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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 Sheath	2. Ladrang/Branggah 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 2 Majapahit 3 Tuban 4 Tuban 5 Mataram 6 Mataram 7 Mataram 8 Kartasura 9 Kartasura 10 Surakarta 11 Ngentho-entho (Yogya) 12 Ngentho-entho (Yogya) 13 Jenggalan 14 Jenggalan 15 Jenggalan 16 Beranak	Empu Supodriyo Empu Jokosupa (pangeran sedayu) Empu Supoanom Empu Sektilanang Ny. Panjang Emas (Empu P. Panjang Emas) Empu Cindeamoh Empu Suponyang Empu Entowayang Mas Ayu Kadarsih (Empu P. Hangabei) Raden Ayu Pandit (Empu Pandit) Ny. Badur (Empu Badur) Empu Kertoyudo Empu Joyosemito Empu Joiruno 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
	9. Pulo Tirta	Protects from enemy and enhance 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 2 Jaka Tuwo 3 Bethok 4 Karna Tinandhing 5 Semar Bethak 6 Regol 7 Kebo Teki 8 Jalak Nguwuh 9 Sempani 10 Jamang Murub 11 Tumenggung 12 Tilam Upih 13 Pasopati 14 Condhong Campur 15 Jalak Dhinding 16 Jalak Ngore 17 Jalak Sangu Tumpeng 18 Mendarang 19 Mesem 20 Semar Tinandhu	21 Ron Teki 22 Sujen Ampel 23 Kelap Lintah 24 Yuyu Rumpung 25 Brojol 26 Laler Mengeng 27 Puthut 28 Jalak Sumelang Gandring 29 Mangkurat 30 Mayat Miring 31 Kalam Munyeng 32 Pinarak 33 Marak 34 Jalak Tilamsari 35 Tilamsari 36 Jalak Lola 37 Wora-wari 38 Wora-wari 39 Sinom 40 Kala Misani
	3 curved form	5 curved form
	1 Jangkung Pacar 2 Maesa Soka 3 Maesa Nempuh 4 Mayat 5 Jangkung Pacar 6 Tebu Sauyun 7 Bango Dholok 8 Manglar Munya 9 Campur Bawur 10 Segara Winotan 11 Jangkung Cinarita	1 Sinarasah 2 Pudhak Sategal 3 Pulanggeni 4 Pandhawa 5 Anoman 6 Kebo Dhengen 7 Kalanadhah 8 Pandhawa lare 9 Urap-urap 10 Naga Salira 11 Kebo Dhendheng 12 Pandhawa Cinarita
	7 curved form	11 curved form
	1 Balebang 2 Murma Malela 3 Crubuk 4 Jaran Goyang 5 Naga-Kras 6 Sempana Punjul 7 Sempana Bungkem 8 Crita Casapta	1 Carita Bungkem 2 Carita Prasaja 3 Carita Kaprabon 4 Carita Daleman 5 Sabuk Inten 6 Cluring Regol 7 Carita Genengan 8 Carita Gandhu 9 Sabuk Tali 10 Jaka Wuru
	9 curved form	13 curved form
	1 Kidang Mas 2 Panji Sekar 3 Sempana 4 Jaruman 5 Jarudheh 6 Paniwen 7 Panimbal 8 Kidang Soka 9 Carang Soka 10 Sabuk Tampar 11 Buto Ijo 12 Sempana Kalenthang 13 Crita Kanawa	1 Caluring 2 Sangkelat 3 Johan Mangan Kala 4 Nagasasra 5 Parungsari 6 Kantar 7 Luk Gandhu 8 Sepokal 9 Karawelang 10 Naga Selumen 11 Bima Kurdha
	Dhapur Luk 17, 19, 21, 25, dan 29

	17 curves	Ngamper Buta Lancingan
	19 curves	Trimurda Kala Tinantang
	21 curves	Drajit Trisirah
	25 curves	Bima Kurdha
	27 curves	Taga Wirun
	29 curves	Kalabendu
	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 don’t 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 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.

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:

Tosan aji is held and poured with water full of flowers. Then, brushed with soap to throw away oil. Then, wiped to dry.

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.

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.

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:

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.

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.

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

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.

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

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


* Worn on travels and by soldiers carrying a riffle.	* Worn on travels and by Daeng 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.

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