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List of results

• Enyit  + (set fire to something; ignite; light)
• Ngendihang  + (set on fire; ignite; light)
• Nglambat  + (shoot; fire)
• Padmasana  + (shrine, important shrine that is found in many temples)
• Ngidu  + (sit next to fire, stay by fire to keep warm)
• Erangan  + (sixth day of the 9-day week in Sanga Wara (dangu, dangur, gigis, nohan, ogan, erangan, urungan, tulus, dadi))
• Biar  + (sound, sudden intense sound, sudden bursting open of a flower bud into bloom)
• Penyekeban  + (special day for ripening fruit to be used … special day for ripening fruit to be used in Galungan offerings. Four days before Galungan, on Redite Dunggulan, unripe bananas, to be used in Galungan offerings, are put into a large clay jar. Green leaves, preferably those of the tenguli or mentoro trees, are added. Then the of the jar is then sealed on with mud and a small fire is maintained on top of the lid for several days until the fruit within has ripened. Word comes from sekeb, meaning to ripen fruit by enclosing it in something. Nowadays calcium carbide is usedomething. Nowadays calcium carbide is used)
• Nglahlah  + (spread out)
• Catur  + (stages of life)
• Ancungin  + (start a fire)
• Tulukang  + (stir up a fire)
• Apine  + (the fire)
• Agni  + (the fire god)
• Warna  + (the five directions, colors, and gods used in Balinese Hindu taxonomy: 1. Kangin = East, putih = white, the god Iswara)
• Tetimpug  + (the means used to invoke Sang Hyang Brahma, who in the ceremony mentioned yad symbolized by three bamboo sticks that were burned with fire and coconut, then this bamboo was burned to make a sound (erupted).)
• Mecat  + (to fire from a job)
• Pusu  + (to make fire rubbing two pieces of bamboo together with tinder)
• Makusu  + (to make fire through friction)
• Pangusuan  + (tool, kind of device for making fire by friction)
• Keluanan  + (toward the north or east (luan), considered to be auspicious directions for orienting oneself for sleeping, etc)
• Trimurthi  + (triad of Hindu gods: Wisnu, Iswara, and Brahma, gods of the directions north, east, and south, passing clockwise)
• Trisula  + (trident weapon carried by Siwa)
• Jambangan  + (very large steel pot, about 1 meter in diameter, used for heating liquids, as for example, when making ebat)
• Inggih  + (yes; imply simple agreement)

• Agni  + (one of the deities of the nine directions (Dewata Nawa Sanga), associated with the Aryan god of fire)

• Sepet-sepet  + ((Lythraceae))
• Indra  + (Indra was the chief of the Aryan gods)
• 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.)
• Brahma  + (Lord Brahma ; god of the South)
• 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/)
• Api takep  + (a fire that is placed on two pieces of coconut husk which are placed crosswise, the one above is facedown, covering the bottom, is used during the yadnya blind ceremony)
• Matetimbun  + (a ritual lighting of a fire at the site of an accident (Denpasar term))
• Dik widik  + (all directions)
• Nyangluh  + (aroma and taste of foods that have been fried (magoreng), heated without oil (manyahnyah), roasted over an open fire (matunu), or baked in hot coals (matambus).)
• Kungkung  + (beehive)
• Répét  + (burn and crackle (fire, kretek cigarette))
• Ngerépét  + (burn and crackle: a fire)
• Muhun  + (burn; consume with fire)
• Tunjel  + (burn; scorch (with fire); grill)
• Puun  + (burned up, be on fire, consume by fire)
• Matunjel  + (burned; on fire; grilled)
• Muun  + (by fire, be on fire)
• Masatia  + (commit loyalty to her husband by committing suicide to plunge into the fire during a cremation ceremony)
• Nguling  + (cook by rotissing over an open fire)
• Makaladewa  + (craftsman's consecration so that he may work in temples and other sacred places without polluting these homes of deities and spirits)
• Gabor  + (dance during which ladies present offering … dance during which ladies present offerings to visiting deities in their shrines during a temple festival (odalan). Girls usually dance in front of the shrine, two by two, carryiing flowers and offerings that are then deposited at the shrine. Dance is accompanied by a gong and a chorus. Usually each pair dances for about five minutes and is replaced by a second pair. Up to eight pairs of dancers may participate. Gabor is mostly performed in the Gianyar area.r is mostly performed in the Gianyar area.)
• Tarang  + (dry something over a fire)
• Pangider-ideran  + (eleven directions, the four cardinal points, the four intercardinal points, center, and up and down, each assigned to a different god, color, syllable, number (urip), power, and weapon: 1. North - Kaja - Wisnu - Black - Ang - Cakra - 4 - Utara)
• Kakaplugan  + (exploder, made from three pieces of bamboo)
• Api  + (fire)