Important Collection of Antique Asian Arms
Lot 112:
Keris from Bali are considered some of the finest among the Indonesianarchipelago. As Bali is a Hindu society, the influences on the keris have survived theIslamicization of form and design found elsewhere in the region, with some exceptions. As aresult, Balinese keris often sport hilts carved with richly designed Hindu deities in much morerealistic manner than the more the stylized interpretations found in other parts of the region, suchas the highly stylized Garuda imagery of the Bugis or Sumatra. Other forms of hilts are simplerin design and would have been used by the warrior class while another type in a distinctivecylindrical form is called danganan grantim. The keris played a particularly important role inBalinese society, is used as a ritual tool in almost every Balinese religious ceremony. Kerisfunctioned as pusaka, or powerful sanctified heirlooms, and served as a strong marker of socioeconomicstatus depending on the materials and quality of the workmanship. The historicaldevelopment of the Balinese keris is related to the origination of the keris in the early part of the2nd millennium A.D. and which spread to the Bali from the east Javanese kingdom of Kedhirifrom 11th-13th centuries. The Majaphit conquest of Bali in 1343 especially influenced thedevelopment of the keris in Balinese society. The classic indicators of a Balinese keris are thehilt, which are richly carved in realistic interpretations of Hindu deities or otherwise in theclassic form of hilt such as danganan grantin.This example in the Schmiedt Collection is a good representation of a classic Balinese form.The hilt called a danganan grantim, in embossed silver, imitating a woven lotjeng- or grantimhandle. In the pommel cap, the tail of a mythical animal can be seen, or a plantâ€â„¢s sprout. Theselut is silver inlaid with semi-precious stones.The blade is a finely crafted 17 luk form, called a dhapur kalawijan, representing a blade withover 13 luk and meaning a (time for sowing seeds) This luk pattern is believed to have specialmeanings for the commissioner and does not represent a standard luk pattern with a specificmeaning. The pamor is nglulit semangka, known as watermelon skin pattern.Overall first half of 20th century.Total Length (inside scabbard if present) : 24 3/4" Blade Length : 19 1/2"References:1. Frey, E. (1988) The Kris: Mystic Weapon of the Malay World. Oxford University Press.2. Mardianto, W. A to Z â€â€œ Sesuatu mengenai KERIS dan TOMBAK KERIS â€â€œ SENJATATRADISIONAL INDONESIA A to Z3. Ki Empu Jhuel. Pamor Keris4. Ghiringelli. V. (2007) The Invincible Krises 2. Saviolo Publisher5. Van Zonneveld, A.G. (2001) Traditional Weapons of the Indonesian Archipelago.Leiden: Art Books6. Gardner, G.B. (2009) Keris and other Malay Weapons. Orchid Press7. Weihrauch, A., Kloubert, U. and Aljunied, A. (2017)The Gods & the Forge: BalineseCeremonial Blades- The Gods & the Forge in a Cultural Context. IFICAH8. Neka, W. S. (2014) Understanding Balinese Keris: An Insiders Perspective. Neka ArtMuseum.Detailed condition reports are not included in this catalog. For additional information, including condition reports, please contact us at [email protected]
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