This page provides a simple browsing interface for finding entities described by a property and a named value. Other available search interfaces include the page property search, and the ask query builder.

List of results

• Perbekel  + (village head)
• Ngunya  + (visit)
• Natab  + (waft essence of an offering toward a person, or toward oneself (but not toward gods). Compare to ngayab, which refers to the same motion, except directed away from oneself or away from someone else or offerings, toward god.)
• Matangi  + (wake up, get up, be awake)
• Beeng  + (warm feeling, as when onees body is hot or there is an inflammation)
• Umbah  + (wash anything except one's whole body (for washing body use manjus))
• Ngumbah  + (wash clothes, hands)
• Pabersihan idup  + (washing body of dead person immediately after death, similar to giving him a bath)
• Masaab  + (wear a movable cover; wear a prayer mat cover)
• Ngaub  + (wearing something that totally covers body (Rangda, Barong))
• Sukan  + (well (for water))
• Ngusup  + (whistle with mouth only, using lips or teeth, not using any mechanical device to help)
• Kekereb  + (white cloth of Rangda used as a shield or weapon)
• Rurub  + (white cloth that is placed over the pelengkungan before a cremation procession)
• Rangda  + (widow)
• Rabi  + (wife, referring to someone else's wife)
• Makiad-kiud  + (wiggle, stretch by wiggling, stretch body)
• Ngepel  + (wipe, mop, clean with cloth or mop, wash lightly, clean (room, but not clothes, body, etc.))
• Ngayah  + (work without pay, contribute work, (temple))
• Cacing  + (worm, tapeworm, found in stomach (may be used to refer to earthworm))
• 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)
• Ngaput  + (wrap up)
• Kaput  + (wrapper, garment)
• Bungkak  + (young coconut without meat, younger than kuwud, older than bungsil)
• Mali-mali  + (“Ass's ear abalone”, a common shell found in the Jimbaran area that has a series of holes down one side and an interior that exhibits colors.)

• Aub  + (used in Jimbaran to refer to our Barong or Rangda because the costumes or pelawatan of these figures cover the body of the performer completely.)

• Dadap  + (("Erythrina lithosperma) coral tree. Medi … ("Erythrina lithosperma) coral tree. Medium to tall deciduous, often thorny tree with bright orange odorless flowers that are borne in racemes, and alternate, trifoliate leaves. Leaflets are ovate, about 12 cm. long and 8 cm. wide with small, triangular points. Dapdap is considered sacred because it grows quickly and readily from a stick stuck into the ground. For that reason, it is used to plant living fences. It is also widely used in offerings, especially those that are made for weddings and for those used when a body is prepared for burial.e used when a body is prepared for burial.)
• Saang pamuun  + ((a small bundle) of firewood which has been speared by the priest to ignite the body for the first time)
• Makedos  + ((already) completely spent (food))
• Nekepin  + ((bottle or something small), cover, shut, close by putting top on container (use the verb ubet for large container))
• Brengkes  + (A variety of tum, wrapped in the same way … A variety of tum, wrapped in the same way and steamed. Typically chicken, (siap) is chopped into small pieces, then ground (ngulig) on a spice grinding stone with basa genep. Clotted chicken blood is added, along with palm sugar (gula barak), lunak, and chicken bullion powder, (masako). All ingredients are ground together, wrapped and steamed. The appearance of brengkes is rather heterogeneous, and the blood often has a strong taste. The term brengkes may be used interchangeably with pelas and pesan in some parts of Baliwith pelas and pesan in some parts of Bali)
• 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.)
• Mesui  + (Cinnamomum, and the several named varieties of some of the species. Some have strong aromas characteristic of the genus)
• Cero  + (Contaminated in a physical sense because of being or living in an impure or inappropriate environment, such as between two rivers, or in a house at which a road dead ends. Sometimes used to mean dirty in a physical sense, i.e. with dirt on the body)
• Krupuk  + (Cracker that makes a crunching sound when eaten)
• Ancak  + (Ficus rumphii (Moraceae))
• Indra  + (Indra was the chief of the Aryan gods)
• 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.)
• Barong ket  + (Lion Barong https://en.wikipedia.org/wiki/Barong_(mythology))
• 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.)
• Nyelapang  + (On purpose (Jimbaran word is gelap, ngelapang))
• 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)
• 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/)
• Dasan  + (Taphylococcus or streptococcus infection of the skin)
• 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)
• 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.)
• Asu bang bungkem  + (a dog with red body fur and a black muzzle and tail used in the bhuta yadnya (caru) ceremony)
• Masuwun  + (a headstand)
• Jantuk  + (a part of human body, the space between eyebrow and hair over the head)