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List of results

• Pangasihasih  + (spirit)
• Tuyul  + (spirit)
• Sadeg  + (spirit)
• Panugrahan  + (spirit)
• Tundung  + (spirit)
• Ngrehang  + (spirit)
• Unen-unen  + (spirit that lives in temple in the form of an animal, a kind of ancangan,)
• Moksa  + (spirit)
• Nenek  + (spirit)
• Sambet  + (spirit, object used to prevent nursing mothers from being frightened by a spirit)
• Taksu  + (spirit, spiritual force that allows someon … spirit, spiritual force that allows someone or something to direct his talent or its power toward effective ends. It enables the person who possesses it to develop his talents effectively i.e. so that they have a positive effect upon others in that they will be attracted to him and what he does will be attracted to him and what he does)
• Gamang  + (spirit; kind of ghost)
• Yaksa  + (spirit; male giant)
• Niskala  + (spiritual, invisible, as opposed to sekala - tangible)
• Pretima  + (statue)
• Kasambet  + (struck by, or figuratively tied up by a spirit such as an ancangan or gamang because of its anger as a result of someone unknowingly violating its territory)
• Panyawang  + (temple or shrine that is a substitute or branch for a main temple or shrine somewhere else)
• Suksma  + (thank you)
• Ngidup  + (the quality of being alive, living, or containing a spirit (shrine, kris, etc.))
• Ancangan  + (the spirit of a particular place (tree, rock, river mouth, etc))
• Nebus  + (to redeem something, to compensate for some wrong, to purchase)
• Bukur  + (tower all, tiered tower, decoratede white … tower all, tiered tower, decoratede white ande yellow, carried on the shoulders of a group of men to transport sekah to sea or nearby body of water at end of ceremony called nyekah in which spirit of deceased is elevated to highest purity and made ready to be installed in family temple. The spirit resides in the sekah, which is an effigy of the deceased. The bukur is burned next to the water and thrown in.is burned next to the water and thrown in.)
• Adri  + (volcano)
• Ngulapin  + (wave)
• Rangda  + (widow)

• Taksu  + (or it can be taken to mean the spirit that allows one, for example, to communicate with supernatural forces)

• Seh  + ((séh) - replacement:, substitute, spare clothes, change of clothes, set or suit of clothes)
• Gentawang  + (A spirit that flies while making a sound like a bell)
• 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.)
• Nganjekang  + (Nganjekang: Spirit; encourage the fight to win)
• Taru Kepah  + (Sterculia foetida Linn or known as Bastard Poon Tree is a very large tree. The tree commonly found in cemeteries and associated with cultural practices in Bali as dwelling spirit so offering is made to this tree.)
• 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/)
• Barong  + (The embodiment of mythological beasts as a … The embodiment of mythological beasts as a symbol of truth to fight against destructive forces; The most common barong has a costume that is activated by two men, one behind the other, one manipulating the mask, the other the hind end. Barong Landung is a tall barong that consists of a mask attached to a framework that fits over the head and body of a single man. There are many different types of barong. If the word has no adjective indicateing type, it is usually assumed that the meaning is Barong Ketlly assumed that the meaning is Barong Ket)
• Ratu Ngurah  + (a designation for the supernatural power that protects the yard and its inhabitants)
• Pati  + (a handle or holder in which to place or contain something)
• Pangukuran  + (a rasp that produces coarsely grated product, usually coconut)
• Meripih  + (a worn magic amulet or magic belt)
• Colong papah  + (an image made of young coconut (papah nyuh) used at crossroads to pacify the spirit of a sick baby.)
• Ila  + (be very careful (said only about an unknown situaetion that might involve niskala forces))
• Dumadi  + (begin to be reincarnated)
• Risebin  + (bother with evil forces; hurt with evil forces)
• Karisebin  + (bothered with evil forces)
• Mapegat  + (ceremony for dead person prior to cremation in which family and friends say farewell to the spirit by throwing rice from the back of the hand toward the adegan, thereby cutting themselves off (pegat) from the spirit)
• Taur  + (ceremony, usually used to refer to a very … ceremony, usually used to refer to a very large Buta Yadnya ceremony that features a big caru or sacrifice for purification from the influences of evil spirit. The purpose of taur is to provide offerings for butakala so that they will not bother people and will not interfere with human activity.nd will not interfere with human activity.)
• Pitra Yadnya  + (class of ceremonies carried out for deceas … class of ceremonies carried out for deceased ancestors. The first Pitra Yadnya ceremony is the Pambersihan Mati, performed just after the Pambersihan Idup, at the time of the persones death, just before burial. The last Pitra Yadnya ceremony is the Nyegara Gunung, prior to the installation of the spirit in the sanggah, nglinggihin, which is a Dewa Yadnya ceremony.inggihin, which is a Dewa Yadnya ceremony.)
• Pangaskaraan  + (conducted for adegan at a cremation that are held in order to make up for omissions or errors in Manusa Yadnya ceremonies held while the spirit was still in a live body; held before the cremation itself)
• Pacanangan  + (container for ingredients of the areca nut (betel) chew)
• Tadah Kala  + (eaten by Bhuta Kala (a kind of spirit))
• Pangulapin  + (effigy in which spirit of deceased is installed at the Nyegara Gunung ceremony after the ngaben. The pangulapin is then taken to the sanggah and buried.)
• Sekah  + (effigy r epresentation of spirit thrown into the sea at a nyekah)
• Bebai  + (evil spirit that causes craziness)