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List of results

• Majenukan  + (visit, usually bringing a present)
• Adri  + (volcano)
• 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.)
• Ngayab  + (waft the essence of an offering away from the offering toward gods)
• Dii  + (warp threads of a cloth or other woven object (comp. pakan = weft threads))
• Ngumbah  + (wash clothes, hands)
• Nyugi  + (wash face using hands)
• Mabaseh  + (wash hands (lima) or feet (bais))
• Baseh  + (wash hands or feet lightly by dipping into a bowl of water, pabesehan, or by pouring water over them)
• Nyuci  + (wash hands, clothes)
• Pabasehan  + (wash water)
• Kekucah  + (water for washing hands and dishes placed on table in a bowl)
• Pawajikan  + (water for washing hands or feet, usually in a coconut shell container)
• Panastan  + (water offered to priests as water to wash hands and feet)
• Keper  + (weaving)
• Kalinapi  + (what timee (usually refers to traditional means of expresseing time, i.e. in dauh))
• Ngepel  + (wipe, mop, clean with cloth or mop, wash lightly, clean (room, but not clothes, body, etc.))
• Ngajuk  + (with hands, trap, etc.)
• Bogol  + (without weapon)
• Uras  + (wood powder, theoretically sandalwood powder, but, considering the scarcity of sandalwood, usually cheaper wood is used)
• Gamparan  + (wooden sandals)
• Ngrunti  + (work carefully; sewing by hand; knitting)
• Magarapan  + (work w. one's hands, work at something)
• Kaput  + (wrapper, garment)
• Meseng  + (wring, squeeze out, squeeze with two hands)

• Bahu  + (hands, for example: bahu pada (foot and hands (accomplices; refers to a right-hand man)))

• 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)")
• Lambe  + ((lambé) - lip edge or lip of a saput)
• Leneng  + ((léneng) - low walls on either side of the cori or entrance of the house to sit)
• Empok  + ((ém.pok) - pinch with hand, pluck (fruit, flower, leaves))
• Slingkad  + (A rope that is used to help climb a tree)
• Kroya  + (Ficus benjamina (Moraceae))
• Awujijiwati  + (Hand)
• Eka Dasa Rudra  + (Largest of the state-wide Balinese ceremon … Largest of the state-wide Balinese ceremonies that is supposed to be held once every 100 years at Pr. Besakih, culminating on Tilem Kesanga. The last such ceremony was held in 1979, with its climax on Tilem Kesanga, March 28 eka Dasa, meaning eleven, refers to the eleven directions, the four cardinal points, the four intercardinal points, up, down, and center. Rudra refers to Siwa in his destructive form as the Aryan god Rudra. Previous to 1979 the ceremony was held in 1963 because of especially inauspicious circumstances, but it was interrupted by the eruption of Gunung Agung.terrupted by the eruption of Gunung Agung.)
• Nunas baos  + (Lexically consists of the word nunas which … Lexically consists of the word nunas which means to ask / beg and the word baos which means words / words. This term refers to a ritual to communicate with the existence of the supernatural world, usually balian or paranormal will try to communicate with spirits, gods and goddesses, bhatara bhatari or inviting the spirits of the ancestors from the family who come to them, with mystic abilities and spells. In this ritual, the body of Balian or Jero Dasaran will be possessed by the spirit or ancestor invited. After that the family members who come are welcome to ask questions or their purpose of inviting them to be present in the world. Questions generally revolve around the cause of a catastrophe, illness or death or other things that might be a wedge in their hearts.ngs that might be a wedge in their hearts.)
• Pratiksaka  + (Pratiksaka is synonym for candidate. If you use 'calon' as a Balinese translation for the word 'candidate', it becomes ambiguous for it refers to special offering dish prepared in Kuningan day.)
• Nglawang  + (Refers to a barong procession usually held at the time of Galungan, in which barong and followers go from gate to gate to purify each house compound by mollifying butakala)
• 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/)
• Panyemeng  + (Tabanan term for an individual serving of ebat)
• Catur sanak  + (The four brother/sister spirits)
• Muntil  + (To tie up, entangle)
• Be  + (Usually means fish, but sometimes refers to meat, eggs, peanuts, or a particular type of meat when it is combined with an other word: e.g. be guling (roasted pig), be sampi (beef), be pasih (fish))
• Engkol  + (a board game with 4 or 8 radial lines, usu … a 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)
• Bahu sastra  + (a compound word that comes from the words 'bahu' which means 'many' and 'sastra' which means 'book of knowledge', so that 'bahu Sastra' means 'dictionary')
• Ringkus  + (arrest; broach; tie of feet and hands (or feet of animals to be slaughtered); catch / steal (thief))
• Ngringkus  + (arrest; catch; freeze (thief); tie the feet and hands (or the legs of the animal to be slaughtered))
• Karingkus  + (arrested (by); tied with feet and hands (or feet of animals to be slaughtered); arrested / arrested (thief))
• Maringkus  + (arrested; already arrested; already bound by the feet and hands (or the feet of the animals to be slaughtered); already arrested / arrested (thief))
• Tuni  + (at some time in the past, a while ago)
• Suba colek pamor  + (bad reputation and widely known as such)
• Genta  + (bell of priest, held in the left hand and sounded by shaking the wrist gently)