Kris blades are usually narrow with a wide, asymmetrical base. The blade, always of steel, may be straight or sinuous; the scabbard, usually of wood, may be encased fully or partially in metal or is sometimes fully or partially of ivory. The hilt, usually of wood or ivory, is sometimes found in silver or brass and rarely, in gold or shell. The fittings are usually brass or copper, often silvered or gilded. Fittings of silver or gold are frequent, as are styles decorated with glass cabochons, or rough-cut germs.
Kris has been researched in terms of supranatural power, resulting in the facts that kris has a special energy depending on the patterns of metal alloy decoration (Pamor) on the blade (Bilah), designs of blade (Dhapur) and Tangguh—period of production.
Bilah is the principal blade of Kris. It will determine whether the Kris is straight or wavy (resembling a snake). It is usually narrow with a wide asymmetrical base. Although Kris measures differently, its length is between 15 to 50 cm, sharp on both edges and tip, broader and asymmetric shape near the hilt.
The blade is the most important part of the kris. Granting the technical superiority of the Japanese blade over all other, and the excellence of good Persian blades, the kris blade yet shows greater artistry and imagination on the forging and decoration of its many complex forms. All three of these very different blades from quite different cultures are forged by procedures that are common in many aspects.
In kris practices, the ‘empu’ is identified as the blade maker, while the ‘mranggi’ is identified as the supplementary craftsman. In high quality kris blades, the metal is folded dozens or hundreds of times and handled with the utmost precision. ‘Empus’ are highly respected craftsmen with additional knowledge in literature, history and occult sciences.
The kris and early Persian blades were forged by a technique known as ‘pattern welding’ – one in which two or more layers of different steels were pounded together while red-hot, folded or twisted, pounded more and folded more until the desired numbers of layers, or laminae, were obtained. The rough sword blade so achieved was then filed and polished smooth and finally acid-etched to bring out the contrasting colors of the low and high carbon steels.
The pattern so obtained may be controlled by a skillful smith who produced all sorts of fanciful designs. The designs range from misty and diaphanous to bold, three-dimensional textures. Some of their names are revealing: ‘rice grains’ or ‘nutmeg flower’; in Persian work, a ladder pattern called ‘forty steps’; in Japan work a superb textured wood –grain effect called mokume, etc.
The blade of Kris is either straight or wavy (like a snake). The (straight) Kris philosophically symbolizes ‘determination’ to maintain principles while the wavy Kris symbolizes ‘wisdom’ (strategically talented).
The blade requires a sheath that is decorated with a ‘pendhok’ and this has become an integral part of the aesthetics of the kris. The sheath is often made from wood, though examples from ivory, even gold, abound.
The blade of kris
