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In the earliest centuries of the Hindu-Javanese period, when the direct contact with India was vigorous, kraton art was predominantly modeled on Indian prototypes. But already in this very early period there arc examples of -lie influence of the ancient indigenous culture: thus in many cases, as a consequence of ancestor worship, temples became sepulchral monuments.

In the eastern Javanese period the direct connection with India lost some of its importance, and the works of art which now appeared were to an ever increasing extent determined by ancient, Javanese culture. It is surely not accidental that Ken Angrok, the founder of tile kingdom of Singhasari, was a child of his people, born of parents of litimb1c rank (1222 A.D.). Tjandis and images of deities now change their external form and again approach traditional Javanese conceptions.

The kris reterred to above has a hilt, fashioned separately, and often splendidly embellished, which is held fast by means of an iron tang at the guard of the blade, thus forming a whole. The blade itself is asymmetrical, and can be either straight or wavy. This weapon is also provided with a scabbard.

There also exists a kris-shaped dagger, smaller than the kris just mentioned, with hilt and blade forged out of a single piece of metal. The hilt invariably bears a simply worked figure of an ancestor. This weapon is called kris-madjapahit but this does not necessarily imply that it appeared in the time of that dynasty.

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