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List of results

• Misa  + (water buffalo; white buffalo)
• Banyeh  + (water coming out of the corpse)
• Sombah  + (water drain hole in wall)
• 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)
• Tirta  + (water)
• Kamandalu  + (water pot usually carried by sages for conducting rites)
• Nyiam  + (water something)
• Sawan yeh  + (water spider)
• Tampias  + (water splash; scattered or splashed water droplets (from rainwater, waves traveling through boats, jets of water))
• Amerta  + (water that causes eternal life)
• Ngendeng  + (water that form a pool on the ground or another surface)
• Banyu  + (water)
• Siam  + (water, sprinkle water, irrigate)
• Landep  + (week no. 2 of the 30 Pawukon weeks)
• Empel  + (weir; hold it; dykes (about water; rivers, etc.))
• Sukan  + (well (for water))
• Ngukup  + (win)
• Maploncor  + (with a ploncor; contains a shower or duct on clay water vessels)
• Gebiog  + (wooden gate for field or corral (kandang) that has spaces through which one can see)
• Nasi bira  + (yellow rice mixed with beans, anchovies, kecicang, basil, and sandalwood water as a complementary offering)
• Ao  + (yes, (note that nah is different than ao)
• Uga  + (yoke for a single water buffalo (kebo))
• Bungkak  + (young coconut without meat, younger than kuwud, older than bungsil)

• Anget  + (lukewarm, yeh anget = warm water (note: anget is said of a thick mattress))

• Kangkung  + ((Convolvulvaceae))
• Celagi  + ((Leguminosae))
• Belek  + ((belék) - sheet metal; canned, big metal container; can)
• 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)
• Panembak  + ((panémbak) - holy water to water the bodies or corpse)
• Makasuran  + ((sleeping) using a mattress)
• Klipes  + (An insect that lies in water, especially the fields [sawah])
• Pengarung  + (Balinese traditional architect Water tunnel)
• Dewa Ruci  + (God in his manifestation as the guardian of amerta water (living water) in the sea, in the form of a small person)
• Kekuluh  + (Holy water)
• Tumpek landep  + (How is Tumpek Landep associated with Keris … How is Tumpek Landep associated with Keris?</br>These days, when people hear the words ‘Tumpek Landep’, we think of a ritual ceremony that involves blessing cars and motorbikes, pampering them with organic offerings that serve to protect us from potential accident or misfortune. Whilst we probably definitely need to pay more attention to the appeasing of the ‘demons of the road’, this is actually not the complete picture.</br></br>Society’s lack of awareness about the meaning behind Tumpek Landep has been much criticized many educated Balinese. If we break down the words, ‘Tumpek’ means the particular day on the Balinese Çaka calendar that this ceremony falls on which is always a Saturday, and ‘Landep’ means a time to celebrate man’s sharp thinking that has led us to make use of metals that we use in our everyday lives. (Jero Mangku Sudiada, www.parisada.org).</br></br>In the past, one of the most celebrated iron weapons was the Indonesian keris, a powerfully magical dagger that has captured the imagination of people for centuries. Balinese attribute our sharp wits to God who chose man as the only living creature on Earth who could make use of the fruits of the Earth to progress his species. For the Balinese, this sharp-wittedness is symbolized by the keris, hence it is blessed with holy water and special offerings every Tumpek Landep.</br></br>Somehow (I’m not entirely clear on this bit), over time, everything made from iron, including the vehicles we drive were brought into the ritual. It actually makes sense that this can happen because it is indeed due to our brilliant minds that we can use metal to create vehicles and so forth; therefore could this mean that anything made from metal that is a human creation be theoretically be blessed on this day? I guess time will tell as ritual ceremonies, like much of Balinese culture is modified and adapted to suit time, place and situation.</br>Copyright © Kulture Kid 2011nd situation. Copyright © Kulture Kid 2011)
• Gelatik  + (Java sparrow, aka Java Finch, Java Rice Bird)
• Kuwud  + (Not quite ripe small coconuts, almost as big as nyuh, but are green on the outside and full of water and soft flesh.)
• Matekap  + (Plowing rice fields with water buffalo and traditional tools.)
• 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/)
• Siat yeh  + (Suwat Water Festival)
• Tandas  + (The kasar term 'wese' (read as 'way-say') … The kasar term 'wese' (read as 'way-say') is derived from WC (water closet). It emerged in the 1960s when most Balinese did not have lavatories or septic tanks at their homes. So, the term WC is used in general due to western influence in Balinese tourism in those years. Later, to accomodate uses in halus form, the word 'paturasan' was introduced.form, the word 'paturasan' was introduced.)
• Bebel  + (Thick)
• Aungan  + (Water tunnel for field irigation)
• Abangan  + (a gutter on a roof)
• Sungkuh  + (a hole or depression dug in the ground to accumulate sea water to make salt)
• Songembah  + (a hole, gap or opening in a wall to let water escape in case of flooding)
• Pogot  + (a kind of sea fish whose scales are thick and poisonous if not treated properly)
• Ronde  + (a kind of warm drink with ginger water added with round stuffing made from sticky rice flour and other spices; round)
• Perocot  + (a pot of water or a jar of coconut shell)