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- 검색키워드
- 저자 : Damian Lizun (검색결과 2 건)
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Lizun, Damian The Korean Society Of Conservation Science For Cul 2021 보존과학회지 Vol.37 No.4
This paper focuses on the dating and provenance of two paintings, Climbing the hill and View from St. John's Fort by the prominent Singaporean artist Liu Kang (1911-2004). Climbing the hill, from the National Gallery Singapore collection, was believed to have been created in 1937, based on the date painted by the artist. However, a non-invasive examination unveiled evidence of an underlying paint scheme and a mysterious date, 1948 or 1949. These findings prompted a comprehensive technical study of the artwork in conjunction with comparative analyses of View from St. John's Fort (1948), from the Liu family collection. The latter artwork is considered to be depicting the same subject matter. The investigation was carried out with UVF, NIR, IRFC, XRR, digital microscopy, PLM and SEM-EDS to elucidate the materials and technique of both artworks and find characteristic patterns that could indicate a relationship between both paintings and assist in correctly dating Climbing the hill. The technical analyses were supplemented with the historical information derived from the Liu family archives. The results showed that Climbing the hill was created in 1948 or 1949 on top of an earlier composition painted in Shanghai between 1933 and 1937. As for the companion View from St. John's Fort from 1948, the artist reused an earlier painting created in France in 1931. The analytical methods suggested that Liu Kang used almost identical pigment mixtures for creating new artworks. However, their painting technique demonstrates some differences. Overall, this study contributes to the understanding of Liu Kang's painting materials and his working practice.
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Observations on Selected Aspects of Liu Kang’s Painting Practice
Damian Lizun 한국문화재보존과학회 2022 보존과학회지 Vol.38 No.5
This article gathers, for the first time, some intriguing technical features of Liu Kang’s painting practice, which spans seven decades. These features encompass retouching, alteration as well as the painting over of rejected compositions and painting on the reverse sides of earlier artworks. As Liu Kang (1911–2004) did not discuss the technical details of his artistic process, an exploration of these aspects of the artist’s expression helps us understand the motivation behind his unconventional decisions. The paint layers were characterised through imaging methods like visible light (VIS), ultraviolet fluorescence (UVF), near-infrared (NIR), reflectance transformation imaging (RTI), digital optical microscopy (DOM) and X-ray radiography (XRR). The technical analyses were additionally supplemented with archival sources. The results showed that some aspects of the artist’s painting practice may distort the provenance of the paintings, impact dating, visual interpretation of his painting technique and style, as well as future conservation and display decisions. The presented case studies discuss the influence of Liu Kang’s unconventional painting approaches on the perception and interpretation of his artworks. Additionally, some hidden alterations and entirely new compositions were revealed for the first time and presented here, adding to growing knowledge about the artist’s painting technique. Moreover, universal aesthetical and ethical considerations were discussed in the context of the conservation and display approach to the artist’s retouching work and double-sided paintings. Besides, this research promotes a need for obtaining a comprehensive understanding of Liu Kang’s painting practice and coherent guidelines to ensure proper presentation of his artworks and to prevent misinterpretation of his technique and artistic outcomes.
ScienceON
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