Términos

Refers to bluish-gray-bodied ceramic ware coated with white slip. The term is an abbreviation of the phrase "bunjang hoecheong sagi" introduced by the art historian Go Yuseop (1905–1944). Today it encompasses slip-coated wares as well as sanggam cheongja (inlaid celadon) produced in the first half of the Joseon Dynasty. Buncheong sagi (buncheong ware) is broadly classified according to the decorative technique applied, including inlay, stamping, sgraffito, incising, iron-painting, slip brushing (guiyal), and slip dipping (deombeong). Inlaid decoration flourished in the 15th century, while examples employing sgraffito, incising, and iron-painting appeared in the mid-15th century. By the late 15th to early 16th century, brushed and dipped slip wares became common. Produced nationwide, buncheong sagi included everyday tableware, ritual vessels, epitaph tablets, stationery items such as inkstones and water droppers, and even instruments like hourglass-shaped drums. As the demand for and production of white porcelain increased across the country in the late 15th and early 16th centuries, buncheong sagi gradually declined.

Se refiere a una escuela prolífica de pintura india asociada con el estado principesco de Bundi en Rajasthan del sudeste, India. El otro principal centro para la escuela de pintura estuvo en el principado vecino de Kotah con el que Bundi también tenía lazos familiares. Otras expresiones del estilo Bundi tales como Indargarh, Khatoli, Toda Rai Singh, Raghugarh, Uniara y Kapren igualmente se desarrollaron de la escuela que fue originalmente apoyada solamente por los gobernantes de Bundi. La influencia Mughal fue particularmente fuerte en esta escuela Rajasthani que duró desde los el siglo XVII a fines del siglo XIX. La pintura Bundi también muestra una semejanza a la pintura de Deccan en el sur, una región con la que los gobernantes de Bundi y Kotah estaban a menudo en contacto. Las pinturas normalmente tomaron la forma de murales o pintura en miniatura. Figuras en movimiento, formas de cabeza redondeadas, árboles de plátano simétricos en forma de abanico, vegetación exuberante, impresionantes cielos nocturnos y una manera distintiva de representar el agua (remolinos coloreados de luz en un fondo oscuro) son todos los sellos de la escuela de Bundi. La pintura producida bajo Rao Bhao Singh (reinado 1658-81) y Rao Anurad Singh (reinado 1681-95) fue particularmente distintiva, madura y delicado; también tenía un repertorio más amplio. La pintura en Kotah tuvo importantes mecenas en Rao Jagan Singh (reinado 1658-84), Maharao Umed Singh (reinado 1770-1819), Carnero de Maharao Singh (reinado 1827-66), y Maharao Shatru Sal (reinado 1866-89); particularmente popular fueron las exhuberantes pinturas de escenas de caza que integran al gobernante, ambos en formatos murales y en miniatura.

Special ceremonial cloths, often decoratively woven or embroidered, used to wrap funerary bundles of the indigenous cultures of Mexico, Central and South America.

Tools with t-shaped handles mounted on a screwing device on a support used to pull bungs from barrels.

Históricamente, se usa para designar casas modestas de un piso; originariemente con techos de paja, derivada de los ejemplo indiso. Por extensión, en contextos británicos, se emplea para designar las casas de un piso separadas. En contextos americanos, se usa más específicamente para casa de uno a un piso y medio, generalmente caracterizada por gabletes

Mallets designed for loosening or removing the bung (stopper) of a cask.

Refers to the style and culture of an African people living in Tanzania.

Cámara fortificada, la mayor parte de ellas bajo el nivel del suelo, construida de cemento reforzado o material similar, y generamente provista con “embrasures”; también, trinchera que ha sido reforzada (con troncos o sacos de arena) y que generalmente tiene aberturas para incendios.

Gas burners used in laboratory work in which gas and air can be combined variably to control the heat output. These are named for Robert Bunsen, a German chemist who developed it ca. 1855, in partnership with Peter Desdega.

Úsese para describir obras producidas por africanos de mismo nombre que habitan en el estado de Kogi, Nigeria.

Refers to ceramic styles produced at the official court kilns (Bunwon) of the Joseon Dynasty, which supplied white porcelain for court use. Established around 1467 in Gwangju, Gyeonggi-do (province), the Bunwon operated under the Office of Royal Kitchen Affairs (Saongwon) until its privatization in 1884. Kilns were relocated every decade or to secure new fuel supplies, resulting in chronological variations in the wares. Bunwon porcelain was made with refined clay and glazes, and skilled artisanry, resulting in wares of higher quality than those produced in the provinces. They frequently employed cobalt pigment, and court painters sometimes participated in creating the motifs.

Refers to ceramic wares produced at the Bunwon, the official court kilns in Gwangju, Gyeonggi-do (province), which operated from 1467 to 1884 during the Joseon Dynasty, supplying wares for the royal court. While buncheong sagi (buncheong ware) and celadon were also made there, the term mainly denotes white porcelain. Blue-and-white porcelain began to be produced in the 15th century, but iron-painted wares largely took over in the 17th century. Production of blue-and-white porcelain increased again in the 18th century, and a wide variety of vessels were manufactured from the 19th century onward. Because the Bunwon produced white wares according to predetermined specifications for use in the royal court and government offices, the term broadly refers to the official white porcelain of the Joseon Dynasty. Wares produced in the first half of the Joseon Dynasty are a clear and highly translucent bright white, but mid-Joseon wares often display a grayish-white tone. Milky hues appear in the 18th century, while a bluish tint became pronounced in the 19th.

Refers to a ceramic style produced at the kiln site in Bunwon-ri in Gwangju, Gyeonggi-do (province), which was home to the official court kilns from the late 18th to the early 20th century. The wares were typically bluish-white and often supported on sand spurs. Influenced by imported Qing Chinese porcelain, decoration grew more elaborate in the 19th century and stationery items were frequently made. The official court kilns of the Joseon Dynasty were established around 1467 but had to be periodically relocated within the Gwangju area to ensure supplies of fuel. However, they were sited in Bunwon-ri in 1752 and continued producing white porcelain there until 1884 with supplemental materials brought in. The kilns in Bunwon-ri continued producing white porcelain into the modern period, and the riverside area where the kilns operated for over 150 years gave its name to the locality, Bunwon-ri.

Úsese para describir cerámicas provenientes del pueblo del mismo nombre, que datan de la Edad Media. Desde 1800, el trabajo consistió en jarros de barro y vajilla con un engobe de barniz castaño brillante y relieve aplicado, a menudo en arcilla blanca. En 1829, se introdujo un barniz fledespático que daba al trabajo la apariencia de porcelana. Los estilos abarcaron desde las formas Clásicas al Renacimiento Gótico y los motivos heráldicos, de flores y de animales, que sobreviveron hasta el siglo XIX.

Mural painting technique in which pigments are ground in water and mixed with lime upon freshly laid plaster. As the pigmented lime dries, the calcium hydroxide reacts with carbon dioxide to form a pigmented calcium carbonate layer; such paintings have survived from the Minoan period (1700 BCE) and Pompeii (79 CE). The technique was widely used from the 13th century in Italy for interior wall decorations, particularly in churches. Noted from ancient times as the preferred method of mural painting, superior to techniques that apply pigment to dry plaster, fresco secco, or partially dry plaster, mezzo fresco.

Úsese para barco equipado con velas como su principal medio de propulsión.