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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.

List of results

Kapentang + (stretched (by))
Nyokot + (take with thumb and fingers of one hand)
Ajengkal + (the size of one time the length of the stretch between the tip of the thumb and the tip of the outstretched forefinger)
Rai + (the size of the thickness of the benchmark in traditional architecture)
Pam + (throwing net, jala with fine mesh used for catching medium size sardines, p)
Inan + (thumb, big toe; head; mother; king)
Kencang + (tight rope)
Kenyang + (tight, stretched tight (inelastic materials: rope, string))
Nalika + (time (according to the unit of time in Bali, one day, day or night) divided into eight parts))
Panyongcongan + (tool, kind of for hollowing out logs for jukung, having a convex blade that can be rotated along its long axis)
Dapdapangan + (tool, kind of net making or repairing tool like a smooth, thin batten)
Klampuak + (tree (Myrtaceae))
Kendung + (tree Helicia javannica (Proteaceae))
Kepuh + (tree (Bombacaceae))
Kendal + (tree (Boraginaceae))
Payung + (umbrella bamboo shaped like an umbrella)
Udu + (unclear, something that no one buys)
Apikul + (unit weight; one 'pikul'; 62,5 kilogram)
Mapunya + (very for a long time)
Tegil + (vestigal inside toe of cock corresponding to human thumb)
Nusa + (virgin tree)
Milliliter + (volume one thousandth of a liter, a common unit of metric volume measurement. For all practical purposes one milliliter is equivalent to one cubic centimeter, cc. There are 3,785 ml. per U.S. gallon)
Landep + (week no. 2 of the 30 Pawukon weeks)
Pon + (weight measurement)
Ingka + (woven objects, usually trays or small bask … woven objects, usually trays or small baskets, made of lidi, central leaf spines of coconut or Borassus palm leaves. The latter are more flexible and thus more suited to plaiting than lidi from coconut leaves. Flat ingka trays are sold in most village markets. Ingka baskets are a tourist item markets. Ingka baskets are a tourist item)

Acengkang + (a measuring unit; one size along the range between the tip of the thumb and other fingertips stretched)

Durian + ((Bombaceae))
Kepundung + ((Euphorbiaceae))
Ceeng + ((cééng) - measuring length of time between … (cééng) - measuring length of time between rounds of cockfight; a traditional time measuring device made of half a coconut shell with a hole in the middle; this tool will be placed on the water in a bucket or container, then the time will be calculated from this tool inserted until it sinks to the bottom of the containeril it sinks to the bottom of the container)
Ajakanan + ((size) is enough for one time cooking (about rice))
Kuuk-kuuk + (A ragworm)
Kesemek + (Diospyros kaki (Ebenaceae). Oriental persimmon. Medium-size tree with crooked trunk)
Kusambi + (Macassar (Sapindaceae), tree)
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/)
Tujuh + (The finger between the thumb and middle finger)
In + (The standard English System unit of length … The standard English System unit of length measurement However, in Bali the word is not normally recognized as referring to the word inch, since Balinese people use the Metric System and are not conversant with the English Sysetem. It is normally used by fishermen to refer to the size of the mesh of a net, since this is how nets are sold. With reference to nets the number of a particular net is the diagonal distance between opposite corners of a single mesh opening. Hex head bolts and wrenches for foreign-made objects are sometimes specified, e.g. a one-half wrench.etimes specified, e.g. a one-half wrench.)
Gopong + (Thumb)
Ngompa + (To fill something with air and expand the size)
Taru Suren + (Toona sureni or known as Suren is medium to large size of tree and belongs to mahogany family. The plant commonly found in cemeteries in Bali and Java.)
Beringin + (Tree considered holy in Bali, often decora … Tree considered holy in Bali, often decorated with black white checkered cloth, and situated in the middle of a village and/or the main village temple.Ficus benjamina, commonly known as weeping fig, benjamin fig or ficus tree, and often sold in stores as just ficus, is a species of flowering plant in the family Moraceae, native to Asia and Australia.It is the official tree of Bangkok. A recently described variety, Ficus benjamina var. Bracteata is found in uplifted coral forests of southern Taiwan. The species is also naturalized in the West Indies and in the states of Florida and Arizona in the United States. In its native range, its small fruit are favored by some birds, such as the superb fruit dove, wompoo fruit dove, pink-spotted fruit dove, ornate fruit dove, orange-bellied fruit dove, Torresian imperial pigeon, and purple-tailed imperial pigeon. (Wikipedia)purple-tailed imperial pigeon. (Wikipedia))
Taru poh wani + (White mango; jack (Mangefira caesia) is a native to Southeast Asia. This tree has a large size, dense, and has a height of up to 30-45 meters. White mango fruit is oval with sour and sweet taste.)
Raw + (a fish line, up to 2 km. long, from which thousands of hooks dangle to considerable depth over rocks, tens of meters deep. The line is stretched horizontally and held by big floats, weighted by rocks at each end)
Masuwun + (a headstand)
Acengkang +
Alangkat + (a span; one inch)
Pangot + (a tool used for shaping or smoothing wood in woodcarving adjustable head that can rotate)
Patil + (a tool used for shaping or smoothing wood in woodcarving with adjustable blade, similar to penyongcongan)
Biu ketip + (a very small banana that must be boiled be … a very small banana that must be boiled before eating. Biu ketip gave its name to the unit of money used in Bali long ago. One ketip was 10 sen, or 0.1 Rupiah in the old days, and this is what the banana used to cost. If that price were in effect today, at the present rate of exchange one could buy about 90,000 of these bananas for one U.S. Dollar0,000 of these bananas for one U.S. Dollar)
Bijal + (a worm that have large size)
Mrambatin + (attaching 'prambat' (ropes stretched in the fields to drive birds; short straps of hook hooks; ornaments on sampian ’(a sequence of young coconut leaves for offering ceremony) made of colorful paper or plastic))
Embad + (bound morpheme forms that cannot stand alone or are always bound to other morphemes, for example 'kaembadang' which means 'stretched')