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List of results

• Ngecik  + (What is a cricket that makes a noise on top of the mountain? A person who is cutting hair.)
• Bok  + (What is a cricket that makes noise on top of the mountain? A person who is cutting hair.)
• Agemel  + (When I was child, I often helped Mr. Wayan harvest in the fields. After it finished, I was given a handful of rice by Mr. Wayan.)
• Mendut-endutan  + (When I was little I used to play mud in the rice fields.)
• Macelir  + (When Luh Sari arrived, I Wayan went quickly to the back garden of the house in shame.)
• Tumpek wariga  + (When Tumpek Wariga Luh Ayu and his grandmother made offerings to the fields, they gave offerings to all the fruit trees that were there.)
• Usak  + (When the weather is nice and sunny, the results are good. But when we harvest during the rainy season, most of the crops are ruined by being struck by the wind.)
• Nganyi  + (When the weather is nice and sunny, the results are good. But when we harvest during the rainy season, most of the crops are ruined by being struck by the wind.)
• Matempung  + (When there was a mass tooth-cutting ceremony in the village, I was there.)
• Jaran  + (When they were still in engage, he was tru … When they were still in engage, he was truly in love with his girl friend's beauty. Unfortunately, he regretted when he knew that his wife loved gambling. Just like horses poop which is smooth outside but rough inside (used for a person who is good looking but behaves badly).on who is good looking but behaves badly).)
• Luas  + (Where do you want to go?)
• Baga  + (Wikithon is a competition that pays attention to public issues in the environmental, economic, health and other fields.)
• Baga  + (Wikithon is a competition that pays attention to public issues in the environmental, economic, health and other fields.)
• Plasahang  + (Yan, flatten the rice fields first, dad will help you to the rice fields later.)
• Makutang  + (Yes, all the natural products are brought by the farmers. All are used and nothing is wasted. All are turned into natural fertilizer.)
• Jelek  + (Yes, when we talk about art, there is no such thing as the best or the worst.)
• Kadal  + (Yesterday Komang picked up a lizard in the rice fields.)
• Rereha  + (Yesterday afternoon, he lost his chicken. He looked for the chicken in the garden, as well as in the fields, but it was not found.)
• Susuban  + (dodi stepped on the bamboo until it was hit by thorns in the rice fields)
• Ambawang  + (father planted saplings in the garden)
• Ambawang  + (father planted saplings in the garden)
• Balang sangit  + (my rice in the fields is affected by the plague bug)
• Tegal  + (putu played the ball in the garden yesterday)
• Muda  + (tio my brother may not join in playing baseball in the fields because she is still young)
• Pijit  + (why do you bring a little rice seeds to the fields ?)
• Manteg  + (yesterday morning my mother hit rice in the rice fields)

• Abasan  + (The cutting results in the garden can be used for fertilizer in the fields)
• Abasan  + (The cutting results in the garden can be used for fertilizer in the fields)

• Rabuk  + ((proverb) The worst possible horse manure can be used for fertilizer. Used usually for a person who looks bad or dirty but is good inside.)
• Jelek-jelekan  + ((proverb) The worst possible horse manure can be used for fertilizer. Used usually for a person who looks bad or dirty but is good inside.)
• Jaran  + ((proverb) The worst possible horse manure can be used for fertilizer. Used usually for a person who looks bad or dirty but is good inside.)
• Jelek  + ((proverb) The worst possible horse manure can be used for fertilizer. Used usually for a person who looks bad or dirty but is good inside.)
• Empel  + (1. Hold the water so it can be channeled into the fields.)
• Empelan  + (1. The subak here has a dam? 2. If you have a dam, the water can be flowed into the fields.)
• Endih  + (1. There is a flame in the garden. 2. The flame is very big.)
• Sampi  + (A farmer is plowing his rice field with the help of a couple of Bali cattle. Rice farmers in Bali still employ Bali cattles to plow their rice fields.)
• Yayah rena  + (A father taking the children to school on the motorbike before going to (work in) the garden.)
• Moton  + (A six month and hair cutting ceremony.)
• Katabasin  + (After cutting down the bamboo, then flattened using machete by I Gusti Rai.)
• Ngasal  + (After school, I helped my mother become a laborer to cut rice in the fields.)
• Lalintah  + (All rice fields have leeches, meaning there is always something bad in something good.)
• Carik  + (Already two fields / locations of the fields were mortgaged, used to pay for their children to become useful human beings.)
• Ngambu  + (At that time, he inhaled the scent of flowers in the garden.)
• Batuan  + (Batuan paintings are remarkably dense with … Batuan paintings are remarkably dense with deeply saturated tones. Their images are often dark and sometimes macabre, but they are always carefully made and carefully balanced. The forms in the paintings swirl and intertwine, they repeat each other and expand outwards until they transform into new shapes and new patterns. They create labyrinths of pulsating light that leave very little room for either the mind or the eye to rest.</br></br>These paintings are characterised by high levels of energy in both form and content. The subject matter is vivid, indeed many of the subjects portrayed seem to have been chosen for their sensational qualities. There are mythical creatures engaged in titanic struggles, there are murders by decapitation, demons attacking women during childbirth, kidnappings, heroic deeds. But even when the artists choose to portray the mundane details of everyday life, the scenes are infused with a kind of super ordinariness, even the routines of life end up looking extraordinary and shimmering with energy.</br></br>The sheer number of objects and situations depicted in Batuan paintings is staggering, almost encyclopaedic in its range. We might identify most easily with the people portrayed, the full cast of characters that could be found in any south Bali village. These people are shown in the contexts they have created for themselves, the built environments of the house compounds and the village temples. They are shown involved in their typical activities, their ritual life, their passions and obsessions. They are shown with the plants they cultivate, the animals they domesticate, and sometimes with the oceans</br>-where they fish.</br></br> The natural world, on the other hand, is shown as an entirely distinct environment with its own laws and qualities. These wild places seem unstable and incomprehensible, only the very brave or very reckless would spend much time there. The spirit world occupies a special place in the Balinese psyche, and there are many portrayals of its subtle complexities. There are countless types of spiritual beings depicted, they appear, disappear, change form and then appear again in another place. They exercise their powers at will and only allow themselves to be marginally affected by human concerns, changing their minds often to become an ally one day, and then an enemy the next.</br></br>And then there are Bali’s visitors, from the earliest travellers in the 1930s to the mass influx of tourists in the present day. The paintings show these visitors belonging to neither the known world of the village nor the unknown world of nature, they arrive from beyond any comprehensible world, like space aliens wandering around in the painting.</br></br>Aesthetically speaking, each painting is made up of countless individual shapes, carefully delineated and discrete, almost as if each shape could be lifted out of the painting like a single piece of a jigsaw puzzle. These individual forms relate to each other in two different ways, they are either repeated as similar shapes creating areas of rhythm, or they are used in opposition to each other creating contrasts and visual tension. Most Batuan paintings contain thousands of these forms either working together or in opposition to create complex fields of pulsating energy, this is what gives them their unique visual sparkle. This same love of multiplicity also gives Batuan paintings a tendency towards baroque over elaboration, the viewer can become tangled up in this mass of jostling forms and be left with only a memory of collected minutiae. But the best paintings don’t get lost in their details, the most successful works focus all of the individual elements towards to a single goal of pictorial unity. Seen from across the room, the hundreds or thousands of forms that make up a Batuan painting create one single unified image, shifting and swaying and held in an uneasy balance.</br></br>In spite of this robust bristling energy, these paintings are not the product of a hot-blooded expressiveness. The artists of Batuan do not lunge at their paper in a creative fury, painting for them is more like playing chess. Paintings are developed step by step in a very calculated manner and rendered meticulously, nothing is blurred, nothing is out of place, and nothing is left to chance. Painting in Batuan is nothing like a bull rampaging through a china shop, it is more a matter of rendering a wild raging bull in fine delicate porcelain. In fact one source of dynamism in these paintings lies precisely in the way such vigorous subjects and forms are so carefully rendered. </br></br>Serialised from the book</br>Inventing Art, The Paintings Of Batuan Bali</br>A book by Bruce Granquists Of Batuan Bali A book by Bruce Granquist)
• Kapeper  + (Because of deficiency circumstance, he steal fruit at the garden)
• Tongosanga  + (Because the grass in the garden was thick, some cows were placed there by the shepherd)
• Gadagan  + (Before the farmers used pesticides, there were still many frogs in the fields.)
• Abaang  + (Bring me rice to the fields, Yan!)
• Tegen  + (Carry the wood in the garden and bring it home)
• Risakin  + (Clean the garden first before planting peanuts.)
• Rampe  + (Cutting pandanus leaf to make kembang rampe (shredded pandanus leaf) to be added to a canang (type of small offering). In Klungkung, kembang rampe is known as samsam.)
• Ngeet  + (Cutting pandanus leaf to make kembang rampe (shredded pandanus leaf) to be added to a canang (type of small offering). In Klungkung, kembang rampe is known as samsam.)