jawa,sejarah tanah jawa,empu keris,mas kawin,gayaman,ladrang,esoteri,jamas pusaka,jamasan, web design Indonesia, Web Page Design for Designers"Editorials" and reference material on selected topics, plus a resource directory. 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