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List of results

• Kalikosta  + (tree (Leguminosae))
• Kepah  + (tree (Sterculiaceae))
• Suweg  + (tuber (Araceae))
• Krakah  + (tulisan Bali, archaic form, using only for religious symbols)
• Tembang  + (tune that is played in order to make people like something)
• Duang  + (twenty)
• Gender  + (type of gangsa that is tuned to the slendro scale and is played with two round mallets, the keys being damped with the knuckles of the hand that holds the mallet)
• Gambah  + (unravel)
• Ketepluk  + (used by Bujangga Wesnawa)
• Prapen  + (usually in the form of a table with a shallow tray on top that contains earth)
• Jotjotan  + (various foods that will be distributed as a form of friendship and fostering friendship)
• Ngalas  + (wander in forest)
• Nyuci  + (wash hands, clothes)
• Ngendeng  + (water that form a pool on the ground or another surface)
• Gayor  + (wedding decoration in the form of a gate made of organic materials (palm leaf, palm leaves,bamboo, flowers, etc.), some are made of organic materials such as cork, cloth and so on)
• Landep  + (week no. 2 of the 30 Pawukon weeks)
• Ija  + (where (another form of 'Dija'))
• Pragiwaka  + (wise (form alus singgih / type of Balinese language to talk to people who must be respected))
• Jak  + (with (short form of the word 'ajak'))
• Mereh  + (work on a black spell to change the form)
• Slopi  + (woven object that looks like a giant dust pan, made of rather kasar bamboo and used for sweeping up coarse trash)
• Ingka  + (woven objects, usually trays or small bask … woven objects, usually trays or small baskets, made of lidi, central leaf spines of coconut or Borassus palm leaves. The latter are more flexible and thus more suited to plaiting than lidi from coconut leaves. Flat ingka trays are sold in most village markets. Ingka baskets are a tourist item markets. Ingka baskets are a tourist item)
• Ngulungan  + (wrap something into a separate, single coil or spool)
• Tulisan  + (writing)
• Awake  + (yourself; myself (informal / impolite form))

• Banaspati raja  + (spirits (king of the forest) are manifested in the form of giant heads or lions)

• Uku-uku  + ((Labiatae))
• Tulasi  + ((Labiatae))
• Celeng  + ((céléng) - pig)
• Martabak  + (A Javanese dish consisting of a mixture of … A Javanese dish consisting of a mixture of spices and chopped meat, usually goat, placed in large, thin wrapper of wheat flour dough and fried on a hot griddle. The mixture placed in the center of the wrapper as it fries, with the edges folded over to form a packet. More popular in Java, but found in some Balinese night markets, sold from push cartslinese night markets, sold from push carts)
• Geguden  + (An urab that one of the five main dishes of the ebat feast. Spices are boiled with santen until the mixture thickens, with coarsely shredded coconut and cooked turtle cartilage added. Don belimbing, star fruit tree leaves, adds a green color.)
• Pirata  + (Ancestral spirits)
• Genjek  + (Balinese music art form. Originally from K … Balinese music art form. Originally from Karangasem (East Bali). Men would sing these kind of songs after they had had enough palm wine (tuak). Sometimes without any instruments; sometimes with a flute. The rhythm is made by the word of "pung" sung by one of the group. Genjek is usually done sitting down, with dance movements of upper body and arms. This type of music is now also being performed at festivals in other parts of Bali.ormed at festivals in other parts of Bali.)
• Taru Puring  + (Codiaeum variegatum or known as Croton tree is native to Indonesia and commonly used as decorative plant. the form ranging from herbs, shrubs to trees.)
• Sekapa  + (Discoria hispida (Discoreaceae))
• Megibung  + (Eating in a small group together, especially during a ceremony, or when receiving guests. This is a Karangasem style ritual of sharing a meal, started as a tradition by the King of Karangasem after a war with Lombok.)
• Asania  + (Forest)
• Atarwya  + (Forest)
• Dewa Ruci  + (God in his manifestation as the guardian of amerta water (living water) in the sea, in the form of a small person)
• Pucuk  + (Hibiscus Rosa Sinensis L)
• Icang  + (I; me (informal/impolite form. But, in some area, this word is common in daily conversation))
• Subali  + (In the Hindu epic Ramayana, Sugriwa was younger brother of Subali whom he succeeded as ruler of the monkey kingdom. As the king of monkeys, Sugriwa aided Rama in his quest to liberate his wife Sita from captivity.)
• 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.)
• 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.)
• Egar  + (Morphologically is the basic form that categorized adjectives. Semantically lexical 'egar' means joy.)
• Engken  + (Morphologically is the basic form of interrogative categorization. In lexical semantics 'engken' means 'how')
• Pandan  + (Pandanus, or the Fragant Pandanus, is the only Pandanaceae family with scented leaves.)
• Embus  + (Semantically lexical 'embus' means open. Morphologically a basic form that categorized nouns.)
• 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/)
• Tabuh rah  + (The ceremonial spilling of blood performed usually with a regulated series (i.e., no sanctioned gambling) of three cockfights (tajen), done to appease the ground spirits (buta kala) before a major temple ceremony such as a piodalan.)