Keris is a dagger-type stabbing weapon (pointed sharp and sharp on both sides) with many cultural functions that are known in the western and central part of the archipelago. The shape is distinctive and is easily distinguished from other sharp weapons because it is not symmetrical at the base of the widened, often blade winding, and many of them have pamor (damascene), which is visible fibers of a bright metal layer on the blade strands. The type of stabbing weapon that has similarities with the keris is badik. Another stabbing weapon of Nusantara is a kerambit.
In the past keris functioned as a weapon in a duel / war, as well as complementary items offerings. In today's use, kris is more an accessory (ageman) in dress, has a number of cultural symbols, or a collection of objects that are valued in terms of aesthetics.
The use of kris is spread to the people who have been affected by Majapahit, such as Java, Madura, Nusa Tenggara, Sumatra, Kalimantan coast, parts of Sulawesi, Malay Peninsula, Southern Thailand and Southern Philippines (Mindanao). Keris Mindanao is known as kalis. Keris in each region has its own peculiarities in appearance, function, technique garapan, and terminology.
Keris Indonesia has been registered in UNESCO as World Non-Material Human Cultural Heritage since 2005.
Origin and function
The origin of the kris has not been fully explained since there is no descriptive written source about it from the period before the fifteenth century, although the mention of the term "keris" has been imprinted on an inscription from the 9th century AD. Scientific study of the development of keris is mostly based on the analysis of figures in the reliefs of temples or statues. Meanwhile, knowledge of the function of the keris can be traced from several inscriptions and reports of foreign explorers to the archipelago.
Beginning: India-China Influence
Sharp weapons with a form suspected to be a source of inspiration for the making of kris can be found in the legacy of the perundagian of Dongson Culture and southern China. The alleged influence of Ancient Chinese culture in the use of stabbing weapons, as the embryo of the kris, is possible to enter through Dongson culture (Vietnam) which is a "bridge" the influx of Chinese cultural influences into the archipelago. A number of present-day krises for offerings have human-shaped handles (not distilir like modern kris), same as daggers Dongson, and blend with blades.
The respect for various metal objects can be traced to the influence of India, especially Siwaism. Dakawu inscription (6th century) shows Indian iconography featuring "wesi aji" such as trident, kudhi, sickle, and sombro kris. Historians generally agree, the kris of the pre-Singasari period is known as the "Buda kris", which is short and not hollow (straight), and is considered the prototype of a dagger. Some daggers findings from Dongson culture have similarities with Buda kris and kris santen. Kris kent has a part of the handle of metal that blends with kris blade. In the Java language, "buda" means ancient.
Prototype of kris from pre-Majapahit period
The carvings of megalithic statues and temple reliefs from the megalithic period until the 10th-11th centenary of the Christian calendar mostly feature other forms of stab guns and "wesi aji" weapons of Dongson and India. The form of a stabbing weapon that is presumed to be a prototype of the kris has no blade on the marijuana so that the blades seem symmetrical, otherwise it generally shows the upstream / deder / carving which is a unity with the blade (deder iras). The most closely resembling a kris is a megalithic heritage from the Basemah Lahat valley of South Sumatra from the 10th-5th century BC that describes a knight riding an elephant with a rifle (dagger) weapon of a kind with a kris just a slashed tendon against marijuana but there is a tendency (degree of slope) against upstream. In addition, a panel relief of Borobudur Temple (9th century) that shows a person holding a similar object of a keris but not yet having a degree of inclination and its upstream / deder still blend with the blade.
From the same century, the Karangtengah inscription dates to 824 AD mentions the term "keris" in a list of equipment. Poh Inscription (904 AD) mentions "kris" as part of offerings that need to be offered. However, it is not known whether the "kris" refers to objects as they are known today.
In the Javanese knowledge of Pader (Padhuwungan), the kris of pre-Kadiri-Singasari is known as "Buda kris" or "kris sombro". These kris are not berpamor and simple. Keris Buda is considered a form of modern keris bodyguards. The example of the Keris kris that is often quoted is the Knaud family's kris from Batavia obtained by Charles Knaud, a Dutch devotee of Javanese mysticism, from Sri Paku Alam V. This keris has a relic of the Ramayana epic on the surface of the blade and includes the year number Saka 1264 (1342 AD) , contemporaneous to the Temple of Upgrading, though one doubts its calendar.
Keris Buda has a form resemblance to various daggers that are seen in temples in Java before the 11th century. The daggers on these temples still show the characteristics of Indian weapons, have not experienced "indigenization" (indigenization). The existence of various depictions of various "wesi aji" as a component of icons of Hindu gods has brought an appreciation to various weapons, including kris. Nevertheless, there is no authentic evidence of the evolutionary change of the Indian style dagger to this keris.
The study of building iconography and carving style during Kadiri-Singasari (13th to 14th centuries) shows the tendency of indigenization from pure India to Javanese style, not to mention the form of kris. One of the Shiva statues from the Singasari period (early 14th century) holds a wji-like "wesi aji", different from the previous depictions. One of the lower reliefs (bas-relief) on the wall of Penataran Temple also shows the use of keris-like rats. Penataran Temple (11th to 13th centuries AD) from the end of Kadiri Kingdom in Blitar, East Java.
Modern kris
The modern keris known today is believed by the keris observers to have their form during the Majapahit period (14th century) but in fact the reliefs in the Bahal Temple relics of the Panai / Pane Kingdom (11th century AD), as part of the Sriwijaya kingdom, in Portibi North Sumatra , shows that in the 10th-11 century modern kris as it is now known to find its form, in addition to the carbon test on kris findings derived from East Java Malang are found intact along with upstream / dedernya made of bone so that the dedernya can be done carbon analysis, shows the result that the dag is from the 10th century.
Based on the earliest modern keris reliefs on the Bahal temple of North Sumatra and the discovery of the Buddhist kris from East Java which both show the age of the 10th century it can be estimated that around the 10th century AD began to create a keris in its modern asymmetrical form.
From the 15th century, one of the reliefs in Sukuh Temple, which is the place of worship from the end of Majapahit, clearly shows a master is making a dagger. This relief on the left illustrates Bhima as the master personification of the middle forged iron, Ganesha in the middle, and Arjuna is pumping the air blowing tube for the furnace. The wall behind the master displays a variety of metal objects forged, including kris.
.... These people [Majapahit] always wear pu-la-t'ou (daggers? Or beladau?) Tucked into a belt. [...], made of steel, with elaborate and delicate patterns on its leaves; Its top is made of gold, horn, or ivory carved in the shape of a human or a gigantic face with a very smooth and diligent cultivation.
- Ma Huan, "Ying-yai Sheng-lan Fai"
Notes Ma Huan from 1416, member Cheng Ho's expedition, in "Ying-yai Sheng-lan" mentions that the Majapahit people always wear (pu-la-t'ou) tucked into a belt. Regarding the word Pu-la-t'ou, although only based on sound resemblance, many argue that it is a "dagger", and since the kris is a stabbing weapon as a dagger it is considered pu-la-t'ou describes a dagger. It seems that research should be done whether it is true that in the majapahit period the dagger is called "dagger" but there is a description that describes that this "dagger" is a dagger and the technique of making prestige has grown well.
It could be what Ma Huan means by Pulat'ou is "Beladau". The word "beladau" is more like "Pu-La-T'ou" than "dagger". If indeed Ma Huan is referring to Ma Huan's description of weapons that are widely used in Majapahit is not a keris but a traditional weapon of type Badik which is now widely used in Sumatra which is curved like Jambiya, although this weapon has a tendency but has no marijuana and grass so it can not be classified as a kris. The assumption that the meaning of Pu-La-T'ou is Beladau still requires research whether it is in the majapahit period many people use beladau / a kind of badik as a weapon.
... The weapons of the king are: swords, abets (whips), pamuk, machetes, peso teundeut, keris. Giant goddess, because it used to kill ...
- Sanghyang siksakanda karesian, Pupuh XVII
The keris is mentioned in the Sundanese script from 1440 Saka (1518 AD), Sanghyang siksakanda of the XVII puppet stanza, which mentions that the keris is the king's weapon, (king, the ksatriya). This text divides weapons in Sundanese society into three groups; weapons for kings (kings, powers, or clans) are swords, whips, pots, jackets, bunches, and kris; weapons for peasants are kujang, baliung, patik, kored, and tapping knives; while the pastor's weapon was the katri, peso raut, peso dongdang, pangot, and pakisi.
... every man in Java, no matter rich or poor, must have a dagger in his house ... and no one man between the ages of 12 and 80 travels without a dagger in his belt. The keris is placed on the back, like a dagger in Portugal ...
- Tome Pires, "Oriental Suma"
Tome Pires, a Portuguese explorer from the 16th century, talked about the habits of using keris by Javanese men. The description is not much different from what Ma Huan mentioned a century ago.
Portuguese and French news from the 17th century have shown the widespread use of pamor and the use of keris grip from wood, horn, or ivory in various places in the archipelago
Development of keris function
At present, the keris has a diverse function and this is demonstrated by the diverse forms of keris available.
The keris as an element of offering as stated by the inscriptions from the first millennium showed the keris as part of the offering. Today, the keris is still part of the offerings. Furthermore, keris is also used in ritual / mystical or paranormal rituals. The keris for this kind of use has a different shape, with the pesi being the head of the keris, so the head blends with the dagger blade. This kind of keris is known as a kris or "majapahit keris" (not the same as Majapahit's strong keris).
Foreign exhibits show the function of the keris as a weapon among Majapahit public. The kris as a weapon has a sturdy, hard, but light blades. Various legends of the period of Demak-Mataram are known for some famous weapon keris, such as keris Nagasasra Sabukinten.
The French report from the 16th century has described the role of keris as a symbol of the greatness of the leaders of Sumatra (especially the Sultanate of Aceh). Godinho de Heredia from Portugal wrote in his journal from 1613 that the Malay inhabitants of the Peninsular ("The End of the Land") had given poison on the keris blades and adorned the sheath and headdress of kris with gems.
The "refinement" of the function of the keris seems to have strengthened since the 19th century onwards, in line with the easing of political turmoil in the archipelago and the strengthening of firearms. In this development, the role of keris as a weapon gradually decreases. For example, in Javanese idealism about a "perfect" man, it is often said that the keris or suspicion is a symbol of the holding of knowledge / skills as a living. The development of the use of keris and the variation of the form of keris (warangka) known now can also be said is a form of refinement of keris function.
Nowadays, Javanese grasslands always see the keris as a tosan aji or "sublime (metal)", not as a weapon. The keris is mushroom, together with a spear; both are regarded as "holding" objects (ageman) which are taken advantage of by taking the form of stinging weapons in the past. In Malaysia, in a strong monarchy culture, the keris becomes a void identity.
The rules for using keris vary by region. In Java and Sunda, for example, the keris was placed on the back of the back in peace but was placed in front of the war. Kris placement in front can be defined as a willingness to fight. In addition, related to the function, the Javanese sarongs also have the main variations: as well as ladrang. Meanwhile, in Sumatra, Kalimantan, Malaysia, Brunei and the Philippines, the keris are placed in front of the ceremonies of greatness.
A sharp weapon with a form that is supposed to be a source of inspiration for making kris can be found on the relics of the Dongson Culture and southern China. Alleged influence on Chinese culture in the use of sting weapon, as a heir to the keris, is possible through the culture of Dongson (Vietnam) which is a "bridge" of the influence of Chinese culture into the archipelago. A number of present-day keris for the sake of sacrifice has a human-shaped handle (not distilled like a modern keris), similar to the Dongson dagger, and blends with its blade.
The respect for various metal objects can be traced to the influence of India, especially Siwaism. Dakuwu inscription (6th century) shows an Indian iconography featuring "wesi aji" such as trident, kudhi, sickle, and sombro kris. Historians generally agree, the kris of the pre-Singasari period is known as the "Buda kris", which is short and not hollow (straight), and is considered the prototype of a dagger. Some daggers findings from Dongson culture have similarities with Buda kris and kris santen. Kris kent has a part of the handle of metal that blends with kris blade.
Materials, manufacture, and maintenance
The basic metal used in the manufacture of kris there are two kinds of metal are ferrous and metal pamor, while pesi kris is made of steel. To make it light the Empu always combine this base material with other metals. Today's kris (nèm-nèman, made since the 20th century) usually wears nickel metal. The good old kris (kris kuna) has metallized pamor metals known to have high titanium content, in addition to nickel, cobalt, silver, lead, chromium, antimony, and copper. The famous meteorite rock is the Prambanan meteorite, which once fell into the 19th century in the Prambanan temple complex.
The making of a keris varies from one master to another, but there are usually similar procedures. Here is a brief process according to one of the libraries. The iron bar as base material is washed or heated to incandescent and then repeatedly forged to remove impurities (eg carbon and various oxides). Once clean, the blades are folded like U-shaped letters to insert the pamor plate inside. Then this fold is re-heated and forged. After pasting and lengthening, this mixture is folded and re-forged over and over again. The way, strength, and forging position, and the number of folds will affect the prestige that comes later. This process is called saton. The final shape is a longitudinal slab. This plate is then cut into two parts, called kodhokan. One piece of steel is then placed between the two kodhokan such as a sandwich sandwich, tied and then dipijarkan and forged to unify. The end of the kodhokan is then made somewhat lengthwise to be cut and used as marijuana. The next stage is to form the pesi, bengkek (candidate gandhik), and lastly form the blade whether or not straight. The making of the luk is done by heating.
The next stage is the manufacture of ornaments (ricikan) by working on certain parts using the miser, grinding, and drill, in accordance with dhapur kris to be made. Silak waja is done by thinking the blade to see the prestige that formed. Cannabis is made following the base of the blades. Hole size adjusted to the diameter of pesi.
The last stage, which is gilding, is done to make the metal kris become iron metal steel. On the Philippines kris is not done this process. Gilding ("taking metal") is done by inserting the blades into a sulfur mixture, salt, and lime juice (called kamalan). Gilding can also be done by spreading a dagger and then immersed in a liquid (water, brine, or coconut oil, depending on the experience the professor makes). Actions of gilding should be done with care because if one can make a keris blade cracked.
In addition to the usual way of Gilding as above in the plating Keris also known as licking jelat is when the burning metal Keris taken and licked with tongue, Akuh Akep is at the time of metallic keris burned taken and dikulum with lips several times and Sepuh Saru is at the time of the burning metal Keris taken and clipped with the female genitals (Vagina) Sepuh Saru is famous is Nyi Sombro, kerisnya form is not big but adjustable. [need a reference]
The giving of warangan and perfume oil is done as keris treatment in general. The treatment of kris in Javanese tradition is done every year, usually in Muharram / Sura month, although this is not a requirement. The term keris treatment is "bathing" the kris, although the actual act is to remove the old perfume oil and rust on the kris blades, usually with acidic liquids (traditionally using coconut water, crushed noni fruit, or lime juice). Blades that have been cleaned and then given a warangan when necessary to reinforce prestige, cleaned again, and then given a perfume oil to protect the blade of keris from new rust. This perfume oil traditionally uses jasmine oil or sandalwood oil that is diluted in coconut oil.
Morphology
Keris or dhuwung consists of three main parts, namely blades (wilah or kris leaf), marijuana ("sustainer"), and upstream kris (carving, handles of kris). The part that should be there is the slats. Hulu kris can be separated or blend with blades. Cannabis is not always there, but the good kris always has it. Keris as a weapon and ceremonial tool is protected by kerung keris or warangka.
Kris blade is the main part that becomes the identification of a kris. Knowledge of the shape (dhapur) or morphology of the kris becomes important for the purposes of identification. The form of kris has many spiritual symbols besides aesthetic value. Common things to consider in the morphology of the keris is bend (luk), ornament (ricikan), color or blade of the blade, and the pattern of pamor. The combination of these components produces a number of standard forms (dhapur) of keris that are widely described in the libraries of the kris.
The influence of time influences the making style. The style of kris making is reflected from the tough concept, which is usually associated with historical and geographical periodization, and the master who makes it.
Hulu or keris grip
The handles of the kris (Javanese: gaman, or upstream kris) are various motifs, for the Balinese kris there is a form like a god, pedande (priest), giant, dancer, forest hermit and some are carved with kinatah gold and precious stones and usually inlaid with ruby rubies.
Sulawesi kris handle describes seabirds. It is a symbol of some professions of Sulawesi society who are seafarers, while birds are the symbol of the world of salvation. As well as the bird head motif used in Riau Lingga kris, and for other areas as a tosan aji development center such as Aceh, Bangkinang (Riau), Palembang, Sambas, Kutai, Bugis, Luwu, Java, Madura and Sulu, kris has carvings and different symbols. In addition, the material used was derived from various materials such as ivory, bone, metal, and the most are wood.
To handle the kris of Java, the outline consists of wingking sir (head of back), jiling, cigir, cetek, bathuk (head of front), weteng and bungkul.
Warangka or kris sheath
Warangka, or kerung keris (Banjar language: kumpang), is a kris component that has certain functions, especially in the social life of Javanese society, at least because this part is seen directly. Warangka originally made of wood (the common ones are teak, sandalwood, timoho, and yellow). In line with the development of the epoch occurred the addition of wrangka function as a reflection of social status for its users. The top or ladrang-gayaman often replaced with ivory.
Broadly speaking there are two forms of warangka, the type of warangka ladrang consisting of parts: a cup, lata, beard, gandek, godong (shaped like a leaf), axle, ri and cangkring. And the other type is the type of wrangka gayaman (gandon) whose parts are almost the same as the wrangka ladrang but there is no junk, godong, and gandek.
Usage rules wrangka this form has been determined, although not absolute. Wrangka ladrang is used for official ceremonies, eg facing the king, other official palace ceremonies (coronation, appointment of royal officers, marriage, etc.) with the intention of reverence. The method of using it is to slip a keris axle in the folds of the belt (stagen) on the back waist (included as a consideration for the king's safety). While wrangka gayaman used for daily purposes, and the keris placed on the front (near the waist) or behind (back waist).
In war, which is used is kris wrangka gayaman, the consideration is from the practical and concise, because wrangka gayaman more allows fast and easy to move, because the shape is more simple.
Ladrang and gayaman are wrangka forms, and the main part according to the wrangka function is the long-shaped bottom (along wilah kris) called axle or antupan, the axle function is to encase the wilah (blades) and usually made of wood (considered for not damage wilah made from metal mixture).
Because the axle function to wrap, so its beauty function is not preferred, then to beautify it will be coated like cylinders called pendok. This part of the pendok (layer of sleeve) is usually carved very beautiful, made of brass metal, suasa (gold copper mixture), silver, gold. For areas outside Java (among Bugis kings, Goa, Palembang, Riau, Bali) pendoknya made of gold, accompanied by additional ornaments such as embroidered straps of gold and diamond-studded flower diamonds.
For the Javanese kris, according to the shape of the pendok there are three kinds, namely (1) bunton pendok shaped flat sleeveless without halves on its side, (2) pendok blewah (blengah) split lengthwise to one end so that the axle will be seen, and (3) dented mask whose hemisphere is located only in the middle. When viewed from the decoration, there are two types of pendok that is carved and plain pendok (without carving).
Wilah or kris blades
Wilah, wilahan, or blade is the main part of a kris. Wilah kris is a metal that is forged in such a way that it becomes a sharp weapon. Wilah consists of unequal parts for each wilahan, which is usually called the kitchen, or the naming of various shapes on wilah-blades (there are dozens of forms of kitchen). For example, can mention the kitchen tall mayang, jaka lola, pinarak, jamang murub, bungkul, kebo tedan, pegalak sitegal, dll.
At the base of the womb is a pesi, which is the lower end of a keris or keris. This is the part that goes into the handle of the keris (carving). This pesi is between 5 cm to 7 cm long, with a cross section of 5 mm to 10 mm, its shape is round like a pencil. In East Java area called paksi, in Riau called nipple, while for Serawak, Brunei and Malaysia called punting.
At the base (bottom of kris) or the lower part of a kris called cannabis (for the Malay peninsula region call it aring). In the center there is a hole pesi (round) exactly to enter the pesi, so part wilah and marijuana inseparable. Cultural observers tosan aji say that the unity represents the unity of phallus and yoni, where marijuana represents the yoni symbol while pesi represents its lingganya. Cannabis is cursory lizard-shaped, the front called sirah lizard, the neck is called gulu meled, the abdomen called wetengan and tail called sebit ron. Various forms of cannabis there are various, wilut, dungkul, kelban leech and sebit rontal.
Luk, is a curved part of the kris-blades, and seen from the shape of the dagger can be divided into two major groups, namely a straight dagger and keris whose blades winding or luk. One simple way of counting the blade on the blade, starting from the base of the kris towards the tip of the kris, calculated from the convex side and done on both sides across-across (right-left), then the last number is the number of luks on the sides and the amount is always gasal (odd) and never even, and the smallest is three (3) and most of them are thirteen (13). If there is a dagger whose number of luk is more than thirteen, usually called kris kalawija, or keris is not uncommon.
Pasikutan, tough keris, and developments in the present
What is meant by pasikutan is "romance" or emotional impression generated by the form of a dagger. Usually, the personification is pinned on a dagger, for example a kris looks like "humpback," "uninspired", "cheerful", "unbalanced", and so on. The ability to identify the followings is an advanced stage in deepening science and bringing someone to the edge of the kris.
The style / style of making a keris is influenced by the age, residence and taste of the master who made it. In Javanese terms of extraction, keris style according to time and place is termed as tough. Tangguh can also be interpreted as "approximate", meaning that the estimation of a kris follows the style of a certain time or place. The "suspension" of keris is generally done on kris sheaths, although new kris can also be made to follow a certain respite, depending on the wishes of the keris owner or owner.
Tough kris is not absolute because the description of any respite can be overlapping. In addition, the old libraries have no agreement on the masters who are put into a respite. This is due to the oral tradition that before the 20th century was used in the science of life.
Though tough is not synonymous with age, the toughest keris (Javanese) that can be found today is tough Buda (or Buda kris). The oldest modern heirloom kris is considered to come from the tough Pajajaran, ie from the period when most of Central Java was still under the influence of Galuh Kingdom. The youngest heirloom kris is from the reign of Pakubuwana X (ending 1939). Furthermore, the quality of kris making continues to decline, even in Surakarta in the decade of the 1940s none of the clever kris survived.
The revival of keris kris art in Surakarta began in 1970, handed by K.R.T. Hardjonagoro (Go Tik Swan) and supported by Sudiono Humardani, through the Association of Taste Bring Aji. Slowly clever keris activity rose again and finally keperisan science also became a study program at the College of Arts Indonesia Surakarta (now ISI Surakarta).
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