Art As Identity: Integrating Keris Blade Pattern Features Into Contemporary Abstract SculptureRE

Authors

  • Saiful Imaan Sharonee
  • Muhamad Khairi Shamsudin Department of Fine Art, Faculty of Art & Design, Universiti Teknologi MARA
  • Syed Zamzur Akasah Syed Ahmed Jalaluddin Department of Fine Art, Faculty of Art & Design, Universiti Teknologi MARA
  • Ahmad Fauzi Amir Hamzah Department of Fine Art, Faculty of Art & Design, Universiti Teknologi MARA

DOI:

https://doi.org/10.55981/panalungtik.2025.14175

Keywords:

Abstract sculpture, Cultural heritage, Contemporary art, Keris blade pattern

Abstract

This practice-based research investigates how the symbolic features of Malay keris blade patterns can be reinterpreted in contemporary abstract sculpture. The study aims to explore traditional symbolism as a source of sculptural innovation and develop a method for translating intangible heritage into material form. Circularity, angularity, and ovality signifying hope, resilience, and protection were reimagined through three maquettes in wire and concrete. The process combined visual research, engagement with keris smiths, hermeneutic analysis, and iterative studio inquiry. The resulting forms layered helices, branching arcs, and planar folds evoke the stratified blade patterns (pamor) while establishing a new sculptural language. This research contributes: (1) a methodology for transforming cultural symbolism into contemporary form; (2) evidence of how abstraction sustains heritage narratives; and (3) adaptable design principles for public art and creative industries. The project positions the keris as a living cultural signifier and opens pathways for integrating Southeast Asian craft traditions into modern art and design.

Author Biographies

Muhamad Khairi Shamsudin, Department of Fine Art, Faculty of Art & Design, Universiti Teknologi MARA

40450 Shah Alam Selangor, Malaysia

Syed Zamzur Akasah Syed Ahmed Jalaluddin, Department of Fine Art, Faculty of Art & Design, Universiti Teknologi MARA

Department of Fine Art, Faculty of Art & Design, Universiti Teknologi MARA, 40450 Shah Alam

Selangor, Malaysia

Ahmad Fauzi Amir Hamzah, Department of Fine Art, Faculty of Art & Design, Universiti Teknologi MARA

Department of Fine Art, Faculty of Art & Design, Universiti Teknologi MARA, 40450 Shah Alam

Selangor, Malaysia

References

Azizi, S. (2022). Communication patterns in the ageman keris making process in Besalen Buwana Aji Kalingga: An ethnography of communication study. International Conference on Ethnographic Studies (pp. 30–45). Jakarta, Indonesia: Indonesian Cultural Research Center.

Hardoyo, A. B. (2025). Analysis of differences in basic shape of keris hilts using digital photo opacity experiment. 8th International Conference on Business, Economics, Social Sciences, and Humanities - Humanities and Social Sciences Track (ICOBEST-HSS 2025) (pp. 80–86). Paris, France: Atlantis Press.

Hardoyo, A. B. (2025). Reinterpreting traditional knowledge systems through artistic practice: A study on the integration of intangible cultural heritage in contemporary art. International Symposium on Art, Culture, and Heritage (pp. 45–60). Jakarta, Indonesia: Indonesian Arts and Culture Institute.

Ismail, A. R. (2021). The philosophy of keris design in Malay civilization. International Symposium on Malay Arts (pp. 2408–2419). Kuala Lumpur, Malaysia: Human Resource Management and Social Sciences (HRMARS).

Mohamad, M. N. (2012). The philosophy of keris design in Malay civilization. International Symposium on Malay Arts (pp. 2408–2419). Kuala Lumpur: Human Resource Management and Social Sciences (HRMARS).

Naim, B. (2012). Incorporation of bamboo, iron, and natural materials in sculpture: A reflection of artisanal layering in keris blade pattern production. Journal of Malaysian Traditional Arts, 22–35.

Nelson, A. (2022). Thinking through making: The role of drawing in practice-led research. International Conference on Visual Arts and Research (pp. 101–110). Kuala Lumpur, Malaysia: Malaysian Visual Arts Association.

Nelson, R. (2022). Practice as research in the arts (and beyond): Principles, processes, contexts, achievements. kuala lumpur: Springer Nature.

Nelson, R. (2022). Practice as research in the arts (and beyond): Principles, processes, contexts, achievements. London: Springer Nature.

Norman, H. S. (2015). The cultural and spiritual significance of the keris in Southeast Asia. International Conference on Southeast Asian Cultural Heritage (pp. 101–115). Kuala Lumpur, Malaysia: Southeast Asian Studies Association.

Norman, H. S. (2016). Revisiting the keris: A symbol of identity and power in Malay culture. Journal of Southeast Asian Cultural Studies, 45–60.

Pranowo, H. &. (2020). Expert system for identification of Javanese dhapur variants using forward chaining logic. International Conference on Artificial Intelligence and Data Engineering (AIDE 2020) (pp. 56–70). surabaya: Institute of Advanced Engineering and Science.

Rashid, R. I. (2022). The keris as a vessel of identity, authority, and metaphysical belief in Southeast Asia. Journal of Southeast Asian Cultural Studies, 12–25.

Sidik, F. (2019). Siri Lok: Raja Shahriman's "Lok #4, Kilat Menyambar". International Conference on Malay Art and Culture (pp. 100–115). Kuala Lumpur, Malaysia: Malaysian Arts and Culture Association.

Suardana, I. K. (2020). State and society: Indigenous practices in ritual and religious activities of Bali Hinduism in Bali-Indonesia. International Conference on Hindu Studies (pp. 1–15). Denpasar, Indonesia: Bali Hindu Studies Institute.

Toh, T. (2017). Sculpture channels the artist’s childhood experiences as the son of a fisherman, infusing form with emotional and cultural depth. International Conference on Malaysian Art and Culture (pp. 45–58). Kuala Lumpur, Malaysia: National Art Gallery.

United Nations Educational, S. a. (2020). Intangible cultural heritage and sustainable development: New perspectives. International Conference on Intangible Cultural Heritage and Sustainable Development (pp. 1–15). Paris, France: United Nations Educational, Scientific and Cultural Organization (UNESCO).

Wibawa, A. P. (2024). Decoding and preserving Indonesia’s iconic Keris via a CNN-based classification. Telematics and Informatics Reports, 100120.

Wijaya, F. S. (2024). The living emblem of personal identity: Modern owners’ curation of blade patterns in Javanese keris. International Conference on Indonesian Cultural Heritage (pp. 45–61). Jakarta, Indonesia: Pusat Penelitian Budaya.

Zulkarnain, M. S. (2020). Symbolic interpretations in keris morphology: Circularity, angularity, and ovality in Malay cosmology. Journal of Malay Cultural Studies, 45–59.

Zulkarnain, M. S. (2020). Symbolic interpretations in keris morphology: Circularity, angularity, and ovality in Malay cosmology. International Conference on Malay Cultural Heritage (pp. 45–59). kuala lumpur: Malay Cultural Heritage Institute.

Zulkarnain, M. S. (2020). Symbolic interpretations in keris morphology: Circularity, angularity, and ovality in Malay cosmology. International Conference on Malay Cultural Heritage (pp. 45–59). kuala lumpur: Malay Cultural Heritage Institute.

Zulkarnain, M. S. (2020). Symbolic interpretations in keris morphology: Circularity, angularity, and ovality in Malay cosmology. International Conference on Malay Cultural Heritage (pp. 45–59). Kuala Lumpur, Malaysia: Malay Cultural Heritage Institute.

Zulkifli, A. &. (2023). Taxonomical approach to keris aesthetics: Mapping geometric precision to organic abstraction. International Conference on Malay Cultural Heritage (pp. 22–35). Kuala Lumpur, Malaysia: Malay Cultural Heritage Institute.

Zulkifli, A. &. (2023). Taxonomical approach to keris aesthetics: Mapping geometric precision to organic abstraction. International Conference on Malay Cultural Heritage (pp. 22–35). Kuala Lumpur, Malaysia: Malay Cultural Heritage Institute.

Downloads

Published

2025-07-25

How to Cite

Saiful Imaan Sharonee, Shamsudin, M. K., Syed Ahmed Jalaluddin, S. Z. A., & Hamzah, A. F. A. (2025). Art As Identity: Integrating Keris Blade Pattern Features Into Contemporary Abstract SculptureRE. PANALUNGTIK, 8(1), 1–13. https://doi.org/10.55981/panalungtik.2025.14175