Introduction:
The Keris is a dagger unique to the Malay world; it is found in Southern Thailand (Patani), Malaysia, Indonesia, Southern Philippines (Mindanao), and supposedly in the Cham areas of Cambodia. The Keris originated in Java. No precise date can be given. However, it would be safe to say that the proto-keris was developed between the 9th century AD and the 14th century AD. Most scholars (albeit western) put the date to sometime in the 12th century AD. The basis of this is that the earliest representation of a true Keris in temple carvings appear on the 14th century Candi Shukur. The Keris would have taken time to evolve into its final form and the experts estimate that it would have taken about 100 to 200 years. Hence the proto-keris must have appeared sometime in the 12 century. Some sources date Keris origin as far back as the 7th century, but it is unlikely that the Keris was invented before the 9th century. There are no representations of Keris in the temple carvings of Borobudur and Prembanan which date from that time. It is unlikely that a weapon of such spiritual and cultural significance would be left out if it had existed at that time. Some Malay peoples claim the Keris to have originated in their culture. The Malays and the Bugis have claims to the keris being their invention. However, it is clear that the Keris is a Javanese invention. None of the non-Javanese myths or heroic legends concerning the Keris predates Javanese myths or physical evidence.
What Makes a Knife a Keris?
A typical Keris consists of a blade, sheath, hilt, a hilt to blade fittings and often a metal stem cover. The double edge blade may be wavy or straight and is often damascene with beautiful patterns (pamor) forged into the steel. The base of the blade always, or rather, must widen at one side, for this is the feature that unite all the Keris from all origin into the family of one common weapon. It is in this detail and others found at the bottom of the blade that make the Keris stand out from other bladed weapons.
The Keris blade suddenly flares asymmetrically out as it reaches the base at the tang. There the blade meets the "Ganja", a separate piece of metal which is secured firmly to blade by a special joint. The Ganja is taken from the same billet as the blade in the early stages of forging. The Ganja is sharp at one end and relatively blunt on the other; these features are called the "Aring" and the "Degu" respectively. The tang is fitted through the Ganja, which is merged with the blade as smoothly as possible such that sometimes it is not noticed as separate from the blade. Many authorities use the Ganja as the definitive structure that characterizes a blade as a Keris. Other key features at the base of the blade are the Picetan, the depression on the blade where the blade is held between the thumb and the fore-finger; the kembang kacang, a feature above the picetan to give protection to the thumb and the forefinger; the sogokan, decorative groves at the base of the blade; and saw-like serrations along both edges called either the janggut, if above the kembang kacang, or ri-pandan if on or above the Aring. The janggut and ri-pandan are actually guards, designed to catch an opponent's blade and prevent it from reaching the hand. However, there are no fixed rules on whether these features must be present or what forms they take.
The blade or bilah in Malay, has three basic characteristics: Perabot, Dapor and Pamor
Perabot:
These sculptured or chiseled features found at the bottom half of the blade are called Perabot. In a well made Kris, these features are considerably intricate and some are with animals or human figures. They combine with other features of the blade to create a complex system of blade categorization.
Dapor:
Aside from these distinctive base features, the Keris comes in all shapes and sizes imaginable. The Indonesian term for the shape of the blade is Dapor. At last count, there are about 145 listed and identified Dapor (Groneman, in his writing (1910), describes 118 types, 40 of which are straight and 78 wavy. Sir Stamford Raffles (1817) says the varieties exceed 100 and provide illustrations for 41 common types). This doesn't include the variations in-between. While the conventional view of a Keris is that it is wavy, straight blades abound and actually outnumber the wavy blades by about two to one. The waves or "luk" are always odd in number when counted in the traditional way; the first luk starts above the picetan, and the second on the alternate side of the blade and on and on till the tip, although it is sometimes difficult to distinguish the last luk. Some of the common dapur are Sempana (7 luk) or Sangkelat (13 luk). Some blades have a lion (singa), snake or naga, or a praying man (pendita) instead of having a kembang kacang. The names of the dapur of these blades follow the motive they have like Singabarong or Nagasasra for example.
Pamor:
The most striking feature of the keris is the damascene or "Pamor", this is the pattern of white lines appearing on the blade. Pamor is formed becaused the keris is not made from a homogenous piece of metal but a combination of iron, steel and iron with a high nickel content (often sourced from meteorite falls). The iron gives the Keris its body, and the steel its cutting edge. It is the nickel that gives the blade its pamor. The Keris blades are forged by a technique known as pattern welding, one in which the layers of different metals are pounded and fused together while red hot, folded or twisted, adding more different metals, pounded more and folded more until the desired number of layers are obtained. The rough blade is then shaped, filed and sometimes polished smooth before finally acid etched to bring out the contrasting colors of the low and high carbon metals. Base iron turns black in such a solution while the nickel remains unaffected. Smiths or Empu ( a term of respect) have learnt and mastered the art of laying out nickel and directing the forging to give a desired pamor. The decorative effect in a good pamor is beautiful and fascinating. The patterns obtained may up to a certain extent, depending on the design, be controlled by a skilful smither or empu, whose designs range from misty to bold to three dimensional texture.
Pamor Types:
There are basically two classes of pamor; flat "mlumah" and vertical "miring". Pamor mlumah lies parallel to the flat of the blade such that if you run a finger on a blade with pamor mlumah, it is relatively smooth to the touch. Common mlumah pamor are Kulit Semangka (Watermelon Skin), and Beras Wutah (Scattered Rice Grains). Other varieties are Bendo Sedago and Uler Lurut. Pamor miring, on the other hand, raises up perpendicularly or diagonally from the flat of the blade. If you run a finger down a blade with pamor miring, you will feel like your finger is going over many tiny ridges. Most of the elaborate pamor are of the miring class like Blarak Ngirid (Coconut Fronds) and Ron Genduru or Bulu Ayam (Rooster's feathers).
Aside from this, there is also a concept of "willed" and "fated" pamor. "Willed" or pamor rekan refers to pamor designs that are pre-planned. "Fated" or pamor tiban is pamor left to chance, or to the grace of God, in the process of forging. Most pamor tiban are of the mlumah class. They have very strong spiritual connotations. Some come is shapes of animals, or a star or a circle in an unexpected place. The most powerful are those that resemble a man. Groneman describes 48 styles while the publication from the National Museum in Singapore has 70 styles of overall pamor and 52 individual small design markings.
The subject of Pamor with its varieties would fill an entire volume. It forms a large part of the mystique of the Keris. A study of pamor with aspects of producing it rewards the person with unexpected insight to the mindset of bygone eras where earthly and unearthly wonders are ever present in the various designs.
The Hilt and Sheath and Other Fittings:
The hilt, sheath and fittings of a Keris vary from region to region. Knowledge of the various styles can help to identify the region a Keris comes from. Despite the varying styles and nuances in design, there are basic components common all.
The Hilt:
The hilt of a Keris is a sculpture in miniature. It is mostly carved from wood but every conceivable material can be used from horn to ivory to silver or gold and even fossilized mammoth tooth and Tridacna shell. Designs, however, tend to be traditional and 20th century innovations are rare. Keris hilts descend from lifelike representations of a man. The spread of Islam caused the evolution of the original hilts into very abstract representations where the barest outline of a man can be discerned. Only in Bali, which remains Hindu, do you see lifelike representations of man, gods and beast.
In Javanese, the hilt is called Ukiran while in Malay it is called Hulu. Unlike most other blades, the hilt is not always permanently affixed to the blade. It is secured to the blade by a strip of cloth, string or hair that is wrapped round the tang and then inserted into the hilt. The tightness of the fit is controlled by how much cloth you wrap round the tang. This has two advantages; it allows the hilt to be turned to allow it to have the best match to shape of the hand, and to allow the hilt to be changed and varied according to the economic situation of the owner. Sometimes a resin is used to secure the hilt to the blade. The resin, when cold, solidifies into a strong adhesive but with heat, it softens and allows the blade to be removed. A firm fit yet easy removal of the hilt is possible with this resin. Many are of the view that this was the traditional way of securing the hilt to the blade and the use of cloth or hair is a recent development. A working knowledge of hilt design can help you place where a Keris is from. In Central and East Java, most Keris hilts are the abstract seven plane hilts. North Java has its own Keris hilt forms. In Cirebon, the main hilt form is that of a squatting long haired demon or raksasa. Madura has a stylized human form that is heavily decorated with foliage either inscribed, pierced or in relief; one form maintaining the profile of a man, another deviating away some what. Madura hilts have added many Dutch influenced designs such as epaulettes, crowns, coat-of-arms and helmets. One particular attractive Madura form is the "corn-cob", also heavily decorated with foliage.
In Sulawesi, Sumatra and Malaya, the main form is the Jawa Demam; the "Fevered Javanese". Many believe that it is an abstraction of the Garuda because of its beak like projection. However, there is strong evidence that it is an abstraction of a man as more primitive examples clearly shows hands, feet and teeth which the Garuda lacks. If you study early forms of the Java Demam from Pelambang and Tegal, you will notice that the "beak" is actually a elongated nose. The abstraction of the Jawa Demam varies from highly stylized as in the case of Patani and Palembang hilts to highly abstract in the Malay or Bugis form. In Perak, there is a hilt form, which I think is a recent development; a hilt in the form of a parrot. In Moro or Sulu pieces, the 'cockatoo' pommel is well known. Some Riau sundangs have similar pommels, though some have realistic representation of a parrot's head rather than a stylized figure. The Perak Parrot hilt could have developed from this. In Bali, you find a whole range of hilts from figural representations of Demi Gods to the intriguing 11 chequered hilts to functional plain hilts with hair wrapped around it. Balinese hilts are larger than most and more erect given that the Balinese keris blade is longer and larger than most and used for cutting and stabbing
Hilt Rings:
A unique part of the hilt section of a Keris is the ring or cup that comes between the hilt and the blade. In Javanese pieces, the ring and cup are separate pieces, although sometimes they are glued or welded together. The ring is called mendak, while the cup is called selut. The mendak and selut can themselves be works of art. The highest quality pieces are embedded with precious stones and made from gold. The same practice applies to Balinese pieces
The Malay version is called the Pendongkok. It usually comes in one piece either as a flat cup or a cup with the stem fixed to it. Pendongkoks come mainly in brass or silver, sometimes ivory. Again the highest quality items are made from gold but this rare because of adat restrictions (observation of traditional customs). Most "gold" pendongkok are actually gilded silver. Many are decorated with granules and filigree. Seldom do we see one with precious stones like that of Bali and Java. The rings and cups symbolises the lotus; a link to the Buddhist past of the Malay people. It is common practice in the Malay and Sumatran Pendongkok to find lotus motifs used as decoration and the pendongkok itself decoratively divided into eight panels or sections, a stylized version of the eight petal lotus.
There is a purpose to the rings. They are constructed to provide gradual incline tapering towards the base of the blade. This allows for a comfortable grip of the Keris for the forefinger and thumb, facilitating the effective handling of the weapon.
The Sheath:
Like the hilt, the sheath of a Keris varies from region to region but there is a common design among the varying styles. The sheath comprises a large cross-piece and a stem, which makes it look like a capital T. The cross-piece is called a wrangka in Javanese and sampir in Malay. The cross-piece is designed to take the flaring base of the Keris but on the practical side, it does away with a special brace for carrying the Keris as you just have to insert the Keris into one's sash or belt and the cross-piece provides a stable anchor. Most of the regional differences are seen in the design of the wrangka. In the Balinese and Javanese Keris, the wrangka comes in basically two forms, the Ladrang and the Gayaman. In the Ladrang, the upper ends of the wrangka curl up while the lower ends curve inward towards the stem making it look like a boat with a swirling bow and stern. The Gayaman is flat and somewhat oblong, like an elongated hamburger. In the Javanese Gayaman, one can still make out the outline of a boat, particularly the Gayaman design Jogyakarta. The boat is most clearly seen in the Palembang wrangka. It does not take a lot of imagination to see the bow, stern, and the keel in the wrangka.
The Malayan wrangka, or sampir, is squarish or rectangular in shape. It has very slightly upturn edges and an inward curve on the lower edge on one side. This corresponds to the bow of a boat. There is a belief that the wrangka or sampir is a representation of the moon boat of Malay/Javanese legends but it could be a legacy of fact that the Malay race, from its earliest times, is a sea-faring people. The sheath is in the main made of wood. Special woods with attractive grains are chosen. The kind of wood used and its grain is believed to have magical properties which contain or restrain the power of the keris. Hence old Keris sheaths invariably have wood in them. Old sheaths of silver and gold are actually wooden sheaths, covered in sheet metal. Sheaths made entirely of metal, bone, or ivory are new developments, most likely to please foreign tourists. Common woods used in Java and Bali are Timoho or Pelet (Kleinhoven Hospita Linn). Teak Gembol or Jati and Sono (don't know the botanical names here) are also popular. In Malaya and Sumatra, the premier wood is Kemuning (Murraya Paniculata Jack). In Bali, so important is Pelet wood that even if there is a gold sleeve made for the stem, there would be a window or two to show the wood. Most times the metal sleeve would be restricted to the rear of the sheath so that the entire front portion is exposed. Only in rare exceptions or relatively new pieces is the Bali sheath completely covered sheet metal
Sheaths sometimes come in metal sleeves of brass, white metal, silver or gold. This is particularly so for Javanese pieces. In Java, the metal sleeve is called pendok. It comes in two main forms; the bunton, which is a full metal sleeve or the blewah which has a section almost the length of the sleeve about 8mm wide cut out in the front. This is to allow the wood of the sheath to be displayed. In Malaya, the sleeve is called the slorok. While the full slorok is common, it is almost impossible to find one with a cut like the Javanese blewah. So to show off the wood beneath the slorok, the Malays fit the slorok in sections either two or three so that the wood will be exposed between sections.
The Mystical Aspect:
The Keris is considered a magical weapon, filled with great spiritual power. In Javanese there is a term "Tosan Aji" or "Magic Metal" is used to describe the Keris. The Keris is replete with the totems of Malay-Indonesian culture; Hindu and Islam. The best example can be seen in the union of the pesi (tang) and the ganja. The pesi represents the lingam, which is a phallic symbol, while the hole in the ganja represents the yoni, the female vagina. The union of both is considered very powerful in the Hindu belief system as it brings life; an act of great power. Thus the joining of the pesi and the ganja imbues the Keris with the power over life.
The waves of the Keris are representative of the Naga, a mythical snake creature. The Naga is closely associated with water and rivers. As water is life, the Naga is a powerful symbol. Imitation of the Naga in the Keris adds power to it. In Java, the blade is described in terms of the Naga; a straight blade is called "sarpa tapa" or snake in meditation, while the wavy blade is "sarpa lumuka" or snake in motion. The Kembang Kacang too is symbolically powerful. In Malay it is called Belalai Gajah or elephant's trunk. The tiny projections under the tendril in Javanese are called Lembai Gajah, or elephant's lips. There is no doubt that the Kembang Kacang is associated to the elephant and hence it is linked to Ganesha, the Hindu deity with an elephant's head; a deity of great power and strength. The pamor in the blade adds to the belief in the Keris as a magical weapon. The appearance of the intricate patterns in the blade through the process of forging is considered magical and a manifestation of great spiritual power. Different types of pamor are said to give different powers to a blade; such as the power to deflect blows, to bring prosperity, etc. Beras Wutah (Scattered Rice Grains) is considered lucky as a man must be of means to scatter rice grains away. Udan Mas (Rain of Gold) is good for the businessman as it brings rains of wealth. For an easy life, choose an Adeg blade as the straight flowing lines corresponds to things coming easily to you.
While different pamor connotes different qualities, purists believe that it is not license for one to go and get a pamor that catches his fancy or matches his desires. Pamor is considered so powerful that it must match your status in life. If not, it will bring you harm. For example, if you are not a man of power or war, avoid Buntel Mayit, the Death Shroud, or you might find it consuming you. The shape and length of the blade is equally important. Many believe that a Keris must be compatible with its owner. While pamor is an important guide, the length of the blade, I think, has more significance on whether the blade is compatible or not. There are several elaborate and complex counting systems on the length of the blade to decide on compatibility. One method is to recite mantras or chants or prayers as they thumb the length of the blade from the ganja to the point. When the finger or thumb reaches the point, the chant must end and where it ends will decide the issue of compatibility. A purist will not accept a Keris if it is not compatible, regardless of its rarity, pamor or worth. Hence it is no surprise that many people believe that Keris blades are imbued with great supernatural powers have a life of their own. So respected and venerated is the keris that believers in it magical properties make offerings to it and bath it in incense every Thursday and have it ritually washed, its pamor revitalized in a solution of lime juice and arsenic, and scented once a year in the month of Suro or Muharam to maintain its powers.
The Keris has always been considered as protective. In traditional Malay houses, a Keris would be secured to the main roof beam to protect the house. Stories abound of Keris flying out of their sheaths and attacking an enemy; of Keris rattling in their sheaths at the approach of danger; of killing an enemy by just pointing at someone. There is a marvelous legend of a Keris that could help people foresee the future. Hang Jebat, a legendary Malay hero, had a Keris with holes in the sogokan that allowed him to see the immediate future when he peered through the holes. A Keris with "combong" or holes in the sogokan is considered a very powerful Keris.
As with all the features of the Keris, but especially concerning the mystical aspects, certainly entire books could be written about the subject and still not cover the half of it with any justice. However, this aspect in particular is also one that, as a Silat player, you need to discover and understand for yourself, thus in this page, i am merely skimming the surface in order to entice you into further questions and self-exploration.
Kris Washing (Ritual Cleansing):
This is one routine part of owning a Keris and treating it with hormat and adat (with respect and observing customs). The washing and ritual cleansing could easily be considered another art in itself. The term “Merawat Pusaka” - used as a verb, meaning to clean an heirloom; literally refers to “Nursing (Merawat) a heirloom”. Without proper knowledge, a person may do damage to a blade as substances used for washing are mainly acidic base. The rather ritualistic way in which the keris is cleaned, and the lack of understanding or misunderstanding of what is actually being done, has damaged many a Pusaka.
If you are interested in learning more, i will update and flesh out this page from time to time with more information on the Keris. Also, keep an eye on my Home Page blog, where i make regular posts on Keris pamor (detailing different pamors and their meanings) amongst other Keris aspects.
