A Multi-Analytical Investigation of Liu Kang’s Colour Palette and Painting Technique from the Shanghai Period (1933–1937)
A Multi-Analytical Investigation of Liu Kang’s Colour Palette and Painting Technique from the Shanghai Period (1933–1937)
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上海时期（1933-1937）刘康调色板与绘画技巧的多重分析研究
DOI：
10.3390/app13042414
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发表时间：
2023
期刊：
影响因子：
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通讯作者：
J. Rogóż
中科院分区：
文献类型：
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作者：
Damian Lizun;Teresa Kurkiewicz;Bogusław Szczupak;J. Rogóż
本研究呈现了刘抗的颜料混合物的分析特征以及上海重要艺术阶段（1933−1937）所使用的绘画技巧。刘康（1911-2004）是一位中国艺术家，曾在上海（1926-1928）和巴黎（1929-1932）接受学术艺术教育。 1945年，他永久定居新加坡，成为国家艺术界的主要贡献者。本研究展示了新加坡国家美术馆和刘氏家族收藏的 12 幅布面画作。一种综合方法结合了非侵入性和微创分析方法，并辅以档案来源，能够表征所研究的油漆混合物并揭示艺术家绘画技术的细节。该研究证明了艺术家利用传统调色板产生各种色调的能力。据记录，人们偏爱群青色、翠绿色、黄色和红色的富铁土颜料、棕褐色、黄色铬酸盐颜料，以及铅白、锌白或锌基化合物，如立德粉和钡白。该研究强调少量使用普鲁士蓝、翠绿、镉黄或其变体以及骨黑。尽管目前尚不清楚刘康使用的颜料是什么品牌，但现有的档案来源可以让我们深入了解艺术家在审查期间可以使用的上海可用的绘画材料。档案信息以中文刊物上刊登的中外彩民广告和各自当代彩民目录为基础。艺术家的绘画技巧背离了他在巴黎阶段的实验方法。在上海，他专注于将巴黎画派的绘画原理与中国传统书法相结合。这项研究的结果可能支持未来对与刘康同时代以及活跃在战前上海的其他艺术家的作品进行技术研究。
This study presents the analytical characterisation of Liu Kang’s paint mixtures and the painting technique used during the important Shanghai artistic phase (1933−1937). Liu Kang (1911–2004) was a Chinese artist who received an academic art education in Shanghai (1926–1928) and Paris (1929–1932). He settled permanently in Singapore in 1945 and became a leading contributor to the national art scene. This study showcases 12 paintings on canvas from the collections of the National Gallery Singapore and the Liu family. An integrated approach combined non- and micro-invasive analytical methods supplemented with archival sources and enabled characterising the investigated paint mixtures and revealing details of the artist’s painting technique. The study has proved the artist’s ability to produce a variety of hues by utilising a conventional palette of colours. The predilection for ultramarine, viridian, yellow and red iron-rich earth pigments, umber, yellow chromate pigments, as well as lead white, zinc white or Zn-base compounds like lithopone and barium white was recorded. The study emphasises a minor use of Prussian blue, emerald green, cadmium yellow or its variant and bone black. Although it remains unknown what brands of paints Liu Kang used, the available archival sources give insights into the painting materials available in Shanghai that the artist could have had at his disposal during the period under review. The archival information is based on the Chinese and overseas colourmen advertisements printed in Chinese journals and the respective contemporary colourmen catalogues. The artist’s painting technique departs from the experimental approach of his Paris phase. In Shanghai, he focused on synthesising the painting principles of the School of Paris with traditional Chinese calligraphy. The outcomes of this research may support future technical studies of works by other artists contemporary to Liu Kang and who were active in pre-war Shanghai.