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Anda memasuki pendalaman pemahaman "Keris" dan Tosan Aji untuk ikut melestarikan salah satu budaya yang spesifik di dunia ini. Berawal dari Jawa, kita menapaki kearifan lokal se Nusantara.
Kini "Keris" telah menjadi warisan dunia, oleh sebab nilai intangible yang menyertainya, antara lain: Aspek Kesejarahan, Aspek Fungsi Sosial, Aspek Tradisi, Aspek Filosofi dan Simbolisme, Aspek Mistik, Aspek Seni dan Aspek Teknologi.
Sudah saatnya sebagai ilmu budaya untuk memulai "Krisologi" yang akan terus berkembang dan perlu disajikan untuk khalayak umum sedunia. Marilah kita apresiasi kearifan lokal bangsa, sebagai warisan budaya yang tak mengalami kepunahannya.
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| 19 May 2011 08:47:22 am |
 The Kris esoteric related to its making process. |
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Garret Solyom the author of a book 'The World of the Javanese Kris'
The word ‘esoteric’ is quite commonly used in the world of kris to refer to something existing beyond the physical form of the kris. This esoteric is also regarded as the mystical power of the kris. It is this mystical power that attracts the kris lovers, because it contains the hope that the kris he owns will help in solving life’s problems, and the hope to gain welfare and continuity in business.
From an anonymous note found in an untitled book at the Radhya Pustaka library, Surakarta, written in Jawa carik (Javanese script/letters), freely adapted into Latin wording by a friend of mine, among others the following are mentioned in coherence (quote only step 1 and 6):
1. Kyahi empu nyamektakaken ubarampening wilah tuwin tosan waja, sinambi nindakaken samadi supados pikantuk wisik ngingingi wujud punapa ingkang gegayutan kaliyan dhuwung ingkang badhe kadamel, kalarasaken kaliyan pakaryaning tiyang ingkang nyuwun kadamelaken dhuwung punika, kadosta: supados kathah rejekinipun utawi kangge kapangkatan. Inggih ing wekdal punika mujudaken wekdal panyrantos ingkang panjang, amargi kyahi empu boten miwiti pakaryanipun saderengipun angsal tumuruning pitedah.
Translation:
1. Kyahi empu prepares and cast the mantras over the steel material while meditating to acquire inspiration about the shape of the kris to be made, in consistence with the customer’s profession; such as useful to gain lots of fortune or useful to achieve certain positions. This stage constitutes a long waiting process, because the kyahi empu will not begin before he receives divine guidance from God Almighty.
Deliberation ad. 1:
The sentence ”..to gain lots of fortune or useful to achieve certain positions”, gives the understanding that the keris is indeed created to have a certain potency (tuah) for certain purposes and benefits for someone, through the guidance of God.
6. Sasampunipun punika keris ingkang sampun dipun garap mawujud, lajeng ngancik tataran nyepuh, kyahi empu nyamektakaken bumbung ingkang dipun isi lisah klopo dipun jangkepi mawi lampah srengat tuwin sajen, padatanipun namung sekar telon, tumpeng alit, recehan kangge lelembut tumbas jajan peken saha wangen-wangen kukusing menyan. Dhuwung dipun mantrani kanthi kalarasaken kaliyan ingkang andhawuhing damel. Dhuwung dipun besmi ngantos marong lajeng dipun celupaken wonten ing salebeting bumbung ingkang dipun iseni lisah klopo. Wonten ingkang pucukipun dipun obong malih lajeng katindakaken sepuh dilat punika latu ingkang marong mawi dipun dilat dening kyahi empu ingkang sekti, padatanipun wewahan donganipun inggih punika waosan sastro pinodati, sastro gigir lan rajah kalacakra.
Translation:
6. After the kris is forged into its final finished shape, the nyepuh (quenching) or steel hardening stage is reached. The Kyahi empu prepares the bumbung (bamboo tube) filled with coconut oil, accompanied by the performing of a ritual and the serving of sesaji which usually consists of just a small ‘tumpeng’ (cone shaped rice mound), three kinds of flowers and some small change for the lelembut (spirits) to spend on jajan pasar (traditional snacks), while burning frankincense. Mantras are uttered repeatedly over the kris, according to the requested desired objective. The kris is then put into the fire until it smoulders and after that immersed into the bamboo tube filled with coconut oil. Some of the kris are burnt again only at the tip, and then a sepuh dilat*) is performed, which means that the smouldering tip of the kris is licked by the Kyahi empu while uttering the sastra pinodati, sastra gigir and the rajah kalacakra mantras.
Deliberation ad. 6:
In general the kris is considered sacred and glorified because of the uniqueness of the ceremonies and technologies involved in the making process. The objective of the ’sepuh’ (quenching ) process is to make the steel become hard. In the spiritual review of the process of creating of a kris at the sepuh stage, the accentation is precisely at the time of performing the ritual and sesaji as an offering to Hyang Gusti (God Almighty), and to ’kulo nuwun’ (ask for permission) to the ’baurekso’ (spiritual guardian/custodian) of the surroundings. Even ’uang receh’ (small change)is provided for the ’lelembut’ (spirits) to spend on ’jajan pasar’ (traditional snacks); this is a form of compensation, just in case there is a shortfall or negligence in the presenting of the sesaji, the ‘lelembut’ may then go and spend the ‘uang receh’ at the pasar (market) themselves. And then the sentence that read : “Some of the kris are burnt again only at the tip, and then a sepuh dilat*) is performed, which means that the smouldering tip of the kris is licked by the Kyahi empu while uttering the sastra pinodati, sastra gigir and the rajah kalacakra mantras”.
A sesaji at the traditional method of ’menyepuh’ (quenching) a finished kris.
’Sepuh dilat’ is a traditional method of ’menyepuh’ (quenching) a finished kris, to nail or bind the magical power/tuah/Yoni unto the kris.
’Sepuh dilat’ is a ritual consisting of the process of licking a smouldering piece of steel/iron (usually a smouldering dagger), which is then snapped (suddenly immersed) into water spread over with flowers, as a symbolization of the unification of two contrasting powers (antithesis). When fire and water united accompanied by the mantras of the empu, a power is implanted upon the kris that went through the ’sepuh dilat’ process. ’Sepuh dilat’ can be interpreted as ”ngejingaken doyo” (nailing or binding the magical power/tuah/Yoni). In the Sastro Jendro Hayuningrat teachings (particularly at the Sastro Jendro community under the leadership of KPH. Darudriyo Sumodiningrat, with its center in Jakarta) the ’sepuh dilat’ is part of the manembah ritual (worship of God), which can be explained as a asesuci (self cleansing act). Of course only for the followers who have already gone through the wejangan (initiation process). The self cleansing process called ’asesuci’ consists of four kinds, which are the ’asesuci’ using the bumi (earth), angin (wind), tirta (water) and api (fire) medium. The earth and wind ’asesuci’ are not performed as a group or communal because these rituals are of very personal nature and constitutes an advanced or high level. Therefore the ’asesuci’ is usually performed using the ’tirta’ or the ’api’ medium. In the ’asesuci api’ ritual, the act of licking ember with the tongue is done 7 (seven) times; corresponding to men’s chandra diagram which indicated that men has 7 physical constructions which in the Kejawen Sastra Jendra is called sapta arga (hair, skin, flesh, muscle, blood, bone, marrow), thus these 7 constructions are being cleansed (purified) one by one. Meanwhile the ’asesuci tirta’ constitutes the washing of the body and hair using flowered water. This is commonly done by Javanese people. The ’sepuh dilat’ is usually peformed at the Upacara Sinidhikara Pusaka (Sinidhikara Heirloom Ceremony) particularly in the ritual to preserve the power of the kris, and aside of that it is also a customary manembah ritual (worship of God) on each night before Jum’at Kliwon (Kliwon Friday). Among the community of believers the ’sepuh dilat’ is refered to with the term ”jamasan”.
Footnotes:
*) ’Sepuh dilat’ was recorded in a ritual performed by Sinuhun Paku Buwana the Xth in the presence of his guest the King of Siam Rama the IVth (Chulalonkorn) at the Alun-alun Utara (North Square); from an article by S. Lumintu (clipping from the Buana Minggu newspaper) and the stenciled book ”Sri Susuhunan Pakoe Boewono X – Kenanganku Sepanjang Masa”; by KPH Djojohadinegoro S.H. (July, 1990). In the book titled ”Keris Jawa; antara Mistik dan Nalar”; by Haryono Guritno, it was written that the last empu recorded capable of performing the ’sepuh dilat’ was Wirasukadgo in the era of Paku Buwana the Xth.
(AZ – http://keriskamardikan.com/en/articles/76)
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Category : Kerisologi
| Posted By : administrator |
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