11 curved Keris Nogososro Kamarogan

Dhapur Nogososro Kamarogan Wedono sewelas; Pamor Kulit semongko; Tangguh sultan Agungan; Warangka Gayaman Pelet sembur Yogyakarta material Timoho wood; 11 curved Keris

7 curved Keris Nogosapto

Dhapur Nogosapto Kamarogan Wedono sewelas; Pamor Kelengan; Tangguh Pakubuwono; Warangka Blewah Gayaman Pelet Kendit Surakarta material Timoho; 7 curved Keris

Straight Keris Kalamisani

Dhapur Kalamisani; Pamor pedaringan kebak kinatah wedono lima; Tangguh Pakubuwono; Warangka Blewah Gayaman Surakarta material Timoho wood; Straight Keris

9 curved Keris Panji Sekar

Dhapur Panji Sekar Kinatah wedono telu; Pamor Kulit semongko; Tangguh senopaten; Warangka Ladrang Yogyakarta material Timoho wood; 9 curved Keris

Straight Keris Jalak Tilam Sari

Dhapur Jalak Tilam Sari; Pamor Sodo Sakler kinatah wedono telu; Tangguh Pajajaran; Warangka Ladrang Surakarta material Trembalu wood ; Straight Keris

Straight Keris Dapur Jalak Tilam Sari

Dapur Jalak Tilam Sari; Pamor Segoro Muncar Kinatah emas Tangguh Tuban; Straight Keris

Straight Keris Dapur Jalak Sinom

Dapur Jalak Sinom; Pamor Kulit Semongko Panji Pilis Tangguh Pajajaran; Straight Keris

Nyothe Ways to Wear Keris

6. NYOTHE
* Worn when horse ridding and on other vehicles.
* Worn by imams and priests

Nganggar Ways to Wear Keris

5. NGANGGAR
*Worn on travels and by Daeng Soldiers Of Sultan Palace

Munyuk Ngilo Ways to Wear Keris

4. MUNYUK NGILO
*Worn on travels and by soldiers carrying a riffle.

Satriya Keplayu ways to Wear Keris

3. SATRIYA KEPLAYU/LELE SINUNDUKAN
*Not polite because it symbolizes boycott.
* When the sheath on the right of the spine, the position is called NGOGLENG. It is also not very nice because considered arrogant

Ngewal Ways to Wear Keris

2. NGEWAL
*Used by a warrior with a sword and by Yogyakarta Kelana Gagah dancer

Klabang Pinipit Ways to Wear Keris

1. KLABANG PINIPIT
These are the ways to wear keris according to Yogyakarta
*When the sheath of keris is placed left of the spine, the position is called MANGKING. This way is not very appropriate.
* When the sheath touches the belt, it is called NETEP. This is also not very appropriate because it shows that the wearer is challenging others.

Maintenace of Keris

MAINTENANCE
A good tosan aji warang can last years. It is custom to oil tosan aji every Kliwon Tuesday or Kliwon Friday with diluted sandalwood oil. Keris should not be kept in a humid place. If it is must be stored in a closet/cupboard, it should be placed vertically on the top shelve. Fermentation of coconut oil will produce acid powder and other acids. To prevent this, keris is by mixing with gandapura oil. The mixture is 100 cc of coconut oil and 10 to 15 cc of gandapura oil. Besides sandalwood, kanthil, jasmine, or kenanga fragrance can be used. In Keraton Yogyakarta, the mixture of coconut oil and sandalwood oil is 1:1. For the method used in Solo, the mixture of krengsengan oil, kenanga oil, and gandapura oil is 25:10:3.
Riffle oil can also be used, but many specialists of esoteric keris say that the use of mineral oil will decrease the esotericism of keris. It is only used for last resort.
Keris are never to be sun dried for drying the oil. Otherwise the metal structure and mystical powers will fade. The brushing process should be done softly especially for keris plated with gold. Tosan aji should not be soaked in coconut water. Otherwise it will be corroded.

Bathing Method of Keris

XV. SIRAMAN (BATHING) METHOD
There are other types of bathing:
1. Nyek, a mixture of citrus with warangan and ‘cemengan’ (darkened aste water of marangi). Whitened keris are sun dried between 8 and 11 in the morning. After keris is warm, fingers are dipped into the mixture and pressed into tosan aji from hilt to tip until the tosan aji becomes black. Then, water is poured to the tosan aji and brushed with ash. This step is called dikeplok. Then the blade is brushed carefully so the black layer stays. Next, tosan aji is wiped and sun dried. This process is repeated until desired result is acquired. Next, tosan aji is washed with ash to remove the citrus acid. Then washed with clean water and sun dried. After tosan aji is dry, it is oiled.
2. Blonon (koyoh), similar to nyek, but, tosan aji is not pressed with fingers but brushed to apply warangan. After tosan aji is dark, it is immediately being dikeplok with ash. This process is repeated until the ornaments boldens.
3. Koloh, using other place, whitened tosan aji is dipped into citrus warangan mixture with cemengan. After a few minutes, tosan aji is lifted and dried. Then, water is poured and dikeplok. The process is repeated and tosan aji is not sun dried. The key factors of the success of this method lie on the keplok step. The black color on iron can slowly sink in to the iron

Preperation for marangi Process

STEP I. PREPERATION FOR MARANGI PROCESS
Marangi is usually done in the month of Sura in the Javanese in the days ot Kliwon Tuesday, Kliwon Friday, Legi Friday, or Legi Tuesday. One day before the procession, the actors of marangi usually fast. In the process of marangi, all actors are to wear Javanese Clothing, restrain eating, drinking, smoking, and talking. These restraints are less practiced these days. The tools for the procession are buckets for clean water, fragrance water, and waste water, brushes, for marangi and whitening, peeled citrus, warangan, coconut oil, 200 cc of krengsengan, 20 cc or more sandalwood oil, bamboo, tissue, rags, and crushed lerak (Sapindus rarak) or detergent as an alternative to lerak.
Citrus are cut into peaces and squeezed with a clean cloth into two containers. One to whiten the tosan aji, and one to dilute warangan. Natural warangan must be pounded before being diluted with citrus. Ususally the proportion is 1 spoon of lerak to 50 cc of citrus. To speed up the dilution, usually base liquids like NaOH/KOH are added or the mixture is heated.
For marangi process, tosan aji should be removed from the sheath and hilt. Keris and spears that are glued with glue can be removed by heating the glue. With clean rag under it, keris should be removed by turning the metal out from the hilt/shaft. If the metal is very rusty, to remove the hilt/shaft, the conjunction is applied with brake fluid and soaked for 24 hours or more. Tosan aji that are extremely rusty are soaked in coconut water with slices of citrus and ripe mengkudu. It should be soaked overnight or more depends on the degree of rust. These processes are done before siraman.
STEP II. MARANGI PROCESS
Marangi is best done in a sunny morning, in a children free house. Best in the terrace of the house. All attributes placed on a carpet. Offerings are placed separately, close to the marangi equipments. Marangi process is best done sitting with crossed legs. The process begins with burning of incense. Then, prayer to God for the wellness of the process and safety. Prayer is also done towards the spirits of empu ancestors so tosan aji will be useful for the owner.
Marangi process goes as follows:
1. Tosan aji is held and poured with water full of flowers. Then, brushed with soap to throw away oil. Then, wiped to dry.
2. Special brush to start whitening. The brush is made out of the horse hair. Brush is dipped to citrus squash, then brush through the blade. Don’t brush two ways, but just one way, from hilt to the end of keris or spears. Leave for a few minutes until the blade turns dark green. Brushing is repeated until rusts are washed away and the iron turns greenish yellow then black. Pour water on to it and brush until the blade turns white like aluminum. Then tosan aji is quickly washed with clean water and wiped with cloth or tissue by pressing on the iron, not wiped. It is then aired to dry.
3. Warangan is thrown over tosan aji. A special brush is used. Take a little and apply to blade one direction a few times. The tip pf the blade is tilted down. This is done a few times and until the iron becomes black. The blade is washed with clean water and brushed until residual acid and warang is washed away. Then tosan aji is cleaned with tissue like in process number 2.
4. The last step is applying oil. It is done after tosan aji is dry or when the blade is put back into the hilt. To preserve the warangan layer, keris should be oiled mildly then aired to dry.

Offerings in Marangi

OFFERINGS IN MARANGI
Rice in a bowl with organic chicken eggs on top of it, brown sugar, a coconut, bananas, live chicken, soft rice, white, red, yellow, black, reed and white, cross, white, with coconut blend, and brown sugar (colorful). Spicy rice, with chicken. Tamping (cone rice serving), snacks, fruits, cigar or cigarette, a cup pf black coffee, and a cup of rich tea, flowers, incense, kembang telon, Offering is a way to ask for God’s blessings so the marangi process goes undisturbed and to respect empus’ and ancestors’ souls. Coconut is kept in case of intoxication. Coconut juice can be drunk for detoxification.

Components of the face of keris

RICIKAN KERIS (COMPONENTS OF THE FACE OF KERIS)
Ricikan are the characteristics of the face of keris. Not all keris have complete ser of components. The Components of the face are :
1.Pesi; 2. Omah-omahan pesi; 3. cocor; 4. Lambe Gajah; 5. Sirah Cecak; 6. Gulu memet; 7. Ganja; 8. Wuwungan Ganja; 9. Kepet Urang; 10. Buntu mimi; 11.Gunung; 12. ri pandan; 13. Ron dha; 14. Greneng; 15. ron dha nunut; 16. Longakangan; 17. Pidakan; 18. Bawang Sebungkul; 19. Pejetan Blumbangan; 20. Paen; 21. Sekar Kacang; 22. Gandhik; 23. Jenggot; 24. Sraweyan; 25. Tikel Alis; 26. Wadidang; 27. Sogokan; 28. Janur; 29. Pudhak Setegal; 30. Gandu; 31. Sor-soran; 32. Kruwingan; 33. Gusen; 34. ada-ada; 35. Hilirah-lirah landep; 36. Lengkeh; 37. ucu-ucu; 38. pucuk keris; 39. Penitis; 40. Gulu milir; 41. puyuhan; 42. Kanyut

Choosing good days

CHOOSING GOOD DAYS TO ‘DRESS’ KERIS
Based on Serat Centini Chapter IV verse 20, In making the sheath to ‘dress’ Tosan Aji, there are guidance to choose a good days and forbidden days
Good Days ; Pahing Tuesday; Pon Wednesday; Pahing Wednesday; Pahing Thursday; Pon Thursday
Forbidden Days :
1. Kliwon Wednesday; the death of Prince Sedayu
2. Legi ; the death of Prince Sendang
3. Wage Monday; the death of Prince Welang
4. Wage Sunday; the death of Prince Cindheamoh

SHEATH (DRESS) OF KERIS AT PICTURE
1 Warangka keris gayaman Yogyakarta
2 Warangka keris ladrang Yogyakarta
3 Warangka keris ladrang Surakarta
4 Warangka keris Gayaman Surakarta

Sheath (Dress) of Keris

Sheath of Keris Contains Symbolic Meaning :
1. Agkup means submitting and devoting to God
2. Janggut means bearer must feel strong faith towards God
3. Latha means dirt on the forehead
4. Gandar means the bearer is destined for himself
5. Gandek means the waiting for Divinity
6. Godhong means two uniting souls, People and government should agree with each other
7. Ri cangkring symbolizes Elbows
8. Ukiran (Hilt) means God is mightier than all
9. Warangka means Eternal Life
10. Mendak means bearer must be humble
11. Selut Keris Ring
12. Pendok means Etiquettes

The exotic Yogya Keris

We are now in the 20th century. Therefore we need to realize that we need to preserve the artworks of the culture from our ancestors. We need to preserve them so that it will not be eroded by the ages. The artworks of our ancestors made centuries ago encompass high artistic value, symbolical meanings and are to proud of. One of those artworks are Tosan Aji (valuable Irons) in the form of keris and spears.Tosan aji or also known as Besi aji means valuable irons. It does not mean that we need to pray to the irons but to honor because they are the heritage from our ancestors that are very valuable. When making keris, empu (keris maker) does not only create a weapon to kill or to hurt but also for other reason which are believed to enhance the charisma and confidence of the bearer. This can all be seen in the process of the making which require meditations and offerings and finding materials which can take a long time. As heirlooms, these valuable irons are treated carefully, from storing, drawing out, to maintenances. This treatment itself is an art itself.With all respects and as effort to preserve these heritages, we try to gather literature sources about tosan aji in a script. Our wishes are to give a picture and information about the basics of tosan aji. We realize that it contains many shortcomings in the process. Therefore, constructive critics and suggestions are very much welcome. We hope that this script will be useful and give the basic introduction about tosan aji as heritage from our ancestors which we have to preserve.