KERIS AND TOSAN AJI INTRODUCTION

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 Tisane 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.

I. SHEATH (DRESS) OF KERIS

There are two kinds of sheath :

1. Gayaman
2. Ladrang/Branggah Sheath
Sheath
The Sheath consists of five parts:
1. Ukiran/Pegangan keris (Hilt)
2. Gandar (Body)
3. Mendak (Hilt Ring)
4. Selut (Keris Ring)
5. Pendok (Cover)
Sheath of Keris Contains Symbolic Meaning :
1. Ukiran (Hilt) means God is mightier than all
2. Warangka means Eternal Life
3. Godhong means two uniting souls, People and government should agree with each other
4. Agkup means submitting and devoting to God
5. Latha means dirt on the forehead
6. Ri cangkring symbolizes Elbows
7. Gandar means the bearer is destined for himself
8. Pendok means Etiquettes
9. Kandelan means bearer must feel strong faith towards God
10. Kethekan means the waiting for Divinity
11. Mendak means bearer must be humble
The Sheath can be made from various materials such as:

1. Sonokeling Wood 9. Sweet Sandalwood

2. . Trembalu Wood 10. Teak Wood

3. Acacia Wood 11. Nogosari Wood

4. Awar-awar Wood 12. Dewadaru Wood

5. Galih Asem Wood 13. Buffalo Horn

 6. Timoho Wood 14. Ivory

7. Kemuning Wood 15. Elephant Jaws

8. Javanese Sandalwood
II. 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 :
1. Pahing Tuesday
2. Pon Wednesday
3. Pahing Wednesday
4. Pahing Thursday
5. 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
III. MANUAL OF KERIS MAKING
According to Ki Kapalang, keris making should start from measuring the length of
ganja. Then the blade is measured on the multiplication of the ganja. The measurement
always start from the beginning, to the end. The measurement: CAKRA-
GUNDHALA-GUNUNG (MOUNTAIN)-GUNTUR (THUNDER)-SEGARA
(OCEAN)-MADU(HONEY). It will be good if the measurement falls on mountain,
sea, and honey. If the measurement is reversed from the end to the beginning, it will be
best to fall on mountain.
To make the handle of spears: Measure the length of the handle with the fist of the
bearer. The order: SANGGA-RUNGGI-SARAH-WATANG-SANGGA. Best if it falls
on SanggaTo make spears, the measurements are:SANGGA-RUNGGI-SARAH-
WATANG-SANGGA and so on. Best if it falls on Sangga
IV. 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 (Inner Hilt)
2. Ganja (Middle Section)
3. Wilah (Blade)

V. EMPU (MAKERS OF KERIS TOSAN AJI)

1 Jenggala; year 1119 Saka. King Prabu Lembu Miluhur
Jenggala Kingdom: King Prabu Lembu Miluhur Empu Kerajaan Jenggala :
Empu Joyosemito
Empu Joiruno
Empu Supowinangun
2.Pajajaran year 1170 - 1284 Saka.
Kings of Pajajaran:
Prabu Surya Miluhur
Prabu Banjaran Sekar
Prabu Mundhingsari
Prabu Sri Pamekas
Prabu Siyung Wanara
Empu of Pajajaran :
Empu Andaya Jenggala
Empu Widusarpa
Empu Ajatsari
 Empu Marcukundha,Ki Macan,Ki Kuwung
3.Majapahit year 1303 - 1429 Saka
Kings of Majapahit:
Prabu Brawijaya
Prabu Brawijaya Terakhir
Prabu Sah Akbar Alam
Empu Kerajaan Majapahit :
Empu Supodriyo
Empu Jokosupa (pangeran sedayu)
LIST OF EMPU THROUGH THE MAJAPAHIT AGES, EMPU SURO
1 Majapahit Empu Supodriyo
2 Majapahit Empu Jokosupa (pangeran sedayu)
3 Tuban Empu Supoanom
4 Tuban Empu Sektilanang
5 Mataram Ny. Panjang Emas (Empu P. Panjang
6 Mataram Emas)
7 Mataram Empu Cindeamoh
8 Kartasura Empu Suponyang
9 Kartasura Empu Entowayang
10 Surakarta Mas Ayu Kadarsih (Empu P. Hangabei)
11 Ngentho-entho (Yogya) Raden Ayu Pandit (Empu Pandit)
12 Ngentho-entho (Yogya) Ny. Badur (Empu Badur)
13 Jenggalan Empu Kertoyudo
14 Jenggalan Empu Joyosemito
15 Jenggalan Empu Joiruno
16 Beranak Empu Supowinangun:
Putri
Yoso Pangarso
Genyo Diharjo
Wignyo Sokoyo
Jeno Harumbrojo
VI. PAMOR (ORNAMENT) AND CHARISMA
Ornamentation of keris depends on the order, function of the heirloom, and the artistic
sense of the maker (empu). The kinds of ornament corresponds with the intention in
which the keris is made.
There are at leas 19 kinds of ornament with their own charisma.
Ornament Charisma
1. Bala Pandita Safty and popularity
2. Benda Segada Influence
3. Tundung Protects from evil
4. Pancuran Mas Ability to acquire wealth
5. Dandang Ngelak Stone hearted and hated
6. Kul Buntet Heirloom to warriors
7. Pengasih Protects from evil and wild animals
8. Rajah Proects from ill will
 Protects from enemy and enhance
9. Pulo Tirta
consistency
10. Segara Wedi Good for people in power and state official
11. Batu Lapak Safety
12. Blarak Sineret Humble yet charismatic
13. Prabawa Very Charismatic
14. Wulan Lima Honorable
15 Manggada Safety
16. Sumber For bussinesses to fro successfully
17. Pulo Duyung Adored
18. Sanubari Good for elders, teachers, and monks
19. Gunung Guntur Protects from illness
VII. ORNAMENTS OF TOSAN AJI
Every empu will be famous if they produce with unique characteristics. Characteristics
of empu are usually known by tosan aji observers as Penangguhan. A respected Empu
must produce an ornament which has not been known before. Even though the Empu
produces keris with known ornaments, he will show some of his personal
characteristics.
From various written sources and interviews, there are around 80 kinds of ornaments
noted.
1. Pamor Bugis 41. Pamor Guladata
2. Pamor Mrambat 42. Pamor Pulotirto
3. Pamor Gajih 43. Pamor Manggada
4. Pamor Sanak 44. Pamor Segara Wedi
5. Pamor Brojol 45. Pamor Bala Pandita
6. Pamor Pejetan 46. Pamor Gunung
7. Pamor Byor 47. Pamor Batu Lapak
8. Pamor Buntal Mayit 48. Pamor Lintang Johar
9. Pamor Kulit Semangka 49. Pamor Lintang Kumukus
10. Pamor Beras Wutah 50. Pamor Songsong
11. Pamor Udan Mas 51. Pamor Sungsum
12. Pamor Blarak Sineret 52. Pamor Camar
13. Pamor Ron Kendhuru 53. Pamor Kembang Lo
14. Pamor Sada Sak-Ler 54. Pamor Sinom Robyong
15. Pamor Putri Tumurun 55. Pamor Payung Kunarpo
16. Pamor Rajah 56. Pamor Dandang Ngelak
17. Pamor Walang Sinundukan 57. Pamor Tambal
18. Pamor Kenongga Ginugah 58. Pamor Bonang Sarenteng
19. Pamor Tambal Wengkon 59. Pamor Bendha Segada
20. Pamor Unthuk Banyu 60. Pamor Ganggeng Kanyut
21. Pamor Sekar Lampes 61. Pamor Dwi Warna
22. Pamor Sekar Pala 62. Pamor Ujung Gunung
23. Pamor Mlinjo 63. Pamor Kul Buntet
24. Pamor Kendagan 64. Pamor Wulan Lima
25. Pamor Adeg Rambut 65. Pamor Prabowo
26. Pamor Pandan Iris 66. Pamor Tundung
 27. Pamor Lawe Satukel 67. Pamor Pulo Duyung
28. Pamor Mayang Mekar 68. Pamor Pancuran Mas
29. Pamor Kara Welang 69. Pamor Sumber
30. Pamor Trithik 70. Pamor Pengasih
31. Pamor Tumpal Keli 71. Pamor Sanubari
32. Pamor Pedaringan Kebak 72. Pamor Bawang Sebungkal
33. Pamor Sumur Sinaba 73. Pamor Manggar
34. Pamor Sekar Kopi 74. Pamor Melati Rinonce
35. Pamor Ron Pakis 75. Pamor Mrutu Sewu
36. Pamor Ri Wader 76. Pamor Lar Gangsir
37. Pamor Sumur Bandung 77. Pamor Jarot Asem
38. Pamor Tiban 78. Pamor Putri Kinurung
39. Pamor Telaga Membeng 79. Pamor Rojo Gumbolo
40. Pamor Teja Kinurung 80. Pamor Tunggak Semi
The name of the ornament is taken from the inspiration or objects that looks similar
to the ornaments. For example if the creation of the Empu looks like the prints of
coconut leaves on sand, the ornament will be called Blarak Sineret (Coconut Leave
Prints).
One thing is clear. An Empu in Java is since long ago is known to be very close
with nature, plants, animals, and other natural things. Then they use a mixture of
metals, such as steel, iron, nickel, and titanium to form the ornaments. Their
knowledge is multidisciplinary in the perspective of modern science.
VIII. IDENTIFIYING THE FORM OF KERIS
Dhapur is the form or model of the keris in which keris making has hold as standards in
keris making. An Empu in making keris will not leave these standards. There are 2
major kinds of keris form; straight and wavy/curvy. The number of curve in keris is
always odd, it is never even. The numbers can be 1, 3, 5, 7, 9, and so on,
In trade, the form is revered with names.
1. Straight Keris is called Jalak
2. 3 curved Keris is called Jangkung
3. 5 curved Keris is called Pendhawa
4. 7 curved Keris is called Sempana or Sumpana
5. 9 curved Keris is called Jigja
6. 11 curved Keris is called Sabuk inten or Carita
7. 13 curved Keris is called Sengkelat
Straight Form:
1 Panji Anom 21 Ron Teki
2 Jaka Tuwo 22 Sujen Ampel
3 Bethok 23 Kelap Lintah
4 Karna Tinandhing 24 Yuyu Rumpung
5 Semar Bethak 25 Brojol
6 Regol 26 Laler Mengeng
7 Kebo Teki 27 Puthut
8 Jalak Nguwuh 28 Jalak Sumelang Gandring
9 Sempani 29 Mangkurat
10 Jamang Murub 30 Mayat Miring
11 Tumenggung 31 Kalam Munyeng
12 Tilam Upih 32 Pinarak
13 Pasopati 33 Marak
14 Condhong Campur 34 Jalak Tilamsari
15 Jalak Dhinding 35 Tilamsari
16 Jalak Ngore 36 Jalak Lola
17 Jalak Sangu Tumpeng 37 Wora-wari
18 Mendarang 38 Wora-wari
19 Mesem 39 Sinom
20 Semar Tinandhu 40 Kala Misani
3 curved form 5 curved form
1 Jangkung Pacar 1 Sinarasah
2 Maesa Soka 2 Pudhak Sategal
3 Maesa Nempuh 3 Pulanggeni
4 Mayat 4 Pandhawa
5 Jangkung Pacar 5 Anoman
6 Tebu Sauyun 6 Kebo Dhengen
7 Bango Dholok 7 Kalanadhah
8 Manglar Munya 8 Pandhawa lare
9 Campur Bawur 9 Urap-urap
10 Segara Winotan 10 Naga Salira
11 Jangkung Cinarita 11 Kebo Dhendheng
12 Pandhawa Cinarita
7 curved form 11 curved form
1 Balebang 1 Carita Bungkem
2 Murma Malela 2 Carita Prasaja
3 Crubuk 3 Carita Kaprabon
4 Jaran Goyang 4 Carita Daleman
5 Naga-Kras 5 Sabuk Inten
6 Sempana Punjul 6 Cluring Regol
7 Sempana Bungkem 7 Carita Genengan
8 Crita Casapta 8 Carita Gandhu
9 Sabuk Tali
10 Jaka Wuru
9 curved form 13 curved form
1 Kidang Mas 1 Caluring
2 Panji Sekar 2 Sangkelat
3 Sempana 3 Johan Mangan Kala
4 Jaruman 4 Nagasasra
5 Jarudheh 5 Parungsari
6 Paniwen 6 Kantar
7 Panimbal 7 Luk Gandhu
8 Kidang Soka 8 Sepokal
9 Carang Soka 9 Karawelang
10 Sabuk Tampar 10 Naga Selumen
11 Buto Ijo 11 Bima Kurdha
 12 Sempana Kalenthang
13 Crita Kanawa
Dhapur Luk 17, 19, 21, 25, dan 29
17 Ngamper Buta
curvesLancingan
19 Trimurda
curvesKala Tinantang
21 Drajit
curvesTrisirah
25
Bima Kurdha
curves
27
Taga Wirun
curves
29
Kalabendu
curves
Keris in the collection of keratin are only up to 13 curves. Keris with more than 13
curves are called kalawijen or Palawijan.

.
IX. MARANGI PROCESSES
The process of marangi is to clean keris from rust and to give a beautiful effect to
keris. It will give a stronger contrast to the ornaments (pamor). Marangi is done
every time the keris rust. Tosan aji are irons to be respected and preserved. Not to be
worshiped. Keris are created by the Empu not to kill or hurt. Meditation and
offerings are done in the process of the making of keris and tosan aji. Tosan aji are
not to kill. It is a heirloom and an attribute of Javanese clothing. As an heirloom,
tosan aji is treated respectfully, since storing, unsheathing, to maintaining. Many
dont agree if tosan aji are treated with modern method, like applying polyvinyl
acetate (PVA) to preserve them. From conservation point of view, applying PVA is
an effective method to conserve tosan aji, but traditionally incorrect because it
disregards the boldness and charisma of the keris.
The custom to air wayang (leather puppet) routinely can preserve the objects from
decay. Just like keris, spears, swords, wedhung, kudi, etc will resist weather of time
effect if preserved well. Tosan aji in the collection of Kraton Yogyakarta still looks
new after hundreds of years. The preservation process of tosan aji is by marangi or
applying. Marangi comes from the word wawangan which means arsenic, toxic. In
marangi process, warang is used.

X. COMPOSITION OF TOSAN AJI

Tosan aji uses ornaments from meteorites and pelican. Comparing to iron, the
ornaments (pamor) are more resistant to corrosion. Empu forms the ornaments
outward from the irons. Irons are oxidizes more than the ornaments. Rust of irons
leads to the decay of the iron, unless it is being preserved. Chemically, marangi is
 the process to create a black protective layer from rust resistant arsenate. Rust can
form because of humidity and residual acid from marangi process, or from acid from
the coconut oil to shine the tosan aji.

XI. TYPES OF WARANGAN

Marangi process is done by applying the surface of tosan aji with mixture of citrus
(citrus aurantifolia) with warangan. A ripe citrus contains about 7% citron acid
(C6H8O7) and other organic acids. Natural warangan consists of realgar (AS2S2)
arsenicals (FeSAs), cobalt (COSAs), and auri pigment (AS2S3) and others.
Warangan containments in pelican are around 6-10%.
A good natural warangan is orange to purple. The more purplish the better. Synthetic
warangan consists of arsenic trioxide (AS2O3) clean white and highly toxic.
There are 2 types of pure warangan:
1. PA type (Pro Analyses) 99.5% AS
2. Technical type 75%. Usually mixed with pink AS2S3. Before the warang process,
the skin citrus must be peeled. Citrus peel could make the iron turn green or greenish
yellow.

XII. 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
Gods 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.

XIII. PREPERATION FOR MERANGI 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.

XIV. 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. Dont 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.

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

XVI. 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.

XVII. INSTRUCTION TO HONOR AND COMMUNICATE WITH TOSAN AJI.

There are 3 steps which need to be done by anyone who wants to communicate with
yoni or precious keris. It is not enough just by verbally spoken or written on a peace
of paper. It seems that it is easier to talk then to act. In the effort to find out the
power of precious keris, certain acts should be done as a concrete action towards
communicating to keris.

The 3 steps are

1.Puasa mutih. Giving up eating with salt and foods that contain salt for 3 days
and nights. Another way is by puasa ngebleng which is not eating or drinking
for 3 days and nights. A complete keris, is placed on top of a pillow. The
communicator continuously prays to God. That way, maybe, a person can feel
the yoni (preciousness) of keris. He can communicate while he was sleeping,
awake, or in between. If communication is not accomplished, then the
 communicator can go on to the next step.
2.Keris that is being communicated is unsheathed and placed under the pillow.
Possibly, this way, one can find the charisma of Keris. If this method does not
bring to communication
3.An unsheathed keris, is removed from its hilt and rings. This condition is
called nglegena (totally naked). It is placed under the pillow and slept on for 3
nights straight. Melenging is intended to God. This act should be done with
total dedication. Intension is to know the preciousness and message of the
keris.

XVIII, WAYS TO WEAR KERIS

* These are the ways to

wear keris according to
Yogyakarta
*When the sheath of keris is * Not polite because it
placed left of the spine, the symbolizes boycott.
position is called * When the sheath on the
* Used by a warrior with a
MANGKING. This way is right of the spine, the
sword and by Yogyakarta
not very appropriate. position is called
Kelana Gagah dancer.
* When the sheath touches NGOGLENG. It is also not
the belt, it is called NETEP. very nice because
This is also not very considered arrogant.
appropriate because it
shows that the wearer is
challenging others.
* Worn on travels and by soldiers carrying a * Worn on travels and by Daeng
riffle. Soldiers.

* Worn when horse ridding and on other vehicles.

* Worn by imams and priests

Reference

Ki Sumidi Adisasmita, Pustaka Centhini Selayang Pandang , penerbit

U.P.Indonesia,Yogyakarta, 1974.

Yasandalem K.G.P.A.A.Amangkunegoro III (Ingkang Sinuwun Paku Buwono V) ing

 surakarta, Serat Centhini Latin jilid I s.d. jilid V, dilatinkan menurut aslinya oleh
Kamajaya, penerbit Pustaka Centhini oleh Yayasan Centhini, Yogyakarta, 1985-1988.

Tjokrosuharto Arts & Crafts Collection

Sarasehan Pametri wiji, Siraman Tosan Aji,1983-1986.

Linus Suryadi AG, Regol Megal Megol,fenomena Kosmogoni Jawa, penerbit Andi
Offset,Yogyakarta.