Quickly the sovereign ruler dispatched the imperial smithy, Mpu Windu Supo, to design the sharp edge found in his vision. It was to wind up distinctly a weapon exemplifying enchanted qualities and a profound reasoning; a magickal question, special in its outline, one that future eras would constantly connect with the Pajajaran Makukuhan kingdom.
After a time of reflection, Mpu Windu Supo affirmed the vision of Kudo Lalean and started with the designing of a model of the Kujang. It was to have two noticeable qualities: the state of the island of Java and three gaps or round scores some place in the edge.
The state of the kunjang advanced further in later eras. Distinctive models showed up. At the point when the impact of Islam developed upon the masses, the kujang was re-molded to look like the Arabic letter “Syin.” This was to a great extent the stratagem of the sovereign of the Pasundan area, Prabu Kian Santang, who was restless to change over the people to Islam.
Realizing that the kujang epitomized the Hindu logic and religion of the current culture, the muslim rulers, imams and educators, on edge to spread Islam and dessiminate its tenets, re-displayed the kujang to speak to the premise of their religion. Syin is the primary letter of the syahadat verse of which one test
Building the kujang cutting edge into the state of Java was deciphered to mean the perfect of unification of all the frivolous kingdoms of Java into a solitary realm, headed by the Makukuhan lord. The three openings or round scores was to speak to the Trimurti, or the three parts of the godhead of the Hindu religion, of which Kudo Lalean was a given votary. The three angles or divine beings alluded to are Brahma, Vishnu, and Shiva. The Hindu trinity was additionally spoken to by the three noteworthy kingdoms of that time, separately, the kingdom of Pengging Wiraradya, situated in the east of Java; the kingdom of Kambang Putih, found north-east of the island; and the kingdom of Pajajaran Makukuhan, situated in the west.