New Insight into Liu Kang’s Village Scene (1931): A Non-Invasive Investigation by Technical Imaging

Abstract

This study examines the intriguing peculiarities of the surface paint layer found in the painting Village scene (1931) by renowned Singapore artist Liu Kang (1911–2004). The incorporation of non-invasive visible light (VIS) and near-infrared (NIR) photography techniques, combined with high-power digital microscopy, revealed unusual features on the surface paint layer. Flattened impastos, clusters of incrusted foreign paint unrelated to the existing paint scheme, and fragments of paper with printed traditional Chinese characters were identified on the painting’s surface. The results of the analyses cross-referenced with the archival photographs enabled the consideration of the specified features of the paint layer as unintentional damage caused by the artist due to inadequate storage and transportation conditions—paradoxically, in his attempt to protect the painting. As these damaged areas pose potential display and conservation problems, three conservation strategies were proposed based on ethical guidelines formulated by various governing bodies for the conservation profession. This study demonstrates that there is no universal conservation solution that can satisfy conflicting aesthetic and ethical opinions. The damage to the paint layer affects the visual properties of the artwork but also provides evidence of its complex history. In light of the above, there may be valid arguments both for returning the painting to its original state and for preserving its current condition. Therefore, good practice would require balanced judgments from conservators and curators, considering Village scene in the broader context of Liu Kang’s early painting practice and the existing archival information about the artist.