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List of results

• Rahi  + (length measurement, used in traditional Balinese architeceture (Asta Kosala Kosali) = length of index finger, usually the first three joints when measuring for ordinary bale)
• Geguritan  + (literary works in the form of traditional Balinese poetry)
• Ajeg Bali  + (movement to preserve the cultural identity of Bali against outside influences, spearheaded by ABG Satria Naradha, editor of the Bali Post newspaper)
• Prangbakat  + (name of 24th wuku / uku (week) in traditional Balinese date system)
• Mas  + (name of a tree used in traditional Balinese medicine)
• Blaganjure  + (one kind of balinese traditional music)
• Reong  + (one of the traditional Balinese gamelan shaped like small canang, smaller than the 'trompong' gamelan in number 12 lined up above the gamelan frame itself and played by hitting using a wooden stick called 'panggul'.)
• Pecuk  + (one type of traditional Balinese kite with a curved shape)
• Rundah  + (percussion gender (traditional Balinese musical instrument))
• Pangkat  + (rank; levels in civil service (military and so on))
• Nasi pucuk kulak  + (rice for the offering of a birth ceremony based on 'panca wara' (a part of the traditional Balinese date system))
• Gambelan  + (set of musical instruments used for playing traditional music;comes from word gamel meaning to hit.)
• Subandar  + (shahbandar; civil servants who are in charge of port affairs; head of port)
• Tenten  + (small traditional market)
• Niskala  + (spiritual, invisible, as opposed to sekala - tangible)
• Simbuh  + (spit a medicine: traditional medicine that … spit a medicine: traditional medicine that is chewed up and then spat upon a sick person, usually by a balian; the person who chews up the medicine may not wash his mouth out after spitting it out, even though the simbuh is used on someone else, otherwise the magic of the medicine may be lost, i.e. it will lose its powere may be lost, i.e. it will lose its power)
• Beborehin  + (spread or rub with traditional boreh or scrub)
• 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.)
• Bale murda  + (the eleven square building for a traditional ceremony in the castle (royal palace))
• Biksuka  + (the last stage or level in Catur Asrama; at this stage one devotes himself to the values of the virtues of the Dharma and the true nature of life)
• Pon  + (traditional Balinese unit of weight, equal to 5 ounces, since ounce is 100 g., one pon is 500 g. or one-half kilogram)
• Jalikan  + (traditional Balinese wood stove with three holes on top)
• Por  + (traditional looms that clamp the waist of the weaver from behind)
• Adat  +
• Makamen  + (using "kamen" (balinese traditional outfit))

• Adat  + (traditional, according to traditional cultural values as opposed to following civil law)

• Pipis bolong  + ("Chinese money, known generally as Uang Ke … "Chinese money, known generally as Uang Kepeng in Indonesian, or as Pis Bolong in Balinese, is known through the ancient Lontar records to have circulated as a medium of exchange since at least 900 AD, and perhaps much longer. Throughout this time, Uang Kepeng touched on all aspects of Balinese life: cultural, religious, social, political and economic. Today, Uang Kepeng is used only for ceremonial purposes, while the economic aspects have withered away with the rise of a united Indonesia."away with the rise of a united Indonesia.")
• Cemcem  + ("Loloh Cemcem" is a traditional Balinese beverage made from the tropical leaves of Cemcem.)
• Trusi  + ((copper) sulfate, blue vitriol, used in some traditional medicines)
• Pengarung  + (Balinese traditional architect Water tunnel)
• Taru bingin  + (Banyan Tree (Ficus benjamina) is a very tall and large tree, originally comes from tropical areas of East Asia. The tree is known as sacred tree and associated with the cultural practices commonly in East Asia.)
• Lambon  + (Cassava is a tropical plant that has less fat than cereals and more protein than potato. In Bali, people cook the cassava as a traditional cake that eaten with palm sugar and coconut.)
• Nyusurin  + (Explore a place (as opposed to explore opportunities))
• Sotong  + (Guava (Psidium guajava) is a tree with an ± 4-10 m height where the leaves can be used as a traditional medicine.)
• Telek  + (In traditional dance: female character with a white mask and a tall Jauk-like headress that performs before the barong dances in some villages. The part may be taken by males or females, but the gestures and character are female.)
• Kelor  + (Moringa (Moringa oleifera) is a medium-sized tree which can reach 12 m in height with a diameter of 30 cm and generally serves as food and traditional medicine.)
• Semanggi  + (Oxalis corniculata (Oxalildaceae). A low, clover-like plant common in house yards with tiny leaves are used for traditional internal medicine (loloh).)
• Taru Kepah  + (Sterculia foetida Linn or known as Bastard Poon Tree is a very large tree. The tree commonly found in cemeteries and associated with cultural practices in Bali as dwelling spirit so offering is made to this tree.)
• Kamasan  + (Style of painting. Imagine you are a mast … Style of painting. </br>Imagine you are a master Balinese painter, and your King has recently commissioned you to do a piece of work.</br>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?</br></br>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.</br></br>Origins </br></br>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.</br></br>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.</br></br>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.</br></br>Divine and demonic</br></br>The 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.</br></br>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.</br></br>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.”</br></br>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.</br></br>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.</br></br>“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.”</br></br>The three realms</br></br>The 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.</br></br>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.</br></br>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.</br></br>https://indonesiaexpat.id/lifestyle/kamasan-paintings-bali/esiaexpat.id/lifestyle/kamasan-paintings-bali/)
• Maselancar  + (The act of looking through categories to find information, as opposed to "searching" .)
• Gedebonge  + (a banana stem (as opposed to gedebong: banana stem))
• Mebat  + (a chopping, cutting, mixing, and cooking s … a chopping, cutting, mixing, and cooking session, usually done by a group of men, for which a sizeable amount of five or six traditional food dishes (ebat) is prepared for offerings and a banquet for the cooks, as well as friends and the family group sponsoring the ceremony event.amily group sponsoring the ceremony event.)
• Desa dinas  + (a recognized, complete, unitary entity that has an organization that is charged with upholding the civil law of a village)
• Balian  + (a traditional healer, indigenous healer or shaman (there are many varieties). A person believed to possess something given by the gods which can be used as a tool to cure people)
• Jangu  + (also used as a traditional medicine, e.g. for skin problems)
• Pulasari  + (any of several species of Alyxia Apocynace … any of several species of Alyxia Apocynaceae), a genus of tree that have a very fragrant white bark containing coumarin that is used in making traditional medicines, especially various types of borh and fragrant oil, lengis miik . The species are probably A. forbesii, A. lucida and A. stellata. It is also listed as A. reinwardtii. The tree is not found in Bali, but the bark is sold in many village markets. Balinese sometimes mispronounce the name as bulu sari or bulusaipronounce the name as bulu sari or bulusai)
• Loloh  + (any sort of traditional medicine that is taken internally, as compared to boreh and uap, which are used externally)
• Biu batu  + (banana that is sold in many village market … banana that is sold in many village markets. This is because it is the sweetest and one of the best tasting of the bananas. However, most people prefer not to eat it because of the seeds. This banana is also used in making some kinds of traditional medicines. Unripe biu batu is used for making rujak. Unripe biu batu is used for making rujak)
• Kekepan  + (banished by the traditional village establishment)
• Payas  + (clothes and adornments, esp. traditional Balinese clothes)
• Pendet  + (common dance, traditional welcoming dance that is presented in the jeroan of a temple at the time the temple gods are invited to descend)