Términos

Enlucido especial de yeso mezclado con pasta caliza que se utiliza para terminación de superficies enlucidas.

Describes works produced by the African people of the same name living in the Ngamiland region of Botswana and Namibia.

Period and culture of the Korean dynasty that ruled the Korean peninsula from 1392 to 1910, founded by Yi Sŏng-gye, posthumously known as King T’aejo (reiged 1392-1398). It is characterized by the establishment of Neo-Confucianism as the official ideology, encouragement of a modest and practical lifestyle, and abandonment of patronage for more extravagant art.

Tipo de vaso ritual chino de bronce utilizado para verter agua durante las abluciones; se utiliza con "pan". usados durante el último período Zhou del Oeste.

Seen in the Yingzao fashi (1103 CE), referring to squared beams (fang 方) carved with bracket-arms in low relief, layered within the wall plane above pillar tops. Also called “superficial bracket arms” (fubigong).

Literally meaning “solid” or “rigid” mountain peak, yingshan is a technical term used to describe a traditional Chinese gable roof, in which the eaves of the gable are flush with the surface of the wall, in contrast to one where the eaves extend past the wall plane on the gable end (see xuanshan). The term yingshan first appeared in the literature of the Qing dynasty. In the narrowest sense, yingshan refers to a roof that has front and rear slopes, in which the purlins are sealed within the walls of the gable ends (Liang 2006, 84; Yao 1986, 40). More broadly, yingshan is regularly used to refer to a gable roof in which the top of the gable ends extend to the eaves tiles or, in some cases, can even extend above the level of the roof.

Yixinggong 翼形栱, which cannot be found in Chinese literature until 1930s, is a term coined by Liang Sicheng that combines yixing 翼形 (literally, wing-shaped (Hanyu dacidian, online; Kroll 2015, 551) and gong 栱 to refer to the wing-shaped brackets in Tang, Liao, and Song architecture. In terms of shape, yixinggong 翼形栱 is based on actual examples which were referred to as yixinggong 翼形栱 by Liang Sicheng. In terms of function, the two ends of yixinggong 翼形栱 do not support a bearing block and would therefore be considered more decorative than structural. With the publication of Liang Sicheng's investigation reports on Song, Liao, and Jin architecture in the Journal of the Society for the Study of Chinese Architecture (Zhongguo Yingzao xueshe huikan 中國營造學社彙刊) between 1932 and 1935, the term yixinggong 翼形栱 was used repeatedly and it gradually became a term with a much clearer definition which was adopted by other scholars. It is important to note that the consensus reached by later architectural historians about the meaning of yixinggong differs from Liang Sicheng's use of the term. The discrepancy mainly lies in different understandings of what is meant by “wing-shaped” (yixing). Prior to 1979, the term yixinggong 翼形栱 (“wing-shaped bracket arm”) was applied to all irregularly-shaped brackets. Now some scholars also use yixinggong 異形栱 (“irregularly shaped bracket arm”) instead; see yixinggong 異形栱.

Yixinggong 異形栱 literally means “irregularly-shaped bracket arm,” and are different from regular arch-shaped bracket arms (gong 栱), the ends of which support small bearing blocks (dou 斗), as defined in the Yingzao fashi. Homophonous with “wing-shaped bracket arms” (yixinggong 翼形栱), the use of irregular (異 yi) instead of wing (翼 yi) was first seen in 1955 and became more widespread after 1978, but usage was not consistent in all sources. The two forms of “yi” were sometimes used interchangeably, but “irregular” 異 was also used to as a means to differentiate a variety of irregularly shaped gong (rhomboidal, cloud, etc.) in buildings constructed after the Yuan dynasty from those bracket arms with an actual wing-like shape. Generally speaking, today scholars use this term to refer to all irregularly-shaped bracket arms, wing-shaped or otherwise, where the two ends do not support any block (dou 枓)(張 1979；南京工學院建築系 1987；郭 2003). Yixinggong 異形栱 literally means “irregularly-shaped bracket arm,” and are different from regular arch-shaped bracket arms (gong 栱), the ends of which support small bearing blocks (dou 斗), as defined in the Yingzao fashi. Homophonous with “wing-shaped bracket arms” (yixinggong 翼形栱), the use of irregular (異 yi) instead of wing (翼 yi) was first seen in 1955 and became more widespread after 1978, but usage was not consistent in all sources. The two forms of “yi” were sometimes used interchangeably, but “irregular” 異 was also used to as a means to differentiate a variety of irregularly shaped gong (rhomboidal, cloud, etc.) in buildings constructed after the Yuan dynasty from those bracket arms with an actual wing-like shape. Generally speaking, today scholars use this term to refer to all irregularly-shaped bracket arms, wing-shaped or otherwise, where the two ends do not support any block (dou 枓)(張 1979；南京工學院建築系 1987；郭 2003). Yixinggong 異形栱 literally means “irregularly-shaped bracket arm,” and are different from regular arch-shaped bracket arms (gong 栱), the ends of which support small bearing blocks (dou 斗), as defined in the Yingzao fashi. Homophonous with “wing-shaped bracket arms” (yixinggong 翼形栱), the use of irregular (異 yi) instead of wing (翼 yi) was first seen in 1955 and became more widespread after 1978, but usage was not consistent in all sources. The two forms of “yi” were sometimes used interchangeably, but “irregular” 異 was also used to as a means to differentiate a variety of irregularly shaped gong (rhomboidal, cloud, etc.) in buildings constructed after the Yuan dynasty from those bracket arms with an actual wing-like shape. Generally speaking, today scholars use this term to refer to all irregularly-shaped bracket arms, wing-shaped or otherwise, where the two ends do not support any block (dou 枓)(張 1979；南京工學院建築系 1987；郭 2003).

Polvo amarillo pálido insoluble en agua, AgI, y que se oscurece al exponerse a la luz, por reacción del nitrato de plata con un yoduro. Se utilizó fundamentalmente en la fabricación de emulsiones fotográficas a partir de aproximadamente 1875-1880.

Variedad japonesa de las artes visuales que utiliza técnicas occidentales.
El término comenzó a utilizarse durante la Restauración Meiji (1868-1912) para distinguir el arte de estilo occidental de los estilos tradicionales de la pintura japonesa. La pintura de estilo occidental se conoció en Japón en el siglo XVI, pero el interés se desvaneció con la política de Aislamiento Nacional durante el reinado del shogunato Togukawa (1603-1867). En 1855, el shogunato creó una oficina de investigación para estudios occidentales, y en 1876 se estableció la Escuela Tecnológica de Arte. Durante la década de 1880, se produjo una reacción contra la pintura de estilo occidental y un renacimiento del interés por las artes tradicionales.

En las religiones indias, los medios y técnicas de entrenamiento de la conciencia para un estado de comprensión espiritual y tranquilidad perfecta y de liberación del karma y samsara. Puede referirse específicamente a los sistemas de ejercicios físicos y respiratorios combinados con meditación practicada como parte de la disciplina de yoga para ir logrando el control del cuerpo y la mente. El yoga probablemente es de origen no-védico. Hay muchos tipos de yoga hoy. En Occidente, el yoga se valora menos como una filosofía teísta hindú y más como una actividad o disciplina con beneficios mentales y de salud físicos.

En la filosofía India, una disciplina espiritual y ascética que persigue la meta de la purificación espiritual y la auto comprensión para lograr la unión con lo divino (samadhi). Es uno de los seis sistemas ortodoxos de la filosofía India.

Devotees or ascetics who practise the system of yoga, as evolved in India.

Receptáculo para hacer yogurt.

In Japanese printing, a sheet of paper that is in landscape format (height is smaller than width).

Escuela de grabado en madera que toma su nombre de la ciudad portuaria japonesa. Ofrecía vislumbres de las costumbres y apariencias de los visitantes recién llegados y de la numerosa población extranjera residente, normalmente producidos para un público occidental.