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This page provides a simple browsing interface for finding entities described by a property and a named value. Other available search interfaces include the page property search, and the ask query builder.

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Tatujone + (suffix {ne} states ownership or clarifies the word followed. Almost the same as the 'the' particle in English. The word 'tatujone' can be interpreted as 'the purpose')
Tetanduranne + (suffix {ne} states ownership or clarifies the word followed. Almost the same as the 'the' particle in English. The word 'tetanduranne' can be interpreted as 'the plant')
Memenne + (suffix {ne} states ownership or clarifies the word followed. Almost the same as possessive pronoun in English. The word 'memenne' can be interpreted as 'his/her mother')
Balihin + (taste! (command form))
Totonan + (that very one, those very things, (emphatic form of ento))
Pakantenane + (the appearance; the form)
Engsut + (the basic form of the word 'ngangsut' which means to get stuck)
Isin + (the content; the matter; the subject matter)
Ngrupuk + (the day that falls on "tilem sasih sanga" … the day that falls on "tilem sasih sanga" (the 9th dead month) the day before Nyepi Day according to the traditional Balinese date system, Hindus carry out the Bhuta Yadnya ceremony at all levels of society, starting from each family, banjar, village, sub-district and so on, by taking one of the types of caru (a kind of offering) according to his ability; macaru is followed by a pengrupukan ceremony, which is spreading nasi tawur, torching the house and the entire yard, spraying the house and yard with gunpowder, and hitting any objects (usually gongs) to make a loud noise; this stage is carried out to expel Blind Kala from the home, yard, and surrounding environment; especially in Bali, pengrupukan is usually enlivened by an ogoh-ogoh parade in the form of a giant doll that is the embodiment of Buta Kala which is paraded around the environment, and then burned as a symbol of dissolving the evil energy around it.l of dissolving the evil energy around it.)
Naga banda + (the dragon form at the cremation ceremony as a symbol that humans in the world are bound by worldly passions)
Dagingin + (the imperative form)
Nara singa + (the incarnation of Vishnu was in the form of a lion-headed man)
Krebeke + (the lightning; particles {ne} stand for ownership or clarify the word that is followed. The word 'anginne' can be interpreted as the lightning/ that lightning)
Gobane + (the likeness; the form of the face; the face; the appearance)
Boma + (the name of the painting (carving) in the form of a face (giant))
Lalima + (the reduplicative form of lima)
Gancet + (tie together to form one bunch; bunch (several items put together by binding))
Marupa + (to have the form of something else)
Jotjotan + (various foods that will be distributed as a form of friendship and fostering friendship)
Gayor + (wedding decoration in the form of a gate made of organic materials (palm leaf, palm leaves,bamboo, flowers, etc.), some are made of organic materials such as cork, cloth and so on)
Ija + (where (another form of 'Dija'))
Pragiwaka + (wise (form alus singgih / type of Balinese language to talk to people who must be respected))
Jak + (with (short form of the word 'ajak'))
Mereh + (work on a black spell to change the form)
Awake + (yourself; myself (informal / impolite form))

Ajin + (father (to reveal the form of ownership, followed by the subject who is the owner of 'father'))

Upah + ((need not necessarily be in the form of money, could be payment in food)
Lebeng + ((transitive form = nglebengan))
Ngulungan + ((vs.ngililit = coil something around something else, such as form, spool, tree, etc.))
Martabak + (A Javanese dish consisting of a mixture of … A Javanese dish consisting of a mixture of spices and chopped meat, usually goat, placed in large, thin wrapper of wheat flour dough and fried on a hot griddle. The mixture placed in the center of the wrapper as it fries, with the edges folded over to form a packet. More popular in Java, but found in some Balinese night markets, sold from push cartslinese night markets, sold from push carts)
Genjek + (Balinese music art form. Originally from K … Balinese music art form. Originally from Karangasem (East Bali). Men would sing these kind of songs after they had had enough palm wine (tuak). Sometimes without any instruments; sometimes with a flute. The rhythm is made by the word of "pung" sung by one of the group. Genjek is usually done sitting down, with dance movements of upper body and arms. This type of music is now also being performed at festivals in other parts of Bali.ormed at festivals in other parts of Bali.)
Engsah + (Basic word form of the word 'ngengsah' which means to hatch)
Taru Puring + (Codiaeum variegatum or known as Croton tree is native to Indonesia and commonly used as decorative plant. the form ranging from herbs, shrubs to trees.)
Nganutin + (Directly related to a subject)
Landep + (Landep (Barleriae prionitis) is a shrub pl … Landep (Barleriae prionitis) is a shrub plant with a leaf size around 2 cm to 18 cm long and 0.2 cm to 6.5 cm width. The leaf form is oval, the tip like a thorn and the bottom of the leaf elongated. Landep's leaf can use for treat rheumatoid arthritis. How to use is boil 2-5 grams of the dried leaf in 200ml water and then drink like tea.af in 200ml water and then drink like tea.)
Eka Dasa Rudra + (Largest of the state-wide Balinese ceremon … Largest of the state-wide Balinese ceremonies that is supposed to be held once every 100 years at Pr. Besakih, culminating on Tilem Kesanga. The last such ceremony was held in 1979, with its climax on Tilem Kesanga, March 28 eka Dasa, meaning eleven, refers to the eleven directions, the four cardinal points, the four intercardinal points, up, down, and center. Rudra refers to Siwa in his destructive form as the Aryan god Rudra. Previous to 1979 the ceremony was held in 1963 because of especially inauspicious circumstances, but it was interrupted by the eruption of Gunung Agung.terrupted by the eruption of Gunung Agung.)
Engken + (Morphologically is the basic form of interrogative categorization. In lexical semantics 'engken' means 'how')
Egar + (Morphologically is the basic form that categorized adjectives. Semantically lexical 'egar' means joy.)
Embus + (Semantically lexical 'embus' means open. Morphologically a basic form that categorized nouns.)
Kamasan + (Style of painting. Imagine you are a mast … Style of painting. Imagine you are a master Balinese painter, and your King has recently commissioned you to do a piece of work.As you sit down in front of a large cloth stretched upon a wooden frame with a pencil in hand, for a moment you contemplate the composition before beginning to sketch. The year is 1723. What would go through your mind?Possibly you hear the clash and bang of metallic instruments of a Balinese ensemble. You visualize the cloth in front as a giant screen, with an audience seated on the opposite side. And you imagine yourself as a dalang (master puppeteer) manipulating puppets while bringing to life a mighty Hindu epic during a wayang kulit shadow theatre play.Origins The roots of the wayang puppet theatre, one of the original story-telling methods in the Balinese culture, may be traced back over 2,000 years to Indian traders who settled in Nusa Antara (Indonesia prior to being known as the Dutch East Indies), bringing with them their culture and Hindu religion. The wayang or classical style of Balinese painting is derived from the imagery that appears in this medium.The paintings were made on processed bark, cotton cloth and wood and were used to decorate temples, pavilions, and the houses of the aristocracy, especially during temple ceremonies and festivals. Originally the work of artisans from the East Javanese Majapahit Empire (13-16th century), this style of painting expanded into Bali late in the 13th century and from the 16th to 20th centuries, the village of Kamasan, Klungkung, was the centre of classical Balinese art – and hence the Kamasan paintings.The original works were a communal creation; the master artist shaped the composition, sketching in the details and outlines, and apprentices added the colours. These works were never signed by an individual and considered a collective expression of values and gratitude from the village to the Divine. Colours were created from natural materials mixed with water; i.e. iron oxide stone for brown, calcium from bones for white, ochre oxide clay for yellow, indigo leaves for blue, carbon soot or ink for black. Enamel paint introduced by the Chinese a few hundred years ago was used on wooden panels of pavilions and shrines, or upon glass.Divine and demonicThe highly detailed, sacred narrative Kamasan paintings play an essential role within the Balinese culture functioning as a bridge communicating between two worlds: the material world humans inhabit and the immaterial world of the divine and demonic forces.The artist functions as a medium translating the esoteric and invisible into a comprehendible visual language and bringing greater understandings to the mysteries of life according to scriptures and philosophies.According to Dr. Adrian Vickers, Professor of Southeast Asian Studies at Sydney University, “The key to Kamasan painting’s sense of beauty is the beautiful flow of line and the pure flat figuration.”For foreign audiences, the paintings, however, present difficulties in their understanding. Without a concept of the landscape in Balinese paintings, it’s about an arrangement of items on a flat surface akin to the shadow puppets against the screen in shadow theatre. Unlike Western modern art where paintings generally have one focal point, there is no central focal point to read the Kamasan narratives. Most of the paintings have multiple stories that may be read in all areas around the composition.Looking at the painting, it is full of visual information to the extent that nothing stands out. Tight, generalized, often repetitive patterning, often of decorative motifs and combinations of graphic patterns are distributed all across the surface leaving little or no blank areas. Ornamental elements, rocks, flowers motifs and painted borders indicate Indian and Chinese influence from Chinese porcelain and Indian textiles.“Adherence to established rules about the relative size of parts of figures related to measurements in the human body – in the Balinese perspective each measurement is seen as a human manifestation of elements that exist in the wider cosmos. Correctness of proportions is part of being in tune with the workings of divine forces in the world. Colours are also codified.” says Vickers in his book Balinese Art Paintings & Drawings of Bali 1800-2010. “Form evokes spirituality.”The three realmsThe two-dimensional Kamasan compositions generally depict three levels: the upper level is the realm of the Gods and the benevolent deities, the middle level is occupied by kings and the aristocracy, and the lower third belongs to humans and demonic manifestations. Details in facial features, costumes, body size and skin colour indicate specific rank, figure or character type. Darker skin and big bodies are typical of ogres, light skin and finely portioned bodies are Gods and kings. Rules control the depiction of forms; there are three or four types of eyes, five or six different postures and headdresses. The position of the hands indicates questions and answers, command and obedience.The narratives are from the Hindu and Buddhist sacred texts of Javanese-Balinese folktales and romances: the Ramayana, Mahabharata, Sutasoma, Tantri, also from Panji. Astrological and earthquake charts are also depicted. Major mythological themes are rendered in great symmetry, while these paintings contain high moral standards and function to express honourable human virtues to society with the intent to encourage peace and harmony. A beautiful painting communicates balance, aesthetically and metaphorically, and is equated to the artist achieving union with the divine.Traditional Kamasan painting is not static and keeps evolving as subtle changes have occurred over time as each artist has their own style, composition and use of colour. It is common that new works regularly replace old and damaged ones and hence Kamasan painting is an authentic living Balinese tradition.https://indonesiaexpat.id/lifestyle/kamasan-paintings-bali/esiaexpat.id/lifestyle/kamasan-paintings-bali/)
Montore + (Suffix {e} states ownership or clarifies the words that are followed. Almost the same as the 'the' particle in English. The word 'montore' can be interpreted as 'the motorbike')
Sati + (Sutte or Sati, the daughter of Daksa and wife of Siva, who cremated herself because of a slight done to Siva by her father)
Entung + (The basic form of the word 'entungang' which means throw and the word 'entunganga' which means discarded (by))
Tantra + (The general term for the Tantric cults of … The general term for the Tantric cults of India, Hindu, Buddhist and Jaina, whose doctrines are enumerated in texts called Tantras. Tantric practitioners seek to gain power and liberation resulting from the worship of the sakti or female energy in conjunction with male energy. This female energy often takes the form ofe The Goddess or Parvati, without whom Sivaes sakti cannot exit. This doctrine regards power as the polarization of opposites: purusa and prakrti. The practice may be expressed by erotic symbolism or abstract theory. Tantrism, like all Indian mystico-psychical speculation, is invariably associated with yoga, and has only tenuous links with fertility symbolism or with the magico eroticism. Tantrism, owing to its erotic symbolism and some of its practices has led to a misunderstanding of its ideology, which is due to the failure of some scholars to interpret correctly the technical terms used in the Tantric texts technical terms used in the Tantric texts)
Reraman + (The suffix {-n} in the word "reraman" states ownership. Usually followed by a pronoun as the owner of the word in front of it.)
Numadi + (To take the shape of, to take the form of)
Tumpek Kandang + (Tumpek Kandang or Tumpek Wewalungan or Tum … Tumpek Kandang or Tumpek Wewalungan or Tumpek Uye is Hindu day worship Ida Sang Hyang Widhi, Sang Hyang Siwa Pasupati called Rare Angon. The worship is in the form of giving ceremonies directed to all animals, especially animals that are kept or often called pets. This holy day is held every Saturday Kliwon Wuku Uye.ay is held every Saturday Kliwon Wuku Uye.)
Pandan + (Two growth forms are recognized. The small form with only sucker shoots and pale flacced leaves up to 75 cm long and the large form with a stem up to 5 m tall if the plant was harvested regularly.)
Tampus + (a bird trap in the form of a sack.)
Tawas + (a chemical compound in the form of white crystals used as medicine, potassium aluminum sulfate)
Drama + (a modern form)