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                  <text>KOLEKSI VIDEO</text>
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                  <text>Nur Fakhriah Diyanah binti Fizalman</text>
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                  <text>Video - video tentang keris melayu nusantara samaada di dalam YouTube atau dimana-mana platform video. </text>
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              <text>https://youtu.be/oxback9ESpU</text>
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                <text>Taming sari: keris hikmat empayar melaka</text>
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                <text>ML Studios</text>
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                <text>ML Studios. (2023, November 21). Taming sari: keris hikmat empayar melaka. YouTube. https://youtu.be/oxback9ESpU</text>
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                <text>mp4</text>
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                <text>YouTube</text>
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                  <text>KOLEKSI PETIKAN AYAT</text>
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              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>Petikan  ringkas mengenai  Keris  Nusantara yang diambil dari sumber seperti buku, jurnal, majalah dan suratkhabar samada dalam format bercetak atau digital </text>
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                  <text>Nur Fakhriah Diyanah binti Fizalman</text>
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              <text>Detail-detail bagian keris yang dapat diletakkan padabagian tubuh keris disebut dengan ricikan. Anatomi tubuh bilah keris berfungsi sebagai wadah dasar untuk menyematkan unsur ricikan pada bagian tertentu pada bilah keris. Perbedaan ricikan yang dimiliki oleh bilah keris akan mempengaruhi penamaan dhapur-nya, karena dhapur keris memang tergantung pada ricikan yang dimiliki dalam tiap bagian anatomi tubuh bilah keris. Secara garis besar, sebuah keris dapat dibedakan dalam bentuk lurus dan berkelok (luk). Perbedaan dua jenis bentuk keris tersebut memiliki konskuensi penamaan bagian anatomi yang berbeda pula. Keris lurus mempunyai empat pembagian anatomi, yaitu pucukan sebagai bagian keris yang paling ujung, awak-awakan atau bagian tengah tubuh, bangkèkan sebagai bagian pinggang keris bila dipersonifikasikan seperti manusia, dan terakhir adalah sor-soran yaitu bagian yang terbawah daribilah keris. Adapun keris berkelok hanya memiliki anatomipucukan, luk, dan sor-soran saja.</text>
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                <text>Asal usul dan karakteristik keris Sumenep</text>
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                <text>Buku ini ditulis secara khusus dengan tujuan untuk memperluas pemahaman masyarakat tentang keris tradisional Sumenep yang masih terbilang langka. Pembaca yang tertarik dengan keris sebagai salah satu kekayaan budaya Indonesia juga dapat menggunakan buku ini sebagaireferensi.&#13;
&#13;
&#13;
Buku ini dibagi menjadi lima bagian yaitu bab pertama membahas tentang sejarah dan asal usul keris sebagai warisan budaya bangsa, bab kedua membahas tentang perkembangan keris di Madura dan Sumenep khususnya, bab ketiga membahas tentang bagian dan anatomi keris. keris, dan bab keempat membahas filosofi keris dan bagian-bagiannya.Bagian kelima dan terakhir dari buku ini adalah glosarium istilah-istilah yang berkaitan dengan keris dan bagian-bagiannya. ciri-ciri dan atribut keris Sumenep dibahas baik pada bagian keris maupun bab kelima.</text>
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                <text>Mohammad Herli</text>
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                <text>Edy Purwanto</text>
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                <text>https://scholar.googleusercontent.com/scholar?q=cache:cEYf9UPenssJ:scholar.google.com/+artikel+berkaitan+keris&amp;hl=en&amp;as_sdt=0,5&amp;as_vis=1</text>
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                <text>Wiraraja Press</text>
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            <name>Date</name>
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                <text>2015</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>&#13;
</text>
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            <description>A language of the resource</description>
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                <text>&#13;
</text>
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        <name>dagger</name>
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      <tag tagId="45">
        <name>Indonesia</name>
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      <tag tagId="75">
        <name>weapons</name>
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              <name>Title</name>
              <description>A name given to the resource</description>
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              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>Petikan  ringkas mengenai  Keris  Nusantara yang diambil dari sumber seperti buku, jurnal, majalah dan suratkhabar samada dalam format bercetak atau digital </text>
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                  <text>Nur Fakhriah Diyanah binti Fizalman</text>
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            <name>Title</name>
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            <description>An account of the resource</description>
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                <text>Pengalaman membuat parang dan pisau secara sambilan lebih enam tahun lalu digunakan sebaik mungkin untuk beralih arah kepada pembuatan keris kerana dirasakan lebih sesuai dengan jiwa Tajuri. </text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>Mohd Amin Jalil</text>
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              <elementText elementTextId="1105">
                <text>Jalil, M. A. (2017, June 30). Tajuri penerus tradisi bangsa. Harian Metro. https://www.hmetro.com.my/nuansa/2017/06/241197/tajuri-penerus-tradisi-bangsa</text>
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                <text> Harian Metro</text>
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            <name>Date</name>
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                <text>30 June 2017</text>
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        <name>dagger hilts</name>
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      <tag tagId="72">
        <name>malay</name>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>KOLEKSI PETIKAN AYAT</text>
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              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>Petikan  ringkas mengenai  Keris  Nusantara yang diambil dari sumber seperti buku, jurnal, majalah dan suratkhabar samada dalam format bercetak atau digital </text>
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                  <text>Nur Fakhriah Diyanah binti Fizalman</text>
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              <text>"Bagaimanapun ia hanya diamalkan pada zaman dahulu, perbuatan itu adalah satu keperluan kepada pemilik keris bertujuan menjaga keselamatan termasuk ketika berlawan dengan musuh pada zaman itu."&#13;
&#13;
"Pada hari ini, penggunaan keris dan jampi serapah memasukkan jin telah menjadi perbuatan menyimpang daripada ajaran Islam sebenar dan ia lebih menjurus kepada perbuatan khurafat," &#13;
&#13;
"Tetapi khadam dalam keris ini boleh dibuang dengan izin ALLAH dengan menggunakan cara tertentu dan ramai juga individu yang mampu melakukannya," kata pengumpul keris lama, Mansur Mohamad, 70, yang turut mempunyai kemahiran itu.</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Keris 'berdiri' bukan sebab khadam, jin</text>
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            <description>An account of the resource</description>
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                <text>Keris bangun berdiri sendiri bukan disebabkan khadam atau jin yang menjaganya.</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Mohd Azlim Zainury</text>
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                <text>Mohd Azlim Zainury (2019, Julai 30). Keris 'berdiri' bukan sebab khadam, jin.  Sinar harian. https://www.sinarharian.com.my/article/40540/edisi/terengganu/keris-berdiri-bukan-sebab-khadam-jin&#13;
</text>
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            <description>An entity responsible for making the resource available</description>
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                <text>Sinar harian</text>
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            <name>Date</name>
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                <text>30 Julai 2019</text>
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                  <text>Petikan  ringkas mengenai  Keris  Nusantara yang diambil dari sumber seperti buku, jurnal, majalah dan suratkhabar samada dalam format bercetak atau digital </text>
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                  <text>Nur Fakhriah Diyanah binti Fizalman</text>
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              <text>"Saya banyak belajar selok-belok keris dengan Cikgu Nordin dan Cikgu Mat Noor dari Kelantan. Kedua-dua mereka banyak membantu saya memantapkan kemahiran dalam mengenali kesenian keris. Hingga kini, saya menyimpan kira-kira 110 bilah senjata antik, antaranya 40 bilah keris, 20 lembing, 20 sundang dan tujuh badik yang mana koleksi berkenaan ada yang berharga RM40,000 sebilah dan dalam simpanan saya juga terdapat sebilah keris dianggarkan berusia 300 tahun. Antara keris dalam koleksi saya Keris Melela Terengganu, Bugis Terengganu, Alang Terengganu dan Sunan Terengganu," kata Pengumpul keris, Mat Azhar Mat Lazim, 59.</text>
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                <text>Simpan keris antik berusia 300 tahun</text>
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                <text>Mat Azhar yang juga bekas kakitangan Petronas Carigali berkata, kebanyakan koleksi keris dalam simpanannya sudah berusia lebih 100 tahun dan penjagaan juga perlu dititikberatkan bagi mengelak keris berkenaan mengalami kerosakan. Asas pembuatan yang cukup sempurna oleh 'pandai besi' mampu mewujudkan keseimbangan pada sebilah keris dan apabila ia didirikan maka bilah keris itu mampu tegak dan tidak jatuh.</text>
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                <text>Nazdy Harun. (31 Oktober 2022). Simpan keris antik berusia 300 tahun. BERITA HARIAN ONLINE. https://pre-www.bharian.com.my/berita/wilayah/2022/10/1018887/simpan-keris-antik-berusia-300-tahun</text>
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              <text>Frey (2010) menyatakan keris adalah lambang budaya yang terpenting bagi masyarakat Melayu. Sebagai sebuah lambang budaya yang terpenting, ia juga mempamerkan maruah dan status bangsa Melayu itu sendiri sebagai bangsa yang bertamadun dan berperadaban. &#13;
&#13;
Orang lelaki tidak akan keluar tanpa berkeris, kerana ia dianggap seperti bertelanjang. Teras dan fungsi keris masih lagi sama walaupun mempunyai perbezaan dari pelbagai bentuk rupa dan gaya kerana pemisahan dan perbezaan antara sempadan lokasi, suku kaum dan etnik. &#13;
&#13;
Secara umumnya, keris bukanlah semata-mata menjadi senjata mahupun sebahagian daripada busana, tetapi fungsinya lebih besar daripada itu. Ia menjadi lambang jati diri orang Melayu.</text>
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                <text>Keris bukanlah budaya yang asing dalam masyarakat Melayu Nusantara kerana ia mempunyai simbolik kepada konsep ketuanan dan kedaulatan bangsa Melayu sejak dahulu lagi. Keris dikenali sebagai salah satu daripada alat persenjataan orang Melayu selain tombak, pedang, badik, kelewang, kerambit dan sebagainya lagi. Ia adalah sebuah senjata yang telah diangkat martabatnya ke kedudukan paling tinggi dalam ketamadunan Melayu melebihi senjata lain kerana fungsi, ketinggian falsafah dan nilai seni estetiknya. Kajian ini bertujuan mendalami tentang sejarah asal usul, falsafah dan fungsi keris yang terdapat di alam Melayu. &#13;
&#13;
Artikel ini juga turut membincangkan tentang latar belakang keris, jenis-jenis keris, bahagian-bahagian keris dan falsafah di sebalik fungsi dan peranan tersebut sebagai sebahagian daripada cara untuk mengenali peradaban, dan susur galur asal usul budaya bangsa yang bertamadun ini. Fungsi keris telah banyak mengalami perubahan, dari penciptaan asal sebagai senjata, kemudian berubah menjadi barang keramat, pusaka yang dipuja, lambang ikatan keluarga, tanda jasa, tanda pangkat atau darjat, sehinggalah menjadi sebagai barang seni dan cenderamata. Semua ini tersimpul pelbagai falsafah dan nilai peradaban dan ketamadunan bangsa Melayu yang tinggi. Keunikan keris diperjelaskan dalam bentuk fizikal dan non-fizikal oleh pandai besi atau empu yang menciptanya. </text>
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                <text>https://doi.org/10.17576/malim-2022-2301-06</text>
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              <text>Penelitian tentang keadiluhungan keris dalam budaya Jawa ini bersifat deskriptif kulitatif. Bogdan dan Taylor (dalam Moleong, 2001: 3) berpendapat bahwa “Metode kualitatif adalah sebagai prosedur penelitian yang menghasilkan data diskriptif berupa kata-kata tertulis yang bisa diamati”. Adapun tujuan penelitian yaitu mendeskripsikan nilai estetika sebuah bentuk keris yang meliputi bagian-bagian keris, dhapur, pamor dan tangguh. Dalam penelitian ini, data berupa diksi-diksi dalam bahasa Jawa yang berhubungan dengan keris. Sumber data meliputi berupa naskah-naskah Jawa yang memuat mengenai keris yaitu Serat Centhini Latin, Serat Bauwarna Padmasusastra, Kawruh Jejeran, Kriya Mranggi, Dhuwung Wesi Aji, dan Kajawen. Sumber data merupakan naskah Jawa cetak koleksi Perpustakaan Yayasan Sastra Lestari di Surakarta. Teknik pengumpulan data dalam penelitian ini menggunakan content analysis dan teknik pustaka. Teknik analisis data dengan langkah-langkah yaitu reduksi data, sajian data, dan penarikan kesimpulan.</text>
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                <text>Keris atau curiga, kadga, suduk, wangkingan, dhuwung dibuat oleh seorang pandai besi yang disebut empu. Secara keseluruhan keris dan warangkanya akan tampak kesatuan yang harmonis antara seni pahat, seni ukir, dan seni patung. Penelitian ini akan membahas nilai estetika sebuah bentuk keris yang meliputi bagian-bagian keris, dhapur, pamor dan tangguh. &#13;
&#13;
Penelitian tentang keadiluhungan keris dalam budaya jawa ini bersifat deskriptif kulitatif. Dalam penelitian ini, data berupa diksi-diksi bahasa Jawa yang berhubungan dengan keris. Sumber data berupa naskah-naskah Jawa yang memuat mengenai keris yaitu Serat Centhini Latin, Serat Bauwarna Padmasusastra, Kawruh Jejeran, Kriya Mranggi, Dhuwung Wesi Aji, dan Kajawen. Teknik pengumpulan menggunakan&#13;
content analisis dan teknik pustaka. Teknik analisis data melalui reduksi data, sajian data, dan penarikan kesimpulan. &#13;
&#13;
Hasil penelitian menunjukkan bahwa selain memiliki unsur seni yang tinggi, keris juga dipercaya memiliki daya magis. Keris dalam perkembangannya telah menempuh masa yang sangat panjang&#13;
sejak jaman sebelum kerajaan Pajajaran, jaman Pajajaran, jaman Majapahit, jaman Demak Pajang, jaman Mataram sampai jaman Surakarta dan Yogyakarta.</text>
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                <text>Nurnaningsih (2020). Keadiluhungan Keris dalam Budaya Jawa. Kawruh: Journal of Language Education, Literature, and Local Culture. https://journal.univetbantara.ac.id/index.php/kawruh/article/download/1582/pdf&#13;
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      <description>A link, or reference, to another resource on the Internet.</description>
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          <name>URL</name>
          <description/>
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              <text>https://youtu.be/eC444VisYOs</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Pesona Pahang - Pak Teh penyambung legasi pembuatan keris Pahang</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Pahang Media TV</text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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                <text>Pahang Media TV. (2022, Februari 18). Pesona Pahang - Pak Teh penyambung legasi pembuatan keris Pahang . YouTube. https://youtu.be/eC444VisYOs</text>
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            <description>An entity responsible for making the resource available</description>
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                <text>YouTube</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>mp4</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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        <name>dagger hilts</name>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>KOLEKSI PETIKAN AYAT</text>
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              </elementTextContainer>
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              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>Petikan  ringkas mengenai  Keris  Nusantara yang diambil dari sumber seperti buku, jurnal, majalah dan suratkhabar samada dalam format bercetak atau digital </text>
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              <name>Contributor</name>
              <description>An entity responsible for making contributions to the resource</description>
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                <elementText elementTextId="564">
                  <text>Nur Fakhriah Diyanah binti Fizalman</text>
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              <text>Kerisis an original weapon of Indonesian culture, especially Java. Even so, the distribution of the keris actually covers the entire archipelago. The scope of its spread is to the East to Nusa Tenggara and Ternate, while to the West to the Malay Peninsula and parts of mainland Southeast Asia. This weapon is one of the cultural-traditional treasures of Indonesia (Harsrinuksmo, 2004, p. 10).On  November  25,  2005,  keris  was  declared  a  Masterpiece  of  the  Oral  Intangible  Heritage  of Humanity  by  UNESCO.  The  existence of  a  keris  as  an  authentic  Indonesian  cultural  object  is undeniably  an  honor  as  well  as  a  big  obligation,  because  this  recognition  leaves  the  obligation  to preserve the keris. The phenomenon of the keris as a cultural heritage has caused the preservation of  the  keris  to  undergo  changes  in  modern  society.  The  changing  society  has  also  changed  the meaning of the keris and the symbols attached to it. Everyone in modern times has the freedom to appreciate  and  interpret  keris  according  to  their  own  desires  and interests.  Because  of  this,  an ambiguous   and   even   paradoxical   understanding   occurs,   which   is   due   to   the   freedom   of interpretation which creates a situation of multiple interpretations and can change at any time. &#13;
&#13;
For  traditional  Javanese  society  and  its  mystical  world,  the  keris  occupies  a  special  position, especially for men. In its tradition and philosophy, Javanese men have five properties that must be met  in  order  to  make  them  real  men,  namely wisma(house), garwa(woman  or  wife), turangga(mount or horse), kukila(birds as entertainment), and curiga(weapon in the form of a keris). Now this  tradition  is  no  longer  considered  important  by  most  Javanese  people,  even  the  wider  public often  narrates  the  keris  as  an  object  attached  to  the  world of  mysticism  and  shamanism  on  the basis  of  modernism  and  religious  morality.  When  keris  used  to  be  entrenched  because  keris ownership was a form of preserving Javanese identity and cultural heritage, now it seems to have turned into an object that must be 'sacred' which then creates a negative connotation for its owner. In  addition  to  the  problem  of  religious  morality,  modernity  is  currently  developing  rapidly  and seems to force people to struggle with technology, adding to the long list of reasons why keris no longer exist in everyday life.&#13;
</text>
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        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="283">
                <text>Javanese keris mystification discourse on the surakarta keris market</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="284">
                <text>Keris is a cultural heritage of Indonesia, especially Jawa, which has been recognize worldwide. In traditional Javanese mystical culture, keris has a special position as tosan ajior an object that is considered to have magical powers. In modern times, the mystification of the keris occurs in a way that  is  different  from  the  patterns  of  discourse  in  traditional  societies.  In  modern  times,  the mystification discourse is created entirely through a process that involves the keris community and the   keris   market.   Through   discourse   that   strengthen   in   new   spaces   in   the   modern   era, mystification is created and forms a clear hyperreality of the keris as cultural object, both among the  keris community  and  the  wider  public.  This  research  aim  to  see  how  the  mystification discourse develops and hyperreality is created. The results of this study found that mystification occurs through the market with indications that keris traders/exchangers use mystical narrative to increase the price of the keris they sell. The higher the mystical element in a keris, the higher the price.  On  the  other  hand,  consumers  are  exposed  to  this  mystical  discourse,  and  perceive  keris ownership  as  a  part  of  identity  that  cannot  be  separated  from  everyday  life.  In  this  way, mystification produces hyperreality among the keris community.Keyword:Keris, market, mystification, hyperreality.</text>
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          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="285">
                <text>Panji Sukma</text>
              </elementText>
              <elementText elementTextId="768">
                <text>Andrik Purwasito</text>
              </elementText>
              <elementText elementTextId="769">
                <text>Warto</text>
              </elementText>
              <elementText elementTextId="770">
                <text>Titis Srimuda Pitana</text>
              </elementText>
            </elementTextContainer>
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          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="286">
                <text>https://www.russianlawjournal.org/index.php/journal/article/view/2977/1790</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="287">
                <text>RUSSIAN LAW JOURNAL</text>
              </elementText>
            </elementTextContainer>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="288">
                <text>2023</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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              <elementText elementTextId="771">
                <text>nfdbf</text>
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    <tagContainer>
      <tag tagId="45">
        <name>Indonesia</name>
      </tag>
      <tag tagId="46">
        <name>javanese keris</name>
      </tag>
    </tagContainer>
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