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• Saing  + (term of address between jukung fishermen or any people working closely together)
• Riin  + (the first time; first; past; long time ago (Alus Mider : a level of language used for people who are under or people who are above or a language that contains a feeling of exalting someone who deserves to be elevated))
• Boma  + (the name of the painting (carving) in the form of a face (giant))
• Jaran guyang  + (the name of the type of black magic that causes people to get drunk in love)
• Riinan  + (the old; the first (Alus Mider : a level of language used for people who are under or people who are above or a language that contains a feeling of exalting someone who deserves to be elevated))
• Anake  + (the person; the people; the man; unkown person)
• Ngidup  + (the quality of being alive, living, or containing a spirit (shrine, kris, etc.))
• Tetebekan  + (the stab; the puncture)
• Daem  + (the term to express something (fruit) nearing the ripe (already ripe but not rotted).)
• Sang  + (title of respect for important or holy people)
• Ngaben  + (to conduct a cremation ceremony; to cremate)
• Malingeb  + (to lie face down or prone ( things only, containers, etc. ror people, makakeb); upside down; reverse)
• Singapur  + (tree (Elaeocarpaceae), capulin, Jamaica cherry, kersen in B.I., small evergreen tree with soft)
• Aksara wayah  + (tulisan Bali et of nine symbols that are … tulisan Bali et of nine symbols that are rarely used in ordinary tulisan Bali except by scholars. They represent Sanskrit sounds that are generally not understood by average Balinese people. Some of them are represented in English by using diacritical marks over or under ordinary English letters. The words asksara wayah mean old letters. The words asksara wayah mean old letters)
• Tembang  + (tune that is played in order to make people like something)
• Maleglegan  + (uncovered open, as a door)
• Mogalang  + (use other people's belongings arbitrarily)
• Kelet  + (very tight, constricted, crowded, too small to have something enter it)
• Nenungang  + (view (fortunately unfortunate people and so on); fortune telling; harming people with black magic)
• Perbekel  + (village head)
• Saraswati  + (wife of Brahma and the deity of books, knowledge, and learning. The last day of the Pawukon cycle, Saniscara Watugunung, is devoted to her worship. She is often depicted playing a musical instrument and accompanied by a swan.)
• Pragiwaka  + (wise (form alus singgih / type of Balinese language to talk to people who must be respected))
• Sendratari  + (with music in which all parts are spoken by a dalang)
• Ngayah  + (work without pay, contribute work, (temple))
• Ngreka  + (writing; drawing; forming;)

• Babuten  + (people who go into trance and then stab themeselves with kris because of butakala entering their bodies)

• Durian  + ((Bombaceae))
• Cengkrong  + ((céngkrong) - a hilt or holder for a kris or sword)
• Bekung  + ((for people) unable to have children)
• Keris  + ((keris) - sword; kris; short sword that po … (keris) - sword; kris; short sword that possess considerable magical power and must be treated with great respect; some have wavy blades; almost always worn by male dancers slung across the back, handle to the right; an important part of Balinese traditonal dress for such events as weddings, tooth filings, and so on.nts as weddings, tooth filings, and so on.)
• Grudug  + ((onomatopoeic), thundering, sound of thunder)
• Panembak  + ((panémbak) - holy water to water the bodies or corpse)
• Jabag  + ((said) rude to people who deserve respect)
• Selendang  + (A long and narrow textile worn around the anteng (for women), and a shorter one worn around the waist over the kebaya - or for men if a saput is not used. It is a must to wear a selendang or saput when entering a temple and for praying.)
• Odalan  + (Anniversary festival of a temple)
• Mabiakala  + (Buta Yadnya ceremony in which an offering, biakala, is used as a preface to other ceremonies, e.g. on Penampahan Galungan, at a caru, etc.)
• Lambon  + (Cassava is a tropical plant that has less fat than cereals and more protein than potato. In Bali, people cook the cassava as a traditional cake that eaten with palm sugar and coconut.)
• Rangsum  + (Food rationed for prisoners or sick people.)
• 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)
• Leak Pokpokan  + (In the folklore of Bali, the Leyak (in Ind … In the folklore of Bali, the Leyak (in Indonesian, people called it 'Leak' (le-ak)—the Y is not written or spoken) is a mythological figure in the form of flying head with entrails (heart, lung, liver, etc.) still attached. Leyak is said to fly trying to find a pregnant woman in order to suck her baby's blood or a newborn child. Leak pokpokan is the low-level of this creaturesokpokan is the low-level of this creatures)
• 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.)
• Mindon  + (Mindoan is a brother from the descendants of one grandfather. The grandchildren of the prayers of siblings. The sons and daughters of two people who have kinship as cousins are said to inherit kinship relationships as mindoan, or mindon.)
• Panca  + (Panca, five = Snskt. Used as a prefix when listing groups of five important philosophical ideas, places, people, etc. Used for the week Pahang when there is a pangunalatri in this week, which happens once every 630 days)
• Pakembar  + (People compete with fighting cocks in the banjar.)
• Rabies  + (Rabies is an infectious viral disease that … Rabies is an infectious viral disease that is almost always fatal following the onset of clinical symptoms. In up to 99% of cases, domestic dogs are responsible for rabies virus transmission to humans. Yet, rabies can affect both domestic and wild animals. It is spread to people through bites or scratches, usually via saliva.gh bites or scratches, usually via saliva.)
• Wayang wong  + (Ramayana drama performed by people)
• Auban  + (Rangda: name often used by Jimbaran people to refer to the Rangda)
• 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)
• Gagad  + (Small creatures that infest, but do not kill chickens, especially after they have hatched eggs. It bothers people by crawling on them.)
• Dawet  + (Some Jimbaran people consider dawet to be … Some Jimbaran people consider dawet to be a Javanese drink, whereas they think of cendol is a Balinese drink. Others consider the two to be the same. There is considerable variation in the ingredients of both of them, and it seems most realistic to thinks of dawet as a variety of cendol. Dawet contains santen, variety of cendol. Dawet contains santen,)
• 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/)