scholarly journals From Paris and Shanghai to Singapore: A Multidisciplinary Study in Evaluating the Provenance and Dating of Two of Liu Kang’s Paintings

2021 ◽  
Vol 37 (4) ◽  
pp. 322-339
Author(s):  
Damian Lizun
Keyword(s):  
Subject Matter ◽  
Analytical Methods ◽  
National Gallery ◽  
Digital Microscopy ◽  
Non Invasive ◽  
Painting Technique ◽  
Painting Materials ◽  
Multidisciplinary Study ◽  
Technical Study ◽  
The Hill

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.

scholarly journals Exploring Liu Kang’s Paris Practice (1929–1932): Insight into Painting Materials and Technique

Heritage ◽  
2021 ◽  
Vol 4 (2) ◽  
pp. 828-863
Author(s):  
Damian Lizun ◽  
Teresa Kurkiewicz ◽  
Bogusław Szczupak
Keyword(s):  
Analytical Techniques ◽  
Extensive Study ◽  
Early Career ◽  
National Gallery ◽  
Lead White ◽  
Painting Technique ◽  
Painting Materials ◽  
Colour Palette ◽  
Technical Study ◽  
Insight Into

This paper presents the results of an extensive study of 14 paintings by the pioneering Singapore artist Liu Kang (1911–2004). The paintings are from the National Gallery Singapore and Liu family collections. The aim of the study is to elucidate the painting technique and materials from the artist’s early oeuvre, Paris, spanning the period from 1929 to 1932. The artworks were studied with a wide array of non- and micro-invasive analytical techniques, supplemented with the historical information derived from the Liu family archives and contemporary colourmen catalogues. The results showed that the artist was able to create compositions with a limited colour palette and had a preferential use of commercially available ultramarine, viridian, chrome yellow, iron oxides, organic reds, lead white, and bone black bound in oil that was highlighted. This study identified other minor pigments that appeared as hue modifications or were used sporadically, such as cobalt blue, Prussian blue, emerald green, cadmium yellow, cobalt yellow, and zinc white. With regard to the painting technique, the artist explored different styles and demonstrated a continuous development of his brushwork and was undoubtedly influenced by Modernists’ artworks. This comprehensive technical study of Liu Kang’s paintings from the Paris phase may assist art historians and conservators in the evaluation of the artist’s early career and aid conservation diagnostics and treatment of his artworks. Furthermore, the identified painting materials can be compared with those used by other artists active in Paris during the same period.

scholarly journals Survey on Van Gogh’s early painting technique through the non-invasive and multi analytical study of Head of peasant

2020 ◽  
Vol 8 (1) ◽  
Author(s):  
Catherine Defeyt ◽  
Dominique Marechal ◽  
Francisca Vandepitte ◽  
David Strivay
Keyword(s):  
Analytical Methods ◽  
Analytical Study ◽  
Fine Arts ◽  
Technical Information ◽  
Artificial Light ◽  
Oil Painting ◽  
Non Invasive ◽  
Painting Technique ◽  
The Face

Abstract The strong lighting of the face against a dark background, the bold brushstroke and the model’s expressiveness that characterize Van Gogh’s Head of peasant, belonging to the Royal Museums of Fine Arts of Belgium collections, are typical features found in the peasant heads studies painted in Nuenen, in March–April 1885, in prevision of the well-known The Potato Eaters. However, this oil painting additionally testifies of Van Gogh’s early experiments in regards with the laws of colors, the flesh rendering and portraying models under artificial light. In order to collect material and technical information revealing how the painter practically handled these issues, the Brussels peasant head has been investigated in situ by complementary non-invasive imaging and analytical methods. While the identified pigments strictly reflect Van Gogh’s palette in Nuenen, relevant outcomes regarding the flesh tones composition, the rendered forceful expression of the figure, the effect of a face painted by lamplight, and the use of simultaneous color contrasts were achieved.

scholarly journals The Choir Books of San Giorgio Maggiore in Venice: Results of in Depth Non-Invasive Analyses

2019 ◽  
Author(s):  
Paola Ricciardi ◽  
Anna Mazzinghi ◽  
Stefano Legnaioli ◽  
Chiara Ruberto ◽  
Lisa Castelli
Keyword(s):  
Near Infrared ◽  
Infrared Imaging ◽  
Reflectance Spectroscopy ◽  
Digital Microscopy ◽  
X Ray ◽  
Non Invasive ◽  
Painting Materials ◽  
15Th Century ◽  
Partial Revision ◽  
Over Time

This paper discusses a cross-disciplinary, international collaboration aimed at researching a series of 15th century choir books at the abbey of San Giorgio Maggiore on the homonymous island in Venice. Produced for the abbey itself, the books have never left the island during their 500-years history, thereby allowing a unique opportunity to analyse historic artefacts, which have undergone little modification over time. Prompted by ongoing cataloguing work on the manuscripts, a week-long analytical campaign using a combination of non-invasive analytical methods used in portable configuration allowed the comprehensive characterisation of ten volumes. The manuscripts’ palette and painting techniques were analysed using near-infrared imaging, reflectance spectroscopy in the UV-vis-NIR range, Raman spectroscopy, X-ray fluorescence mapping and digital microscopy. The paper will discuss the challenges linked to the fragility and the large dimensions of the volumes as well as the most interesting results of the investigation. These include the detection of unusual painting materials such as bismuth ink, as well as the discovery of a less homogeneous palette than originally expected, which prompted a partial revision of the attribution of the decoration in one of the volumes to a single artist.

scholarly journals The Choir Books of San Giorgio Maggiore in Venice: Results of in Depth Non-Invasive Analyses

Heritage ◽  
2019 ◽  
Vol 2 (2) ◽  
pp. 1684-1701 ◽  
Author(s):  
Paola Ricciardi ◽  
Anna Mazzinghi ◽  
Stefano Legnaioli ◽  
Chiara Ruberto ◽  
Lisa Castelli
Keyword(s):  
Near Infrared ◽  
Infrared Imaging ◽  
Reflectance Spectroscopy ◽  
Digital Microscopy ◽  
X Ray ◽  
Non Invasive ◽  
Painting Materials ◽  
15Th Century ◽  
Partial Revision ◽  
Over Time

This paper discusses a cross-disciplinary, international collaboration aimed at researching a series of 15th century choir books at the abbey of San Giorgio Maggiore on the homonymous island in Venice. Produced for the abbey itself, the books have never left the island during their 500-year history, thereby allowing a unique opportunity to analyse historic artefacts, which have undergone little modification over time. Prompted by ongoing cataloguing work on the manuscripts, a week-long analytical campaign using a combination of non-invasive analytical methods used in portable configuration allowed the comprehensive characterisation of ten volumes. The manuscripts’ palette and painting techniques were analysed using near-infrared imaging, reflectance spectroscopy in the UV-vis-NIR range, Raman spectroscopy, X-ray fluorescence mapping and digital microscopy. The paper will discuss the challenges linked to the fragility and the large dimensions of the volumes as well as the most interesting results of the investigation. These include the detection of unusual painting materials such as bismuth ink, as well as the discovery of a less homogeneous palette than originally expected, which prompted a partial revision of the attribution of the decoration in one of the volumes to a single artist.

العربية المقاربة المقاصديّة في ردّ ابن فودي على القادح في جلستهم الدعويّة

2018 ◽  
Vol 6 (3) ◽  
Author(s):  
Alawiye Abdulmumin Abdurrazzaq ◽  
Ahmad Wifaq Mokhtar ◽  
Abdul Manan Ismail
Keyword(s):  
Nineteenth Century ◽  
West Africa ◽  
Subject Matter ◽  
Analytical Methods ◽  
Men And Women ◽  
The Subject

This article is aimed to examine the extent of the application of Islamic legal objectives by Sheikh Abdullah bn Fudi in his rejoinder against one of their contemporary scholars who accused them of being over-liberal about the religion. He claimed that there has been a careless intermingling of men and women in the preaching and counselling gathering they used to hold, under the leadership of Sheikh Uthman bn Fudi (the Islamic reformer of the nineteenth century in Nigeria and West Africa). Thus, in this study, the researchers seek to answer the following interrogations: who was Abdullah bn Fudi? who was their critic? what was the subject matter of the criticism? How did the rebutter get equipped with some guidelines of higher objectives of Sharĩʻah in his rejoinder to the critic? To this end, this study had tackled the questions afore-stated by using inductive, descriptive and analytical methods to identify the personalities involved, define and analyze some concepts and matters considered as the hub of the study.

scholarly journals Material characterisation of a painted beehive panel by advanced spectroscopic and chromatographic techniques in combination with hyperspectral imaging

2020 ◽  
Vol 8 (1) ◽  
Author(s):  
Klara Retko ◽  
Maša Kavčič ◽  
Lea Legan ◽  
Polonca Ropret ◽  
Bojana Rogelj Škafar ◽  
...  
Keyword(s):  
Raman Spectroscopy ◽  
Hyperspectral Imaging ◽  
Cross Sections ◽  
Extreme Temperature ◽  
Transformation Products ◽  
Paint Layer ◽  
Non Invasive ◽  
Painting Technique ◽  
Invasive Techniques ◽  
Conservation Interventions

AbstractIn this study, a painted beehive panel from the collection of the Slovene Ethnographic Museum was examined with respect to its material composition with the aim to reveal the painting technique. Due to the state of degradation due to outdoor weathering (UV irradiation, rainfall, extreme temperature and humidity fluctuations), as well as past conservation interventions, the object represented a complex analytical challenge. We aimed for non-invasive techniques (FTIR in reflection mode, Raman spectroscopy and hyperspectral imaging in the range of 400–2500 nm); however, in order to explore paint layers, cross-sections were also analysed using Raman spectroscopy. FTIR spectroscopy in transmission mode and gas chromatography coupled to mass spectrometry were also used on sample fragments. Various original materials were identified such as pigments and binders. The surface coating applied during conservation interventions was also characterised. Additionally, organic compounds were found (oxalate, carboxylate), representing transformation products. The potential use of Prussian blue as a background paint layer is discussed.

‘The Serried Maze’: Terrain, Consciousness and Textuality in Machen'sThe Hill of Dreams

2013 ◽  
Vol 3 (1) ◽  
pp. 46-63 ◽  
Author(s):  
Kostas Boyiopoulos
Keyword(s):  
Pattern Recognition ◽  
Subject Matter ◽  
Thought Process ◽  
The Subject ◽  
The Hill ◽  
The Way

This essay looks at Arthur Machen's underexplored experimental masterpiece The Hill of Dreams (1897/1907), his personal novel rooted in the Decadent nineties. Its daringness does not just lie in the subject matter but also in the manner its stylistic techniques evoke. The present investigation is interested in Machen's multifarious use of the image of the maze/labyrinth – or Welsh caerdroia – an apt symbol for the presentation of London. Machen's labyrinth is a motif, a metaphor for the thought process, and a metafictional device. In the story of Lucian Taylor, the troubled self-destructive litterateur, the labyrinthine characterises not only setting, terrain, self-movement, mind, and textual tissue, but also the way these components, or modalities, come together. Aside from showcasing the various ways the labyrinth materialises in The Hill of Dreams, the essay argues that Machen's achievement consists of a discursive meta-labyrinth that cuts across, or combines, the different spheres of consciousness, terrain, and textuality. The concepts of pattern recognition, liminal thresholds, and ‘infolding’ are employed in support of the claims made.

تعدد الزوجات في الخطاب القرآني: دراسة تحليلة في ضوء مقاصد الشريعة (Polygamy In Qur’anic Injunctions: An Analytical Study In The Light of Objectives of Shari‘ah)

1970 ◽  
Vol 13 (2) ◽  
pp. 1-25
Author(s):  
بوهدة غالية ◽  
حبيب الله زكريا
Keyword(s):  
Subject Matter ◽  
Analytical Methods ◽  
Analytical Study ◽  
Theory And Practice ◽  
The Other ◽  
Social Dimension ◽  
The Subject ◽  
Muslim Family

 الملخّص                                                                                                                إن قضية تعدد الزوجات تُعَدُّ من القضايا المثيرة في عصرنا الحاضر، وذلك نتيجةً لما يشهده الواقع من اضطراب المواقف والممارسات تجاهه. ولم يقتصر الأمر على ذلك؛ بل تعدّاه إلى النظر في خطابات القرآن تجاه قضية التعدد، وهو المسوّغ الذي جعل بعض الباحثين يشكك في شرعية التعدد في الإسلام. وتكمن المشكلة في أن ظواهر بعض الآيات تشير إلى إباحة التعدد، بيد أن الأخرى تقيّدها بالعدل، وذلك في قوله: ﴿فَإِنْ خِفْتُمْ أَلَّا تَعْدِلُوا فَوَاحِدَةً أَوْ مَا مَلَكَتْ أَيْمَانُكُمْ ذَلِكَ أَدْنَى أَلَّا تَعُولُوا﴾، وفي الوقت نفسه يبيّن ظاهر بعض الخطابات القرآنية أن العدل المنشود من المعدّد تجاه زوجاته غايةٌ لا تدرك ﴿وَلَنْ تَسْتَطِيعُوا أَنْ تَعْدِلُوا بَيْنَ النِّسَاءِ وَلَوْ حَرَصْتُمْ﴾. ومن هذا المنطلق تهدف هذه الورقة إلى كشف النقاب عن العدل المنشود في ضوء الآيات التي جاءت في قضية التعدّد في القرآن، وحيث إن هذه القضية لها أبعادها الاجتماعية في استقرار الأسرة المسلمة، فإن هذا البحث يحاول معالجة شرعية التعدد بين النظرية والتطبيق في ضوء مقاصد الشريعة. وستنتهج الدراسة كلاّ من المنهجين الاستقرائي والتحليلي في تتبع وجمع المادة العلمية وتحليليها وتقييمها بما يسهم في بناء موقف موضوعي ووسطي تجاه القضية. الكلمات المفتاحية: تعدد الزوجات، القرآن الكريم،  المفسرون، مقاصد الشريعة، قيود التعدد.        Abstract The issue of polygamy is among the prominent issues of our contemporary time.  This is the result of the confusing opinions and practices of polygamy. The matter is not limited to this aspect; it has rather related to the insight of the Qur’anic discourses. It has become a justification for some of the researchers to doubt the SharÊ‘ah legality of polygamy in Islam. This problem is based on the evident meaning of the verses pointing towards permissibility of polygamy, whereas the other verse restricts polygamy with justice. The Qur’an states (4: 3): “But if you fear that you shall not be able to deal justly (with them), then only one, or (a captive) that your right hands possess, that will be more suitable, to prevent you from doing injustice.” At the same time, another evident Qur’anic discourse refers that the justice sought from the husband towards his wives is not achievable. The Qur’an states (4: 129): “You are never able to be fair and just as between women, even if it is you ardent desire.” From this premise, this research aims to unveil the pursued justice in the light of verses related to polygamy in the Qur’an, due to the fact that this issue has a social dimension in establishing Muslim family. This work attempts to reconcile between theory and practice of legality of polygamy in the light of the SharÊ‘ah objectives. The study drew its conclusion using both inductive and analytical methods so as to trace, collect, analyze and evaluate the relevant materials in order to build an objective and balanced position about the subject matter.  Keywords: Polygamy, the Noble Qur’an, the Qur’anic commentators, SharÊ‘ah Objectives, Conditions of polygamy.

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