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List of results

• Pinah  + (until it's time; until the time is come)
• Ketekan  + (used by timer in cockfight to record the number of times a half coconut shell with a hole in it sinks in a container of water)
• Sibuh pepek  + (used to pour holy water through kuskusan durmanggala at time of nglukat ceremony)
• Marapedan  + (very crowded; very hard time; so crowded; so hard time)
• Mapunya  + (very for a long time)
• Ngrepegang  + (very urgent; very hurry (about time))
• Tegil  + (vestigal inside toe of cock corresponding to human thumb)
• Nusa  + (virgin tree)
• Matangi  + (wake up, get up, be awake)
• Mailehilehan  + (wandering around aimlessly in a random fashion without any clear plan or purpose)
• Kamandalu  + (water pot usually carried by sages for conducting rites)
• Ngebah  + (wear for the first time)
• Landep  + (week no. 2 of the 30 Pawukon weeks)
• Sambut  + (welcome)
• Mamendak  + (welcome)
• Kaliapa  + (what time)
• Kalinapi  + (what timee (usually refers to traditional means of expresseing time, i.e. in dauh))
• Ipidan  + (when (past))
• Sedek  + (when, at the time)
• Rikala  + (when, at the time, during)
• Dugas  + (when, while, since, time, occasion (past events only))
• Ri Tatkala  + (when; at that time; at the moment)
• Tatkala  + (when; that time; at the moment)
• Makiad-kiud  + (wiggle, stretch by wiggling, stretch body)
• 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)

• Ajengkal  + (the size of one time the length of the stretch between the tip of the thumb and the tip of the outstretched forefinger)

• Pipis bolong  + ("Chinese money, known generally as Uang Ke … "Chinese money, known generally as Uang Kepeng in Indonesian, or as Pis Bolong in Balinese, is known through the ancient Lontar records to have circulated as a medium of exchange since at least 900 AD, and perhaps much longer. Throughout this time, Uang Kepeng touched on all aspects of Balinese life: cultural, religious, social, political and economic. Today, Uang Kepeng is used only for ceremonial purposes, while the economic aspects have withered away with the rise of a united Indonesia."away with the rise of a united Indonesia.")
• Durian  + ((Bombaceae))
• Kepundung  + ((Euphorbiaceae))
• Tulasi  + ((Labiatae))
• Saang pamuun  + ((a small bundle) of firewood which has been speared by the priest to ignite the body for the first time)
• Telun  + ((adv) of time involving three days)
• Puan  + ((adv) of time involving two days)
• Ceeng  + ((cééng) - measuring length of time between … (cééng) - measuring length of time between rounds of cockfight; a traditional time measuring device made of half a coconut shell with a hole in the middle; this tool will be placed on the water in a bucket or container, then the time will be calculated from this tool inserted until it sinks to the bottom of the containeril it sinks to the bottom of the container)
• Ajakanan  + ((size) is enough for one time cooking (about rice))
• Kuuk-kuuk  + (A ragworm)
• Malih jebos  + (A short time later)
• Selid  + (All day long, day and night, all the time, constantly)
• Kesemek  + (Diospyros kaki (Ebenaceae). Oriental persimmon. Medium-size tree with crooked trunk)
• Nglingsirang  + (From noon to just before sunset, specifying any time after the apex when the sun starts getting lower)
• Saka  + (Hindu-Balinese lunar calendar that is in common use in Bali. Saka calendar year numeber is 78 or 79 years behind Gregorian year number)
• 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)
• Kusambi  + (Macassar (Sapindaceae), tree)
• 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)
• Tepeng  + (Rice which is cooked/boiled for quite a long time to get very soft texture.)
• 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/)
• Panasar  + (The comic characters in many Balinese dance and drama performances who translate the speeches of the high caste characters into the vernacular and, at the same time, provide comic relief. In Wayang Kulit, he panasar of the heros are Merdah and Twalén)
• Tujuh  + (The finger between the thumb and middle finger)
• In  + (The standard English System unit of length … The standard English System unit of length measurement However, in Bali the word is not normally recognized as referring to the word inch, since Balinese people use the Metric System and are not conversant with the English Sysetem. It is normally used by fishermen to refer to the size of the mesh of a net, since this is how nets are sold. With reference to nets the number of a particular net is the diagonal distance between opposite corners of a single mesh opening. Hex head bolts and wrenches for foreign-made objects are sometimes specified, e.g. a one-half wrench.etimes specified, e.g. a one-half wrench.)
• Sumaga  + (This tree has a height of 2-8 meters with a stalk length of 0.5-1.5 cm. The leaf blade is egg-shaped, elongated, elliptic or lancet-shaped with blunt ends, slightly bent, and jagged edges.)
• Gopong  + (Thumb)