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List of results

• Tenah  + (rice ten handfuls of padi Bali)
• Cekelan  + (rice the amount of padi Bali that a person who is harvesting the rice can hold in one hand)
• Panaptapan  + (rice wooden paddle used for making the butt ends of the stalks of padi Bali even when making a rice bale)
• Mel  + (rural area)
• Kepitu  + (seventh month of the Balinese Saka (lunar) calendar, occurring about January)
• Bucari  + (shrine that is found in many houses on the … shrine that is found in many houses on the left side of the entrance gate, facing toward the gate is a a shrine for Durga Bucari, also called pangadangadang, from the root word adang, meaning to keep watch. The pangadangadang is a guardian shrine for the entire house compound which detects unwanted intruders and by its niskala power prevents their entrance. It alsoe sends niskala signals to the other guardian shrines within the house compound, which then notify the family that some unauthorized person or spirit is trying to enter. There are other Bucari shrines along various roads called Pisaca Bucari. along various roads called Pisaca Bucari.)
• Lubak  + (sian palm civet, Paradoxurus hermaphroditu … sian palm civet, Paradoxurus hermaphroditus (Viverridae), sometimes called civet cat, but it is not closely related to cats. The coat is pale brown or gray and the stripes and markings on the back are sometimes hard to see. The forehead has a pale band running across it. The claws are not retractile. The secretion from the anal glands is strong and distinctive. The head and body are about 28 inches long, with the tail about the same inches long, with the tail about the same)
• Kenem  + (sixth month in the Balinese Saka (lunar) calendar, occuring about December)
• Senduk  + (sloping beam between pillar of a bale and the horizontal beam that supports the roof.)
• Seningan  + (small bundle of padi Bali that is removed from a rice bale in a storage barn and pounded for immediate use)
• Angkat-angkat  + (small, rectangular 1-man hand net about 1 m. square with about 5 mm. mesh with two handles for catching crabs, imis and shrimp)
• Sada  + (somewhat, always, almost, resemble, all)
• Nyenukin betara  + (spirits (betara) to Bale Agung to give thanks for successful ceremony)
• Pangkon  + (steamed rice prepared for ebat that is formed into a thin, flat cylinder in a shallow dish and then emptied upside down onto another plate. Fifteen pangkon make up one bale, since they are smaller than punjung, of which ten make one bale.)
• Pangorong  + (temporary bale for adegan at cremation)
• Palengkungan  + (temporary structure that serves as a place … temporary structure that serves as a place for keeping the symbolic image of a dead person (ukur) before it is carried to the burning ground for cremation. It consists of a roof made of hoops of split bamboo, on a flat base. When the ukur is placed inside, a white cloth, the rurub kajang is placed over it. The covered structure is then placed in a special temporary bale called pengorang (or in the case of nyekah, payadnyan). The ukur is removed from the pelengkungan when ready to be carried to the cemetery, and wrapped in the rurub kajang. The pelengkungan is not carried to the ceme- teryengkungan is not carried to the ceme- tery)
• Kedasa  + (tenth month of the Balinese Saka (lunar) calendar, occurring about April)
• Masakapan  + (that part of the wedding ceremony held in the bale after ceremonies in sanggah and in front of paon (makalakala))
• Ketiga  + (third month in the Balinese Saka (lunar) calendar, occurring about September)
• Tilem  + (tilem is new Moon, purnama is full Moon, as shown on the Saka calendar)
• Maider  + (to go around (eg shrine, bale agung))
• Ngiderin  + (to go around outside of something)
• Ngoncang  + (to hit in turn; to sound a wooden mortar with coconut poles)
• Bale timbang  + (two-masted balai in the rice fields or in the balé banjar, a place to weigh or measure rice)
• Goyah  + (wobbly)

• Bale sakutus  + ((balé sakutus/saka kutus) - building houses that have eight poles, usually used as a bed)

• Ider-ider  + ("For decoration of temples (lamak), pavillions and houses for ceremonies and festive days – can be from gold printed perada or hand embroidered from Negara (Jembrana) or Buleleng (Singaraja)")
• Odalan  + (Anniversary festival of a temple)
• Kayu besi  + (Eusideroxylon zwageri (Lauraceae). A tall, straight tree that has one of the most dense and durable woods in Southeast Asia. It is used for power poles, marine construction, piles, posts, roof shingles (sirat))
• Siwa  + (God as destroyer and recycler of humanity, Siwa is associated with the Pura Dalem and is considered to be the dissolver of life so that it can be recreated - rather like a recycler of souls)
• Saka  + (Hindu-Balinese lunar calendar that is in common use in Bali. Saka calendar year numeber is 78 or 79 years behind Gregorian year number)
• 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/)
• Sanan  + (a large frame of cris-crossed bamboo poles upon which objects such as ogoh-ogoh, lembu, etc., are carried in a procession)
• Maruak  + (cleared land; has opened new land for cultivated land or built houses; the land has been opened)
• Rubuh  + (collapse; uprooted; collapse (about large buildings, such as houses, walls); fall down; uprooted (about trees, plants))
• Suun  + (counter for as much as can be carried on the head at one time)
• Bungkul  + (counter for big, round things, e.g. coconuts, houses, sanggah, stones, eggs, mangos, biji, knobs, balls, etc.)
• Umbul-umbul  + (cylindrical flag with central poles and a conical top)
• Mala  + (defect)
• Paduraksa  + (design on wooden pillar of bale, sesaka, at which point the square bottom part of the pillar becomes octagonal in cross section)
• Dauh  + (division of day, 1.5 hrs. long)
• Kaulu  + (eighth month of the Balinese Saka (lunar) calendar, occurring about February)
• Desta  + (eleventh month of the Balinese Saka (lunar) calenedar, occurring about May)
• Kelima  + (fifth month in the Balinese Saka (lunar) calendar, occurring about November)
• Posia  + (fifth month of saka year)
• Nyepi  + (first day of the 10 month. It is a day of meditation when one is not supposed to be outside of the home. It is the first day of the Balinese Saka year. Nyepi comes from the word sepi, meaning to be silent)
• Nampih  + (fold up, overlap, put in layers atop one a … fold up, overlap, put in layers atop one another. Since 1993, nampih, followed by the name of a lunar month (Sasih) has represented the intercalary month for the Balinese Saka calendar. An intercalary month is added every two or three years to the Saka Calendar to keep it in line with the Gregorian Calendar, with nampih months named for the month that precedes them. Only seven of the twelve months can have an intercalary Nampih Sasih added to them: Sasih Kaulu, Sasih Kedasa, Sasih Desta, Sasih Sada, Sasih Kasa, Sasih Karo, and Sasih Ketiga (8, 10, 11, 12, 1, 2, 3). Nampih cannot be used for Sasih Kapat through Kepitu (4 - 7) or for Sasih Kesanga (9). Prior to 1993, the intercalary month was called Mala, e.g. Mala Desta, Mala Sadaas called Mala, e.g. Mala Desta, Mala Sada)
• Kapat  + (fourth month of the Balinese Saka (lunar) calendar, occurring about October)
• Amal  + (good deed, charity)
• Bale sumangkirang  + (hall that has twelve poles, palm-roofed, formerly used by kings for ceremonies, now used as a place of offering in Besakih)
• Makutun bal  + (having a cockroach in a bale)