Tenaga Dalam - Pukulan Cimande Pusaka

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painted with special sunggingan and given red pendok kemalo: for a king - Scabbarb painted gold with sunggingan and is given a red pendok kemalon: for the king’s kin - Scabbarb painted white with sunggingan and is given a green pendok kemalon: for regents, ministers - Scabbarb painted green with sunggingan and not given a pendok kemalon: for lower ranks - Scabbarb painted blue with sunggingan and not given a pendok kemalon: for palace servants Now remember that there are still a lot of factors to be considered when it comes to authenticity. However, by knowing this you can get as close as possible to an authentic keris sungging from the Keraton Solo. Keris Dapur Sengkelat by Bapak R. Notohardjo Now a little history of keris dapur sengkelat. The first keris sengkelat luk 13 was created by the best Empu in Majapahit kingdom, Empu Supo Mandrangi, during the rule of King Brawijaya V - Prabu Kertabumi (1466-1478). The keris is called Kyai Sengkelat. At that time Islam religion has entered Java and Empu Supo was a student of one of the 9 suffies (Wali Songo), i.e. Sunan Ngampel Dento. The blade material in form of a hook to guide camels with (cis) was given by Sunan Ngampel Dento to Empu Supo to make him just a blade out of it. Empu Supo thought that it would be better to make a keris blade out of that material, and he did make one with 13 luks on it. It was latter called Kyai Sengkelat. The word “kyai” was added to honor the Sunan which was Moslem. The Sunan thought that the keris blade did not fit him, being a Moslem. It was regarded to have been something that would properly belonged to the Hindu culture. So the Sunan suggested that Empu Supo offered the Keris Kyai Sengkelat to king Brawijaya. The king was totally amazed by the keris and it has then become the mascot for Majapahit kingdom and was honored a title Kanjeng Kyai Ageng Purworo. More keris(es) with dapur sengkelat were made by different Empu besides Empu Supo, using different materials and different workmanship (garap). Somewhat different in style, but still regarded as dapur sengkelat. 2
Keris and Cosmos The Blade By Hilga Prins Translation by Pendekar Taruna Ger Giesen. A study in search of the meaning of the Javanese Keris within the cultural context. Paper written for the study of cultural anthropology at the Rijksuniversiteit Utrecht (Holland). July 1990. Preface. (Shortened by the translator) During my study cultural anthropology at the University of Utrecht I got the opportunity to come in touch with a part of my study which previously escaped my attention: the material study. I could do this at the Rijksmuseum voor volkenkunde in Leiden. I choose Indonesia and together with the conservator of this department I decided to make the Javanese keris the subject of my study and to take special care of the male and female aspects of this artifact. Part 1 The shape of the keris A keris is made up by several different parts that will pass our examination more or less in depth, relevant to the importance of the part in relation to the subject of this paper. The blade of a keris can be straight or waved. One thinks that the straight variety is the oldest, because a blade with waves needs more knowledge to make by the smith. The first weapons that look like a keris and can be found on reliefs have this straight form. The waved blade is thought to come from India and it came to the Indonesian Islands together with Hindu influences. Gardner for example sees a strong resembles between the waved blade of a keris and the horn of a kind of goat, which lives in India. Views about this differ very much though. During the making of a keris different kind of metals are used. One of these metals should hold a percentage of Nickel. Because Nickel is light colored, at the end of the process the motifs on the blade can be seen. When the blade is ready, it is soaked in lemon juice and arsenic, because of this the dark iron is slightly etched so the motives are often in relief. During the making the metals are torqued, flattened, mixed, hacked to pieces and made whole again, in a way which is carefully planned by the smith or Empu to get a desired motive. At the beginning of the art those motives where probably pure chance, but in later times they learned how to produce certain motives on command. These motives are called “PAMOR”, which is also the name for the nickel holding metal, because it really means mixed metal, a blending. 3
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Tenaga Dalam Volume 2 - August 1999
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DJAKARTA EX ‘PEARL OF THE EAST’
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The words of these love ditties are
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Photo 133 Photo 134 Photo 135 Photo
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Photo 138A Photo 138B Photo 138C Ph
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What is Dapur? Dapur is an Indonesi
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Indonesian Language and Culture The
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Kamu and engkau are pronouns that b
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Reflections on The Fighting Philoso
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and bending yet ever connected to t
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Tenaga Dalam Volume 3 - December 19
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forsaken their true spiritual essen
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witchcraft, devil-worship, or any o
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martial artists in Germany 50 years
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spent long periods of time isolated
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that under normal conditions would
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ecause you cannot perceive them wit
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Hantu Pusaka - always follow their
Page 38 and 39: hidden there? The sounds, or energy
Page 40 and 41: path is just that - easy. The other
Page 42 and 43: Eelderwolde, 1994. NLG145. Tammens,
Page 44 and 45: The Secret of the Eight Gates of Po
Page 46 and 47: have their own characteristics to a
Page 48: pamor, which in fact they don’t.
Page 51 and 52: The Matter of Energy By John Perkin
Page 53 and 54: I recalled how that passage in The
Page 55 and 56: He gently moved one hand back and f
Page 57 and 58: What Is Trance? By Kay Hoffman The
Page 59 and 60: ituals and ceremonies can produce.
Page 61 and 62: questionable light. Finally, I woul
Page 63 and 64: Tenaga Dalam Volume 4 - May 2000 Th
Page 65 and 66: with the production of the so calle
Page 67 and 68: This fourth book gives a totally di
Page 69 and 70: Story 1 The Keris Pusaka Uncle Fran
Page 71 and 72: told him how he went downhill due t
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Page 77 and 78: I believe all of these thoughts are
Page 79 and 80: The Magickal Use For using a kris i
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Page 91 and 92: us, then it is very unlikely that t
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Page 95 and 96: above proves their relation and the
Page 97 and 98: ganja. As with most things keris ho
Page 99 and 100: “textbooks.” He uses this knowl
Page 101 and 102: The Grip From two organic materials
Page 103 and 104: The way in which Hindu/Buddhist cul
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Page 115 and 116: The Arafah-day Fast To those who ar
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Page 119 and 120: The Legend of the Dewadaru Tree fro
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Page 125 and 126: cosmic laws and intelligences are a
Page 127 and 128: My conclusion is in two parts. Firs
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Page 133 and 134: In Silat mystical philosophy, elect
Page 135 and 136: Djut Bang Solimon. Please note Oei
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how I fought and how I handled weap
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fauna, and cultures whose backgroun
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Indonesian Weapons and Artifacts Pe
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Tenaga Dalam Volume 5 - October 200
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Pendekar Sanders. Pendekar Sanders
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Mr. Giesen largely credits Pendekar
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was also interested in him had conf
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some years we moved to the Netherla
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very special keris, really a top ke
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One key difference between novice a
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Kejawen, a Javanese Traditional Spi
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of Suro, the Javanese New Year. It
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ird, a human-being, has to pass two
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Tenaga Dalam Volume 8 - October 200
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something that is so valuable in on
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Everything in the material world is
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The deviation as used in Indonesia
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Javanese to structuralize and organ
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the most important cultural element
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of life in hostile postures opposit
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Just like the elephant they live in
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say a word. After they arrived home
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prove Kahir’s his skills, the may
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This style is stressing on the flex
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