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List of results

• Nabe  + (the pastor/priest who gives spiritual instructions that the priest or future priest must obey; priest or future priest spiritual teacher)
• Benang  + (thin string, sewing thread)
• Rui  + (thorn (Alus Singgih: level of language (anggah-ungguhin basa) that is used to respect or uphold a respected interlocutor))
• Sugian  + (three days Rebo through Sukra, (Wednesday … three days Rebo through Sukra, (Wednesday through Friday) of the 10 Pawukon week, Sungsang are called Sugian (or Sugi): Sugian Tenten (or Pengenten), Sugian Jawa, and Sugian Bali. Galungan comes five days after Sugian Bali. The word sugian is derived from sugi, which means , or, taken broadly, . Sugian tenten is the day for awakening oneself to the approaching festival of Galunganlf to the approaching festival of Galungan)
• Anda  + (three divisions)
• Paceklik  + (time of scarcity before harvest)
• Timah  + (tin (sometimes called timah putih to distinguish it from lead))
• Sang  + (title of respect for important or holy people)
• Ngentugin  + (to add something up to an indicated level, weight, or volume)
• Saratang  + (to be needed; to be important)
• Muputang  + (to finish, complete something)
• Gabag  + (touch)
• Kendung  + (tree Helicia javannica (Proteaceae))
• Keruing  + (tree (Dipterocarpaceae))
• Sonokeling  + (tree (Leguminosae))
• Canging  + (tree Erythrina fusca (Leguminosae - Papilionoideae))
• Trimurthi  + (triad of Hindu gods: Wisnu, Iswara, and Brahma, gods of the directions north, east, and south, passing clockwise)
• Tatakan  + (trunkof a banana stem used in Wayang Kulit shadow play as a base in which the puppets are stuck)
• Catut  + (tweezers that are used to pull our hairs from the beard)
• Bale pagambuhan  + (twelve elongated buildings, staging gambuh art, usually found in the central courtyard of the castle)
• Dusune  + (village; rural area)
• Pandalan  + (weaving)
• Kriak  + (weights for jala made of shells)
• Kaping  + (word that dones a level)
• Seraya  + (work together on something important with good friends (may be a few or a group of several))

• Aling-aling  + (Gates lead from one realm to another and are important to the spatial and spiritual functions of the courtyard as are the changes in level.)

• Ingu  + ((Umbelliferae))
• Keris  + ((keris) - sword; kris; short sword that po … (keris) - sword; kris; short sword that possess considerable magical power and must be treated with great respect; some have wavy blades; almost always worn by male dancers slung across the back, handle to the right; an important part of Balinese traditonal dress for such events as weddings, tooth filings, and so on.nts as weddings, tooth filings, and so on.)
• Seh  + ((séh) - replacement:, substitute, spare clothes, change of clothes, set or suit of clothes)
• Miripeh  + (An amulet or charm; A piece of jewellery worn for spiritual protection.)
• Aling-aling  + (Brick or stone screen walls..are often set just inside the gate, to deflect malign influences.)
• Leak Pokpokan  + (In the folklore of Bali, the Leyak (in Ind … In the folklore of Bali, the Leyak (in Indonesian, people called it 'Leak' (le-ak)—the Y is not written or spoken) is a mythological figure in the form of flying head with entrails (heart, lung, liver, etc.) still attached. Leyak is said to fly trying to find a pregnant woman in order to suck her baby's blood or a newborn child. Leak pokpokan is the low-level of this creaturesokpokan is the low-level of this creatures)
• Brahma  + (Lord Brahma ; god of the South)
• Nyegara gunung  + (Nyegara Gunung is a Balinese Hindu philosophy that between the sea (segara) and the mountain (gunung) is an inseparable unity. Therefore, every action on the mountain will have an impact on the sea. Vice versa.)
• Panca  + (Panca, five = Snskt. Used as a prefix when listing groups of five important philosophical ideas, places, people, etc. Used for the week Pahang when there is a pangunalatri in this week, which happens once every 630 days)
• Besakih  + (Pura Besakih is a temple complex in the village of Besakih... It is the most important, the largest and holiest temple of Hindu religion in Bali...The entrance is marked by a candi bentar (split gateway)...)
• Paramasiva  + (Siva, the highest level of Siva)
• Soma ribek  + (Soma Ribek is an important day for followers of Hinduism as they celebrate the harvest.)
• Candi bentar  + (Split temple gates)
• 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/)
• Delem  + (Wayang)
• Karang sae  + (a decorative head or important figure e.g Bhoma)
• Tatebeng  + (a device/something that functions as a light barrier on the lamp)
• Destar  + (a head cloth or wrap (called udeng in common Balinese) (Alus Mider : a level of language used for people who are under or people who are above or a language that contains a feeling of exalting someone who deserves to be elevated))
• Tipat balang  + (a six-pointed diamond made with a braid of two pandanus lines, which functions as a container for grasshoppers)
• Ganjing  + (a stake mounted on two points where the rope is tied to measure the surface level)
• Bale tegeh  + (a tall building in the corner of a palace or temple courtyard)
• Candi  + (a type of entrance to a main temple, gate with an arch)
• Ngatin  + (accompany, lead)
• Makejangne  + (all; all of them; all over; everything)
• Serapah  + (an important ingredient of ebatan, consisting of turtle internal organs (jejeron) boiled with spices, then grilled)