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A list of all pages that have property "English definition" with value "bow drill, hand drill that spins alternately, action produced by two strings twisted around the shaft of the drill which are untwisteed by pushing on a horizontal bar that slips over the shaft". Since there have been only a few results, also nearby values are displayed.

Showing below up to 26 results starting with #1.

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List of results

  • Kapligeh  + (twisted (by); wrapped around (by))
  • Maplintutan  + (twisted and irregular;)
  • Makilit  + (twisted round something else (e.g. vine around tree, hair braided, sate lilit, etc.) coiled up, tangled, as with fish lines or fish in a net, (vs. susut = tangled) (pahit makilit = stingy = cupar))
  • Mapliser  + (twisted; already twisted)
  • Maplilutan  + (twisted; many times over)
  • Plinteng  + (twisted; tied; wrap around)
  • Plintenga  + (twisted; wrapped (by someone/something))
  • Kapligehang  + (twisted; wrapped around)
  • Gender  + (type of gangsa that is tuned to the slendro scale and is played with two round mallets, the keys being damped with the knuckles of the hand that holds the mallet)
  • Ngeragoin  + (use large, conical, fine-mesh net (pengeragoan) to catch gerago (small shrimp) by hand)
  • Gandolan  + (vegetable tuber)
  • Kidung  + (verse in Balinese or middle Javanese that is sung)
  • Natab  + (waft essence of an offering toward a person, or toward oneself (but not toward gods). Compare to ngayab, which refers to the same motion, except directed away from oneself or away from someone else or offerings, toward god.)
  • Dii  + (warp threads of a cloth or other woven object (comp. pakan = weft threads))
  • Karma marga  + (way of action)
  • Pandalan  + (weaving)
  • Keper  + (weaving)
  • Pacang  + (will, shall (indicator for future action))
  • Ngepel  + (wipe, mop, clean with cloth or mop, wash lightly, clean (room, but not clothes, body, etc.))
  • Gamparan  + (wooden sandals)
  • Ngrunti  + (work carefully; sewing by hand; knitting)
  • Pilita  + (wrapped (by someone/something); rolled (by someone/something); twisted (by someone/something))
  • Mlinteng  + (wrapped around; twisted)
  • Milus  + (wring, wist so that twisted part does not return to its original position)
  • Maplincedan  + (writhing; twisted)
  • Andar  + (bow drill, hand drill that spins alternately, action produced by two strings twisted around the shaft of the drill which are untwisteed by pushing on a horizontal bar that slips over the shaft)
  • Sekordi  + ("Dark red cloth with horizontal and vertical thin yellow lines creating squares. Protective textile worn for tooth filling and wedding ceremonies (kain bebali).")
  • 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)")
  • Akasia  + ((Fabaceae))
  • Bebolong  + ((Myrtaceae), fruit of the cajeput (or cajaput or cajuput) tree. Cajeput oil is produced by steam distillation of the leaves and is used commonly as a household medicine in some parts of Asia as minyak kayu putih (Bahasa Indonesia).)
  • Piduh  + ((Umbelliferae), small creeping herb with s(Umbelliferae), small creeping herb with shovel shaped leaves emerging alternately in clusters at the stem nodes. The runners lie along the ground and the inch long leaves with their scalloped edges rise above on long reddish petioles. The insignificant greenish- to pinkish-white flowers are borne in dense umbels (clusters in which all the flower stalks arise from the same point) on separate stems in the summer. The seeds are pumpkin-shaped nutlets 0.1-0.2 in (3-5 mm) long. Used for milennia is Ayurvedic and Chinese medicines, mostly for skin diseases, but also for many other problemsdiseases, but also for many other problems)
  • Lambe  + ((lambé) - lip edge or lip of a saput)
  • Empok  + ((ém.pok) - pinch with hand, pluck (fruit, flower, leaves))
  • Batang  + (A bamboo pole, made of tiing ampel, that pA bamboo pole, made of tiing ampel, that pulls a lampit, a device used for smoothing a field before planting. The horizontal part of lampit, made of bamboo in Peninjoan, is attached to cows at front and to the lampit below. the farmer sits on the rear end of it as it is dragged along. Elsewhere a regular wooden bar similar to how the tongue of a plow (tetehan) is used.ow the tongue of a plow (tetehan) is used.)
  • Kutun lambang  + (A kind of beetle that destroys wood of lambang, which are long horizontal beams or tops of posts.)
  • Kuuk-kuuk  + (A ragworm)
  • Awujijiwati  + (Hand)
  • Paku  + (Marsh Fern, Diplazium esculentum (PolypodiMarsh Fern, Diplazium esculentum (Polypodiaceae); common fern raised in the wet parts of Bali that is eaten as a vegetable; hanging decoration with edges of a leaf cut diagonally into thin strips which are then looped over each other in horizontal pairs so that they protrude, giving an appearance something like that of a type of fernance something like that of a type of fern)
  • 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.)
  • Kamasan  + (Style of painting. Imagine you are a mastStyle 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/)
  • Ngajeng  + (The active action of eating. Eg I am eating rice/titiang ngajeng nasi. Used in polite conversation when referring to one's self.)
  • Muntil  + (To tie up, entangle)
  • Engkol  + (a board game with 4 or 8 radial lines, usua board game with 4 or 8 radial lines, usually involving coins, in which the winner is determined by a number Before the game, players place their bets on the lines, such that north represents a winning number of one, west is two, and so on counterclockwisee, west is two, and so on counterclockwise)
  • Katik  + (a handle or shaft, stem or stalk of a plant)
  • Pangalahan  + (action)
  • Masosolan  + (action in Manusa Yadnyua ceremony in which a duck is held so that its bill touches the head of the person having the ceremony, which symbolically removes impurities in the sense that the duck pecks off the impurities)
  • Karma  + (action; deed)
  • Loloh  + (any sort of traditional medicine that is taken internally, as compared to boreh and uap, which are used externally)
  • Suba colek pamor  + (bad reputation and widely known as such)
  • Kutu lambang  + (beetle that eats coconut wood)
  • Bikas  + (behavior, manner, fashion, action)