Defination by Indonesia (Bali)

The Form of the Keris

Keris is a kind of dagger which is used in a close range combat. In Bali Keris also called Kadutan, and until now the keris are still widely used in the community of Bali specially related to the religious activities such as at the Temple ceremony or the Wedding ceremony. In Bali also there are some Keris Empu or the Keris forger master, they still forge the Keris with the traditional ways with ritually Keris has two kinds of shape: straight keris ( Keris Leres ) and meandering keris ( keril Luk ). The styles of the keris called “Daphur“. There are approximately 200 kinds / daphur of straight Keris and 250 kinds / daphur of meandering Keris. The meander is called "luk". Meandering Keris always has odd numbers of meander, from luk 3 up to luk 29. Actually the luk of the keris are until 13 luk based on the “pakem” or the conditions of the keris, up to 13 luk are called : Kalawijan keris.

The magical power of the keris  or the function of the keris can be directly seen from its daphur and pamor, this way of course needs experiences to recognize it.

THE PROCESS OF MAKING A KERIS AND THE WAY OF GIVING MAGICAL TO A KERIS UNDER THE RULE OF BALINESE ( HINDUISM ) WAY.

The Empu or the Forger master will prepare him self before starting in making the Keris by looking the good or not good day/time based on the Balinese Lunar Calendar. Besides that the Empu will doing his meditation and fasting to get the inspiration. If the right time are found, the Empu will prepare the materials such as : Iron, Steel and Pamor material which can be made from Meteorite or nickel also preparing the offering to the God in order to get the Blessing. First the Empu will forge the iron  till the iron are clean, this way is called “membesot wesi” then turn to prepare the steel and pamor. After all done then the iron and pamor material will forge together to get the layers to form the pamor. The sum of layer according the needed, for the good keris the layer will be more than 4000 layers by folding and folding on the forging process. The layers from iron and pamor material will be cutted into two pieces then continuing to insert a piece steel between. Those three pieces will forge again to get the “kodokan” or half finished of the keris. The kodokan will process to form the keris wether to make straight or meander keris till finished. Before the keris can be used as a heirloom, the ceremony called Pasupati ceremony will held to purify the keris, this ceremony will be lead by a high priest called Pedanda or Rsi, then the keris is ready as a heirloom.

Keris maker

Ki Empu Djeno Harumbrodjo
The only EMPU – The Maestro of classical KERIS making in Java

The 70 year old Empu, Pak (father) Djeno, lives in a tranquil and green village of Gatak, SumberAgung, Moyudan, in the regency of Sleman, about 15 Km westward of Yogya city.

He can make only 2 pieces of classical Keris in a year. His works of arts are really masterpiece, physically and spiritually.

He is the 15^th descendant of Empu Supa, the famous Keris maker of Majapahit Empire of the 13^th century. In fact in Java, there are other Keris makers, their works are also of good quality, but they say that compared with Empu Djeno Harumbrodjo, they are merely craftsmen.

When, he was young, the youngest fifth child of Empu Supowinangun, was not very interested in Keris making. Until one night, his late father come in his dream asking him to help his father to forge iron to make Keris. 3 months later the same dream came again and again 3 months later for the third times he dreamed the exactly same thing. He was convinced that he had to continue the family hereditary job – to be Empu of Keris.

At first, it was not easy for Pak Djeno, to set up his own workshop. He had to approach some local high ranking officials for help, but the replies were discouraging, simply they said ……. be patient.

As a devout Javanese who believes that everything could happened with God’s willing, he prayed a lot until his way to become Empu Keris was widely opened.

How to make a classical – Masterpiece Keris

As stated in the article Keris, it is believed that Keris has magical power. The original magical power of A Keris is determined by the wish of the Empu and the customer. In making a Keris, Empu Djeno needs the personal data of every customer as date and day of birth, occupation etc, the best if he can meet the customer in person, from the meeting, Empu Djeno, should have the ability to understand better his customer’s personality. The Empu shall make a Keris with the spiritual power (YONI) suitable with the customer’s personality. He has to prepare two steps simultantly i.e physical and spiritual.

Physically, the materials for manufacturing must be prepared such as, 12 Kg of Iron; 0.5 Kg of Nickel, 100 grams of meteorite, 500 bags of charcoals etc. Spiritually by fasting, meditating, not sleeping for several days and other spiritual deeds.

The customer is also requested to do self denial and spiritual deeds, so that he shall receive a good Keris suitable for him.

The suitable Keris

According to Empu Djeno, there are about 300 kinds of Pamor (surface design of a Keris blade). The pamor reflects the purpose of the Keris. The drawing design should say its meaning. For a farmer, according to Pak Djeno, a straight Keris (LURUS) with Pamor Wos Wutah (spilled rice) is good. It is symbolizing a good life materially and peaceful life for the owner.

In fact Pamor Wos Wutah is the mother of all kind of Pamor. There are some types of Keris, which are only fit for Kings such as Sengkelat. Pasopati, Kaladete, Pulanggeni etc. Sometimes, an ordinary people wishes to make a Keris of the above type, in that case Pak Djeno shall advise him to make a suitable Keris or he shall reject to make it. Usually customer follows his advice.

At present he is fully booked until the year of 2004. Besides classical Keris. There are Keris of souvenir class. It can be made for a much shorter period. Physically it might be OK, but without a spiritual power.

At his traditional workshop, Pak Djeno are helped by his nephews and a quite a few neighbors. Ki Empu Djeno Harumbrojo wishes the art of Keris making to be always preserved in this country, as it is a reflection of Indonesia’s identity. (for deeper knowledge of Keris, please click the articles of Keris and Commemoration of 1^st Suro).

Keris History & Culture

The keris, a double-edged, wavy-bladed dagger, was for the centuries the principle weapon in use thoughout Malaysia and Indonesia. The Chams, a Malay-related people who now inhibits parts of Cambodia and Southern Vietnam, were also known to have used the weapon.

The origin of keris are obsure, although many theories and prototypes have been suggested to account to its peculiar, distintive shape, including one which proposed the barbed sting of the sting-ray as the model on which it was patterned.

It used was probably widespread in the peninsula before the founding of the sultanate of Melaka and by the end of the 15th century it had spread to all parts of the Malay-speaking region and certain areas of the Philipines.

The keris was designed as a thrusting weapon for fighting at close quarters or in situations where the use of spears or longswords was impractical. The longser version did evolve, a broader bladed sword, the sundang, which was originated among the Bugis of South Sulawesi and a long rapier type keris.

The sundang was a cutting and slashing sword keris and the blade was either curved or straight, usually about 22 inches long widening to about 8 inches at the top.

More than a hundred different styles of keris existed and an extensive vocabulary was used to distinguish the different patterns of blades and hilts. The number of curves of a keris blade, regardless of length, is always odd number.

The process involved in making of a keris was steeped in superstition and elaborate ritual, for every keris was believed to possess a protective spirit with powerful forces which demanded respect and careful treatment.

In former times many other type of dagger were used in Malaysia such as the badek, a short-bladed stabbing weapon with a simple tabular hilt. The tumbuk lada ("pepper crusher"), which was common in the north of the peninsula and Negeri Sembilan, was more ornate version of the badek.

The kerambit , a narrow-bladed claw-shaped dagger, also known as the lawi ayam, was designed for ripping rather than stabbing. A smaller version was popular with woman because its size enabled it to be easily concealed about the body or in the hair.

The bladau was a larger version of the kerambit with a 10 inch long blade and was used mainly in hand to hand fighting. They were two types of spears, (lembing), in use in the Malay peninsula : the throwing spear and one used for fighting at close quarters.

The shaft of the throwing spears was longer and lighter than that of the second variety and had smooth flat blade. The blade of the spear used for fighting at close quarters often had a shallow ridge running up the centre.

With the fall of Melaka in 1511 to the Portuguese, foreign weapons were imported to the peninsula in much greater numbers than before. Two weapons of the European design in particular were widely manufactured by Malays: a light weight iron cannon and a brass swivel gun.

The swivel gun was most commonly used on a ships and was designed to be a portable weapon. Three main types of swivel gun were manufactured: the Lela a long barrelled gun made of brass, the rentaka, which was of the same design, although shorter and made of iron, and the ekor lotong, the smallest of the three weapons with a handle which curved upwards at the breech giving its name,"the monkey's tail".

The manufacture and use of weapons in Malaysia declined rapidly towards the end of the 19th century and many beautiful pieces were either allowed to rust away or were melted down and the metal reused. The finest examples today can only be seen in museums or royal palaces.

Keris Taming Sari

THE LEGEND OF THE KERIS TAMING SARI

Legend had it that the mystical keris Taming Sari could fly and seek out the enemy, just like modern missiles. Not only that but it would even rattle in its sheath to warn its owner of potential danger.

In the 15th. Century, when he wanted to ask for the hand in marriage of Majapahit princess Raden Galoh Chandra Kirana, Sultan Mansur Shah traveled to Java with his royal bodyguard, Hang Tuah.

Unfortunately, Hang Tuah, instead of the Sultan, became the center of attention there.This was the opportunity that Pateh Gajah Mada had been waiting for to oust Hang Tuah permanently from the Sultan’s favourite list.

The envious palace official engaged a Javanese warrior, Taming Sari, to kill Hang Tuah but the tables turned and Hang Tuah won the fight as well as Taming Sari’s keris (also named Taming Sari). Thus began the legendary saga of Malaysia’s most celebrated dagger.

Taming Sari, classified as keris kuasa or bawar, is made of an alloy of 20 metal composites, some said to come from bolts holding Mecca’s Holy Kaabah gates.

A keris kuasa is said to poses supernatural powers and has to be “cleansed” in the melimau ceremony periodically to retain its potency.

When he could not persuade Puteri Gunung Ledang to marry Sultan Mahmud, Hang Tuah threw the Taming Sari into Sungai Duyong out of frustration. One legend said that if the Taming Sari surfaced up Sungai Duyong, Melaka will be famous again

Another legend said that Tun Mamat did history a favour when he recovered the Taming Sari for the Sultan’s safekeeping.

In 1511, the Portuguese conquered Malacca and Sultan Mahmud fled to Johor-Riau and later to Kampar in Sumatra.

Taming Sari finally found a permanent home in Perak as part of its state regalia when Sultan Mahmud’s son, Sultan Muzaffar Shah 1, was installed as the first Sultan of Perak and the keris was passed on to his successors till present day.

Note:

The keris is a weapon peculiar to the Malay Archipelago which encompasses Thailand’s Pattani region, Malaysia, Indonesia, the Philippines’ Mindanao region and certain parts of Cambodia. Historians believe the first keris was developed in 9th. Century and perfected by 14th. Century. In Aceh, the keris is call rencong and Sulawesi, badik.

The keris is surrounded by mystery and there are tales of deaths being caused by simply thrusting the keris into a victim’s footprints.
Sculptures of keris, dating back more than 400 years have been found in Central Java’s Chandi Borobudur where it is known as kujang.

Another keris frequently mentioned in Malay forklore is Keris Mahsuri though no one really knows where it is today. It was said to be the keris used to kill Mahsuri who was wrongly accused of adultery.

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Pamor

1. Pamor mrambut, term assessment is Pamor impression through palpation. If be touched with the fingertips, such as touching the hair and on the surface of the keris strand of hair, such as the order, or as a fine fiber.

2. Pamor ngawat, assessed based on palpation, but not on sPamor mrambutfine , but as a soft wire.

3. Pamor nggajih, assessed based on the visual, namely Pamor that look like fat frozen patch on the surface of the keris.

4. Pamor mbugisan, assessed based on palpation and visual effects. Be touched feel fine, while the color gradation between the iron and Pamor that a black and white does not contrast.

5. Pamor nyanak, also called peson. Pamor flow pattern is not clear, but the feeling it feels a bit rough.

6. Pamor foundered, the appearance is quite clear and the contrast. But that is only seen a small part of the overall Pamor. Pamor seems most of the 'drowned' in the keris.

7. Pamor kemambang, Pamor is opposite from the clamp. Pamor seems that the keris is embedded in only a few only. If touched, this gives the impression Pamor melted and smooth.

8. Pamor ngintip, which is Pamor rough when touched. Even in some parts of the sometimes feels sharp. Pamor this occurred because the two. First as generous or extravagant master of the material Pamor to excess. The second, because the master Pamor using high quality materials, but the iron that is used less good quality.

9. Pamor mubyar, looks bright, bright, and contrasts with the color of iron. Although the color contra, but melted and smooth when touched.

Keris as a Cultural beliefs

Ken Arok

One of the most famous folk stories from Java describes a legendary kris empu (bladesmith), called Mpu Gandring , and his impatient customer, Ken Arok. Ken Arok wanted to order a powerful kris to kill the chieftain of Tumapel, Tunggul Ametung. Ken Arok eventually stabbed the old bladesmith to death because he kept delaying the scheduled completion of the kris, which Ken Arok had probably ordered several months before. Dying, the bladesmith prophesied that the unfinished or incomplete kris would kill seven men, including Ken Arok . The prophecy finally came true, with four men enlisted as the kris' first death roll, including Mpu Gandring himself, the Adipati of Tumapel Tunggul Ametung, Kebo Ijo (to whom Ken Arok lent the blade and accused to be the murderer of Tunggul Ametung ), and Ken Arok himself, later. The unfinished kris ofMpu Gandring then disappeared.

Another version of the tale describes that the kris passed to Ken Arok's stepson Anusapati which in turn killed his stepfather after recognized that his genuine father was killed by Ken Arok with the same kris. The bloody revenge continued on and on until the reign of Kertanegara , the last king of Singhasari kingdom.

Adipati

Another Javanese folk tale tells the story of an Adipati of Jipang-Panola named Arya Penangsang , who was killed by his own kris, Setan Kober (English Satan of Grave). The scene happened at the end of the battle to re-unite the collapsed Sultanate of Demak-Bintara, fought between Jaka Tingkir, Adipati of Pajang , and Penangsang, of Majapahit royal blood. The story tells that he fought the battle with Hadiwijaya's adopted son, who would become the first ruler of the Mataram dynasty, Danang Sutawijaya (aka. Panembahan Senapati ). Penangsang inadvertently stabbed himself when he sheathed his kris, gutting his own belly. He soon fell down, bathing in his own blood, which was flowing from the wound. While he was dying, he encircled his scattered intestines on his kris. The tradition of Ronce , putting a jasmine-chain around the kris' hilt, possibly came from this tale.

The Taming Sari

The Taming Sari is one of the most well known keris in Malay Literature. It was the keris of Hang Tuah , the great Laksamana (Admiral/General) o Malacca . According to the legend from the book Sejarah Melayu / Salalatus Salatin by Tin Sri Lanang Tun Seri Lanang Tun Muhammad Ibni Tun Ahmad, Hang Tuah obtained the magical keris by killing the king of Majapahit's Pendekar (Warrior) . Majapahit was an empire located on the island of Java. He tricked the warrior into letting go of his weapon and then killed the warrior in a duel. In return, Taming Sari was said to have been presented by the King of Majapahit to Hang Tuah.

The Taming Sari was said to grant its user physical invulnerability. In the legend, the keris was passed to Hang Tuah's best friend Hang Jebat after the supposed execution of Hang Tuah. The sultan Sultan Mansur Shah ordered Hang Tuah's execution for treason after being framed, but with the help of the Bendahara (Prime Minister), he escaped and hid. His keris was passed to Hang Jebat who became the new Laksamana.

Later on, Hang Jebat rebelled against the Sultan for killing his best friend without a fair trial, but then Hang Tuah, who was loyal to the Sultan, came out of hiding to stop his friend. They fought in the palace, which Hang Jebat had taken over due to the magical keris. Hang Tuah knew that Hang Jebat could not be defeated when he held the Taming Sari, so he tricked Jebat saying that the Taming Sari was going to break, and gave Jebat his spare keris. Now, Jebat was no longer with the legendary weapon, and was stabbed by Tuah. He died soon after by the poison of Hang Tuah's keris.

Spirits

Blades are considered to almost be alive, or at the very least, vessels of special powers. Krisses could be tested two ways. A series of cuts on a leaf, based on blade width and other factors, could determine if a blade was good or bad. Also, if the owner slept with the blade under their pillow, the spirit of the kris would communicate with the owner via dream. If the owner had a bad dream, the blade was unlucky and had to be discarded, whereas if the owner had a good dream the owner would have good fortune. However, just because a blade was bad for one person didn't mean it would be bad for another. Harmony between the owner and the kris was critical.

It was said that some kris helped prevent fires, death, agricultural failure, and many other problems. Likewise, they could also bring fortune, such as bountiful harvests. Krisses could also have tremendous killing power. Some are rumored to stand on their tips when their real names are called by their masters. Legends tell of krisses moving on their own volition and killing individuals at will. When making a blade, the empu could infuse into the blade any special spiritual qualities and powers the owner desires.

Many of these beliefs, however, were erroneously derived from the possession of different keris by different people. For example, there is a kind of keris in Java that was called "Beras Wutah", which was believed to grant its possessor an easy life without famine. In reality, this keris was mainly assigned to government officers that were paid, in whole or in part with foodstuff (rice).

Because some krisses are considered scared and believed to possess magical powers, specific rites needed to be completed to avoid calling down evil fates. For example, warriors often made offerings on a shrine to their kris. Another example is that pointing a kris at someone is thought to mean that they will die soon, so in ceremonies or demonstrations where ritualized battles are fought with real krisses, the fighters perform a ritual to neutralize this effect in which they touch the points of the blades to the ground. Also it's used in the Baris , a traditional dance of Bali.

Kalis

A kalis is a type of double-edged Filipino sword, often with a "wavy" section, similar to a Keris. Unlike the Kris, the Kalis's double-edged blade can be used for both cutting and thrusting.

The wavy portion of the kalis is said to be meant to facilitate easier slashing in battle - since a straight edge tends to get stuck in the opponent's bones, the wavy portion allows the kalis' bearer to more easily pull the weapon out of his opponent's body.

Blade

Moro kris (kalis) nomenclature, given in three major Moro dialects.

In this example, the blade's lamination pattern can be seen. The darker high-carbon cutting edge of the blade can also be noticed. The said harder high-carbon cutting edge is termed as "sinubo" (roughly, sandwiched) in the local dialect.

The kris blade is defined as one that is wide on the base and double-edged. It is capable of delivering both chopping and slicing cuts. While many assume the traditional form of the kris is the fully wavy blade, the half-waved half-straight, as well as the fully straight blades, are equally if not more common, as straight blades were more practical in combat. Moro kris blades generally range in size from 18 to 26 inches (46 to 66 cm), though as with all Moro weapons there are exceptions. Generally however, the larger blades are found on later pieces, while the oldest Moro Kris tend to be of smaller stature. Damascene patterning is sometimes evident though often not as controlled as seen in the complex pattern welding of the smaller Malay keris.

Guard (gangya)

The demarcation line indicating the separate gangya (guard) can be seen.

The gangya (guard) of a kris blade is made in such a manner that their lines flow very elegantly into the blade, never interrupting in continuity from transition from gangya proper to blade. Antique kris (kris made before 1930) were made with a separate gangya (guard) like their Malay cousins, while more modern made kris lack this feature and have gangya that are in fact integral to the blade. Some newer kris do have an engraved line to simulate the appearance of a separate gangya, but when inspected closely it is evident that this is only a cosmetic engraved line, and not a true separate gangya. At some point near the early 19th century, gangya started to be made with a distinct 45-degree angle near the terminus. Opposite the hook-like fretwork on the gangya, exists a curved cavity. It has been suggested that this cavity is representative of the trunk of an elephant, others contend that it is the mouth of the naga (serpent) with the blade being the tail, and still others contend that it is in fact the open mouth of an eagle.

Modern tourist kris blades can be distinguished by a number of features that once identified are quite easy to spot. Perhaps the easiest to identify feature of a modern tourist/fake kris blade are the shaping of the waves. Traditional kris feature gracefully undulating waves that are forged deep into the blade to penetrate straight to the centerline of the blade. Tourist kris, on the other hand, feature shallow angular waves, that appear to be cut out of the steel rather than forged into the blade.

Hilt (handle)

The above example is that of a simple hilt, wrapped in lacquered fiber, to improve grip. Having a non-ornate hilt and pommel, the above kris must have come from a typical Moro warrior.

The hilt of kris are either straight or slightly curved (most common on cockatua pommel hilts). Pommel variations are many, however the most common are the horse-hoof (the most distinctive variation coming from the Sulu Sultanate) and the cockatua. Commonly the pommel is made of beautiful hardwood burl (such as banati) with the hilt being wrapped in a lacquered natural fiber (such as jute). However on higher end kris, belonging to the upper class, the pommel would be made of such exotic materials as ivory, silver plating, solid brass, etc. with hilts often lavishly bound with silver or swasaa (an alloyed mixture of gold similar to red-gold) bands frequently with braided silver wire interspersing the chased bands.

Scabbard

The above example is that of a simple scabbard made of two loose pieces of wood, secured together by loops of brass.

The Moro kris scabbard shares many common characteristics with their Malay cousins, but are unique in their own style and form. Scabbards tended to be made of wide grain native hardwoods (eg. mahogany, teak, narra, etc.), and lashed together with rattan bindings. Sometimes the cross-piece is a separate piece, with the tail-piece socketed in, but quite often the cross-piece and tail are made of one board. Older scabbards feature wider rattan lashings, and normally only cover small sections (eg. bottom 1/3, 4 inch bands, etc.) of the scabbard.

Other information

It is believed that the Kalis first appeared in the 13th century. Its original location is the island of Java which is situated in the Indonesian archipelago. From there Kalis migrated to its today's location -- the Philippines . Countries in which the Kalis is considered to be one of the main weapons include Malaysia and some other countries in Southeast Asia.

The Kalis is available in different shapes and sizes. Usually, the Kalis has a special blade that is straight at the top and has a wavy shape at the handle. All the Filipino types of Kalis swords are both larger and heavier than those from Indonesia. Although it is considered to be a slashing weapon, Kalis has a special thrusting power which is very dynamic.

Its durability and sharpness can be comparable to the Japanese katana. Kalis can easily cut some hard objects. These types of swords are made by hand in several Filipino tribes.

Kampilan

Physical description

The Kampilan is a type of single-edged long sword from the Philippines, widely used thr

oughout the archipelago before European c

olonization. In the predominantly Muslim southern Philippines, whereas the Tausug of Sulu favored the barung, the Maguindanao and the Maranao of mainland Mindanao preferred to use the kampilan.

The kampilan has a distinct profile, with the tapered blade much broader, and thinner at the point than at its base, sometimes with a protruding spikelet at the spine side of the tip, and a bifurcated hilt which is believed to represent a figural creature's open mouth.^[1]

Among Filipino swords, the most distinguishing characterstic of the Kampilan is its huge size. At about 36 to 40 inches (90 to 100 cm) long, it is much larger than other Filipino swords. In fact, it is thought to be the longest of the traditional Filipino bladed weapons, though small Kampilans (sometimes called the Kampilan Bolo) exist. A notable exception would be the panabas , another Philippine long sword, of which an unusually large example could measure up to four feet (48 inches) long.

Related to the klewang, the blade is narrow near the hilt gradually swelling in width into an almost trapezoidal profile at the end. The blades are often laminated with various styles of tip. Kampilan blades often have holes near the tip sometimes filled with brass. Rarer still some kampilan tips have kris-like fretwork; others have engravings down the entire blade. Although the kampilan can be used with one hand, it is primarily a two-handed sword. At times the hilt was bound to the hand by a talismanic piece of cloth to prevent slippage. Sometimes a chain mail covering was attached to prevent the hand from injury. Almost all kampilans originally had large metal staples protruding from the cross guard above the grip. Hilts were made of hardwood, but expensive datu examples may be covered in silver sheet or made of expensive materials like ivory or bone.

Blade

The lamination (pattern welding) of the blade of this kampilan is clearly visible. A close-up view of the characteristic kampilan spikelet on the blade's tip is also shown.

The Kampilan's laminated steel blade is a single edged made from an Arabic pattern-welding process, and is distinguished by its tapered profile, narrowest near the hilt, and gently widening until its truncated point . The blade is thicker at its base, and thinner at this point, which is accented by a distinctive spike. Some documents describe the Kampilan as "dual-tipped" or "double-tipped".

Sheath or scabbard

A kampilan's hilt is sometimes wrapped with rattan to improve the grip. The two holes on the crossguard are where the metal "staple" (C- or U-shaped) go, as additional protection for the wielder's hand.

The scabbard is usually made of disposable wood and is tied with simple rattan or fiber lashings. When the sword needs to be used immediately, the sword bearer will simply strike with the sheathed sword, and the blade will cut through the lashings, thereby effecting a tactical strike without the need to unsheathe the sword.

The scabbards are very simple and often would be discarded when going into battle. Some scabbards were also made of bamboo or were made with a handle that allowed half of the scabbard to serve as a small shield.

Hilt

The kampilan's unique bifurcated hilt is believed to represent the gaping mouth of either the mythical naga (serpent) or the crocodile. The round design on the middle of the hilt supposedly represents the "eye" of the figural creature.

The hilt is quite long to counterbalance the weight, and length of the blade, and is made of hardwood.As with the blade, the design of the hilt's profile is relatively consistent from blade to blade, combining to make the Kampilan a combat weapon.

The kampilan's complete tang disappears into a crossguard ("Sampak"), which is often decoratively carved in an Okir (geometric or flowing) pattern.The guard prevents the enemy's weapon from sliding all the way down the blade onto bearer's hand, and also prevents the bearer's hand from sliding onto the blade while thrusting.

The most distinctive design element of the hilt is the pommel , which is shaped to represent a figural creature's wide open mouth. The represented creature varies from sword to sword depending on the culture. Sometimes it is amonitor lizard or crocodile, and more often, a mythical serpent such as the "Naga" or bakonawa, Some Kampilan have animal or human hair tassels attached to the hilt.

Usage

The Kampilan is a weapon used for tribal warfare, used either in small skirmishes or larger scale encounters.According to Philippine historical documents, the kampilan was widely used by chieftains, and warriors for battle, and as a headhunting sword.

In history and culture

Two Filipino swords, a Kampilan (longer) and a Kalis (shorter), photographed side by side to demonstrate their size relative to each other.

Swords on Display at the Quirino-Syquia museum in Vigan, Ilocos Sur. The topmost, unsheathed sword is a relatively small kampilan, while the other prominent swords are variations of Kris.

Datu Lapu-Lapu the chieftain of Mactan, and his warriors were reported to have wielded this weapon to great effect when they defeated the Spaniards, and killed Portuguese explorer Ferdinand Magellan in the Battle of Mactan on April 27, 1521.^[2][1][3] The Kampilan is mentioned in ancient Filipino epics such as the Hiligaynon's' Hinilawod, and the Ilocano's' Biag ni Lam-Ang, implying that the sword was used throughout the Philippine islands. Today, the kampilan is portrayed in art, and tribal tradition.

Introduction - The Tajong

The tajong is one of the more well known and yet least understood keris of the Malay Archipelago. Better known as the pekaka, pekakak or kingfisher the tajong is certainly one of the most flamboyant and dramatic keris variants in the family of keris forms. Most commonly associated with the ethnic Malay region of Pattani in Southern Thailand, the tajong and other variants are also known to have originated in the Northwestern Peninsular Malaysian state of Kelantan. This area formed the core of the ancient empire of Langkasuka which some scholars suggest was centered somewhere near the present day city of Pattani. This page is designed as a rough guide for experienced keris collectors and researchers and as such assumes some level of familiarity with common keris terminology. Less experienced visitors are encouraged to consult a good guide to the keris. There are a number of useful publications in Indonesian, Malay and various Western languages available

Keris tajong, collection of Mutalib Wan Mahmood, hilt - kenaung, silver, sheath - kemuning, angsana, ca. late-19th early 20th C.

Other Peninsular and Sumatran hilt forms are frequently mis-identified as tajong. In fact, the tajong is quite distinct from those pieces. Features which almost all tajong hilts share include a long beak-like nose which typically curves upward to a point, a deep, narrow, tooth-filled mouth with long curving fangs that protrude from both the upper and lower jaw, a large paisly-like device just behind the head and long talons which cross the front or chest of the hilt just below the neck. Most traditional tajong hilts are made from either kenaung, a type of ebony, kemuning or ketengga hardwoods. The hard and sharp beak-like nose of larger, sturdier hilts would probably have served a practical purpose as well, being convenient to place a backhand blow to the face or chest of an opponent in the event that a forward strike were successfully parried. Tajong hilts are typically, but not always heavily carved with floral motifs and finer pieces represent perhaps the pinnacle of Malay woodcarving. High status pieces traditionally have been fitted with thin pieces of gold or suasa (a low grade gold alloy) on the nose, the eyes, the crown or at the base of the hilt.

Tajong hilt, personal collection, kenaung, Pattani, mid-19th C.

Details of the above hilt showing the front and top views of the piece.

Three Sumatran hilt types sometimes mistakenly identified as tajong hilts. While clearly related they are yet quite distinct from the tajong form.

The blade most commonly associated with the tajong is the keris pandai saras form. Below is a typical example. Other blades do occasionally end up dressed in tajong form but this is fairly rare.

A straight tajong blade. Note the sharp downward angle in the tail of the ganja near the ri-pandan. Personal collection, Pattani, ca. 19th C.

Keris tajong. Note the unusual silverwork on the mouth of this piece. On most tajong metalwork would have been a later addition to the hilt. That silver was not used traditionally on tajong hilts, the preferred metal being gold or suasa. Note also the slight loss of patina in the wood of the beginning of the nose indicating that this piece was repaired at some point. The features of this hilt though indicate that it is between 150 and 200 years old. Hilt - kemuning, sheath - kemuning, angsana, ca. 19th C.

The sheath of the tajong is unique to the form. Typically tajong sheaths are large, quite heavy and very sturdy and would most likely have been used as both a parry and a club in hand-to-hand combat. The tajong sheath consists of a long, rounded batang and a boat-like sampir or cross-piece with upward curving ends. They generally vary from about a foot and a half to two and a half feet in length. Typically a floral "eye of Shiva" is incised on the cross piece either just behind or both behind and in front of the joint with the batang. The prefered material for the batang is angsana, an indigenous hardwood that typically shows a tight flame across the grain of the wood. The sampir is most commonly either kemuning or ketengga. I have been told that very rarely tajong hilts are fitted to sheaths of the tebeng form, a keris type commonly known as the Malay or Peninsular keris. A keris such as this would have been worn by a particular clown character in traditional plays or wayang and would have been viewed by audience members as being very strange and silly. At any rate these pieces were most likely not kept in this particular configuration.

Keris tajong. Hilt - kenaung, silver, sheath - ketengga, angsana, mid-19th C.

Most references to the tajong refer to the form as a keris pekaka (or pekakak) which translates as "kingfisher" in English. Most people in the region who posses a local knowledge of the keris however continue to use the traditional term tajong when referring to the form. The nos e of the tajong hilt does resemble somewhat the beak of the kingfisher bird. However other features in the tajong hilt clearly differentiate it from any normal bird. Older existing pieces clearly show the outlines of arms, legs and feet which indicate that the tajong hilt represents some type of deity or spirit. Islamic st rictures against the creation of false deities and a strict prohibition against the making of objects which, if given the gift of life, could "function" as living beings have gradually effaced these human-like features. This "morphing" of traditional hilt forms into less human-like creations is common in Islamic areas of the Archipelago. It can be clearly observed in the comparison of hilts from Islamic and non-Islamic areas. Hindu-Buddhist Balinese hilts are clearly more human or animal-like than Islamic Bugis, Malay or Javanese forms. The fact tha t the remnants of anthropomorphic features can still be observed in various Jawa demam type hilts, Bugis/Malayan kerdas and pipit teleng hilt types and even Javanese planar hilts certainly confirms their mo re human or animal-like ancestry.

This magnificent tajong was once owned by the last Sultan of Pattani and was purchased from one of his descendents. Note the copper detailing on the eyes and fangs of the hilt. Hilt - kenaung, suasa, Sheath - kemuning, angsana, mid-19th C.

Having spent the better part of twenty-odd years studying the tajong Nik Rashidin concluded that the tajong hilt was a representation the Hindu deity Shiva. He makes a good case for this assertion by comparing motifs in the tajong hilt with other known local traditional representations of Shiva in carvings and wayang kulit or shadow puppets. Nik Rashidin makes this assertion in a paper, Keris Sebagai Senjata Silam, presented to the 1999 keris seminar Keris: Darjat dan Kudrat sponsored by Kraftangan Malaysia. The use of the term pekaka can probably be traced to an error on the part of one of the early British colonial researchers of the keris. In later years, the popular use of the term pekaka in reference to the tajong probably has a great deal to do with efforts on the part of modern dogmatic Islam to deliberately obscure the origins of the hilt form. Origins which are clearly rooted in the Malay world's pre-Islamic past. Additional confusion has been created by the fact that there is a Northeastern Peninsular variant of the Jawa demam form which bears the name pekaka.

Pekaka variant of the Jawa demam form. Note the sharp angle and elongation of the head. 19thC.

This tajong is of particular interest. Somewhat thinner, less intricately carved and lacking a beard the piece resembles the coteng but still possesses the higher, more angular crown of a tajong. I suspect that it could be either an earlier piece made before the classic tajong form evolved or a separate regional variant. Hilt - kenaung, sheath - kemuning.

Keris Gallery

IN SINGAPORE

Malay Ars Gellary Established in 1972. The Malay Art Gallery initially started off as a Gallery for artists to expose their works and later evolved eventually into the dealings of artifacts and artworks from the regions.

The founder passion for the keris and weapons from these areas started when he was a teenager and as his collection grew, he eventually started to trade in them. We have licenses from the Arms & Explosive Branch of the Singapore Police Force to legally deal with edge weapons.

Establish more than two decades, we work once with the National Museum here in 1995, and with the Shah Alam Museum in Selangor, in Malaysia. More recently, working together with Majlis Pusat and the newly open Malay Heritage Centre, we have an annual cultural and traditional keris cleansing ceremonies, providing our sincere advise and expertise to collectors, enthusiast, scholars, friendly tourist , etc.

Through the years, they have had many varieties of item and presently they are only featuring our Kerises and other weapons related items. We assure customers of accurate authenticity of our items with frank and sincere opinions about age, origin or state of our items . From time to time we will be updating and adding more variety to our site.

Their Services

They also provide services for complete restoration or replacements of any parts relating to the keris. Once every year, during the first Muslim month of "Muharram", we organize an event called "Upacara Suro" (Javanese) where we emulate the traditional way in which kerises and other pusakas are cleanse complete with a traditional procession and "upacara" prior to the cleansing.

Their Pledge:

They are confident that they will be satisfied with any item and guarantee it to be materially as presented. However, if the item does meet customer expectations, it may be returned within 7 days of receipt for a complete refund of the purchased price, less the shipping cost, provided the item is returned in its original condition.

To all interested parties please feel free without any obligations, to ask for more information or pictures of the items interested.

Keris Oil & Brushes

To make sure KERIS always in good condition, maintenance is highly recomended. Their beleive KERIS will be more powerfull if this activity done regularly
Keris Oils & Brushes: Speacial brushes made from Horse Tail and Speacial oils to help perserve your antique keris blades. The oils are also used to feed the khodam (Spiritual believe call Genie) of the Sacred Objects.

Crystal Madat incense used for Conjuration/evocation of Elemental Spirits/Khodams/Genies and Magickal Rituals/Spells.

Ancient Honey Incense

Also Known as "Madu Keraton"

Honey Incense is highly acclaimed by Javanese occultists and it is used in most of their Metaphysical work. This very incense is burned in the Royal Palace of Jogja. We were told by a priest that this incense is used for feeding Khodams (Genie Spirits). Javanese occultists use this for their Keris Blades offerings, magickal items and also burn this regularly to cleanse the atmosphere of negative thought forms. It is also used to release large amounts of psychic energies from the atmosphere during rituals.

These can be used for feeding elemental spirits too, so they are appropriate for Mustika Pearls & Bezoar Stones. It can also be used for Kerises and other Magickal objects, during Meditation and other Magickal Rituals/Spells operations.

This particular incense is the highest grade we offer, the most expensive and the most potent type available. They are over 6 types being sold in the market of different colours. However, we have sourced to supply the only one which releases the strongest scents and best type to use.

Each Bag Contains 250 Grams. Only a small amount is required for each application.

The importance of incense

Scent has the most profound effect on consciousness of all the senses. The use of correct scent to lead the mind into appropriate states of consciousness to work magick is a science shared by all magickal traditions. It is not just the human mind that is affected, but higher entities as well.

Nature spirits, angels, devas and Gods are all sensitive to scent. One reason cleanliness is important in spiritual practice is that these beings are repelled by unclean human odours. Natural aromatics, on the other hand, are known to please these beings. For this reason, the offering of carefully prepared incense has always been an important part of worship. The bible describes incense and all recipes demanded by Jehova for his worship. All Egyptian rituals had incense offerings as an important step. This is built into all the ancient prayers. Take the Egyptian invocation of Isis as an example:

NAS-I AST, ME-KHET EN AST-

ME-UNFU EM TA AST MA-AN-RAT

AST, ME-UNFU EN MAHET

EN AAB HEKA SHEN-ATEN.

HERI BAH EN AST, MA QET QN AST,

ME-KHET EN MAAT AST, ME QET EN AST

I INVOKE THEE ISIS!

THOU WHO ART THE GUARDIAN

OF THE FOUR WATCHERS-

LET ME OFFER INCENSE UNTO THE GODDESS ISIS...

It is obvious when you translate these ancient prayers that incense has to be offered. The preparation of the incense itself was a magickal process. It was known as Hekau, words of power translated into materials. The way modern mass production throws ingredients together has no magick. The process of magickal incense blending takes several days, and is quite involved. As an example, lets take the Kyphi recipe from the Horus temple at Edfu:

One grinds mastic, amber, sweet flag, bois de rose, camel grass [lemon grass], mint, and cinammon, adding them one at a time in the order given. This forms what is called the base, which is moistened with oasis wine and steeped overnight in a copper bowl. Separately, the raisins are soaked in oasis wine and then ground; they are mixed with the base and left to steep for another five days. The excess wine is gently boiled off. Then the frankincense and honey are mixed together, boiled to reduce their volume by 1/5, and quickly mixed with the base. The boiling removes water and causes the honey to crystallize upon cooling. The material is left to rest overnight. Finally the myrrh is ground and added, and the kyphi dried gently, which takes several days. The incense is normally buried in the Earth inside an earthenware pot to mature. Magickal invocations are used throughout the whole process.

Similar processes are used by adepts in India and Indonesia . The production of magickal incense is the responsibility of an adept, as the invocation of magickal forces into the incense gives it its power. When you burn these incenses, you can feel the power gathering. Some cause the djinn to appear.

There are a number of very high quality incenses available on our site, which are also used by adepts in Indonesia that can enhance your magickal rituals in different ways. Bukhur Magribi summons djinn, and is most suitable for djinn magick. Bukhur kasturi has a more general use in magick, as it creates an atmosphere suitable for any kind of trance or invocation. Its atmosphere is more feminine, and favours the manifestation of any kind of spirit you wish to invoke, while clearing the mind so that manifestations are not random. Bukhur Sultan releases a great deal of psychic power, that is useful for focusing on a goal, rather than spirit contact. It will add much power to any spell or visualisation.
.Bukhur misk and Bukhur malikul both favour contact with khodams and angels. Jadam is another ritual incense that focuses raw power, and is therefore good for any practical spell work. Ancient honey is good for invoking ancient God forms. Makmul cone incense opens up the astral plane, allowing any kind of spirit contact.

5ml Absolute Jasmine,Sandalwood & Saffron Oil

Origin From India

100% Absolute Jasmine Oil, high quality Jasmine "Jasminum grandiflorum"
5ml Blue Glass Bottle, Security Sealed.
This cannot be used on its own and should be mixed with Carrier based oils such as "Grape seed Oil"
Highly Recommended for Mustika Pearls, Bezoar Stones, Magical Keris Blades and Magickal Items

Can be mixed with the following oil "Pusaka Tosan Aji Keris Oil-20ml"

Traditional Keris Pusaka Oil

These can be used with your Mustika Pearls!

This oil is made specially to maintain a Pusaka Tosan Aji or Tosan Charm, with the term ‘Pusaka’ meaning ‘legacy’ or ‘heirloom’.

The Pusaka Oil is a mixture of oils whose recipe originates from traditional and ancestral secrets. The oil consists of high quality Sandalwood oil and a variety of organic natural flower oils. It is 100% natural oil based and has no chemicals or additives, making it ideal to use on the Tosan Aji without causing damage.

It helps to preserve the metal of the item and also can feed the Genie Spirit/Khodam.

Suitable for application on:

Keris, Spear, Machete, Kris, Blades, Rencong, Mandau, Kujang, Badik and other similar items.

The oil will be provided in a 20ml Bottle.

Horse Tail Cleaning Brushes

Horse Tail cleaning brushes can be used to clean and maintain the keris. The brushes are made from real horse tails and have been used for many generations to clean kerises.

The brushes come in a set of 3. All 3 have different purposes; the first is to be used for cleansing the keris with water. The second is used to anoint it with Lime or Coconut extracts and the third is used for the chemical arsenic to revive the pamor.