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List of results

• Dulang  + (tray food container, usually used to mean a circular plateform shaped like a double cone, a round tray with a flared conical base used as a support for offerings, or to display them, or for carrying offerings to a temple ceremony)
• Kelecung  + (tree Ebenaceae), tree of the ebony family that is sometimes used I woodcarvings sold as striped ebony, but is inferior to other ebony species, notably D. celebica under)
• Bunut  + (tree (Moraceae))
• Kajar  + (type of gong that imitates the rhythms of the drums in some styles of music)
• Pabesikan  + (unity in family relationships)
• Pasikian  + (unity; unity in family relationships)
• Matektekan  + (up into small pieces, build something)
• Mapekakas  + (use household equipment)
• Mekakasin  + (using or installing equipment)
• Patajuh  + (village official entrusted with temple accounts)
• Majenukan  + (visit, usually bringing a present)
• Adri  + (volcano)
• Padingkrik  + (war dance, perform)
• Ngulapin  + (wave)
• Tampu  + (weak ineffective, indolent, lazy, lack appetite for food)
• Lelor  + (weak)
• Mamendak  + (welcome)
• Pamendak  + (welcoming, offering made to welcome gods' arrival at temple)
• Makenken  + (what is family relationship of person to …)
• Leluur  + (white cloth that is hung under the roof of a shrine or used as the roof over a corpse)
• Pletik  + (white spot on the forehead or at the temple of the dancer)
• Menang  + (win, have power over (vs. kalah = lose))
• Ngayah  + (work without pay, contribute work, (temple))
• Rarajahan  + (writing or picture that carries niskala power of pangiwa that can be used to harm an enemy.)
• Kenyeri  + (yellow bells)

• Taksu  + (spirit and shrine in the family temple dedicated to the this spirit that gives one the power to perform certain acts)

• Kacai  + ((Liliaceae))
• 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.)
• 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.)
• Gentawang  + (A spirit that flies while making a sound like a bell)
• Akadang  + (All family)
• Odalan  + (Anniversary festival of a temple)
• Mesui  + (Cinnamomum, and the several named varieties of some of the species. Some have strong aromas characteristic of the genus)
• Andong  + (Cordyline is a genus of about 15 species o … Cordyline is a genus of about 15 species of woody monocotyledonous flowering plants in family Asparagaceae, subfamily Lomandroideae. The subfamily has previously been treated as a separate family Laxmanniaceae,[2] or Lomandraceae. Other authors have placed the genus in the Agavaceae (now Agavoideae). Cordyline is native to the western Pacific Ocean region, from New Zealand, eastern Australia, southeastern Asia and Polynesia, with one species found in western South America. The name Cordyline comes from the Greek word kordyle, meaning "club," a reference to the enlarged underground stems or rhizomes.he enlarged underground stems or rhizomes.)
• Sawang  + (Creative force, religious thought)
• Kayu besi  + (Eusideroxylon zwageri (Lauraceae). A tall, straight tree that has one of the most dense and durable woods in Southeast Asia. It is used for power poles, marine construction, piles, posts, roof shingles (sirat))
• Kula  + (Family)
• Bencangah  + (Family tree)
• Siwa  + (God as destroyer and recycler of humanity, Siwa is associated with the Pura Dalem and is considered to be the dissolver of life so that it can be recreated - rather like a recycler of souls)
• Makadang  + (Have a family)
• Tawes  + (Ikan tawes (Barbonymus gonionotus) is a ty … Ikan tawes (Barbonymus gonionotus) is a type of freshwater fish belonging to the family Cyprinidae. This fish is commonly found in rivers, lakes, and ponds in Southeast Asia, including Indonesia. Ikan tawes is known for its slender body shape and silver color, often with a slight reddish tint on its body.</br>Ikan tawes is widely cultivated and consumed as a food fish, appreciated for its tasty meat and affordable price. It also has significant economic value in local fish trade.</br>In Indonesian culture, ikan tawes is often cooked by frying, grilling, or used in various traditional regional dishes.ed in various traditional regional dishes.)
• 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.)
• Nganjekang  + (Nganjekang: Spirit; encourage the fight to win)
• Nyegara gunung  + (Nyegara Gunung is a Balinese Hindu philosophy that between the sea (segara) and the mountain (gunung) is an inseparable unity. Therefore, every action on the mountain will have an impact on the sea. Vice versa.)
• Pandan  + (Pandanus, or the Fragant Pandanus, is the only Pandanaceae family with scented leaves.)
• Besakih  + (Pura Besakih is a temple complex in the village of Besakih... It is the most important, the largest and holiest temple of Hindu religion in Bali...The entrance is marked by a candi bentar (split gateway)...)
• Candi bentar  + (Split temple gates)
• 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/)
• Usaba  + (Temple festival.)