Early 20th-century Chinese painting on silk
This early 20th-century Chinese painting on silk, laid down on medium cardboard, depicts a lively scene set before a nomadic tent. Three figures animate the composition: a central man in a green robe and feathered headdress stands confidently, while an older bearded man in red and a blue-robed attendant engage nearby, adding movement and narrative depth. The work combines expressive gestures with finely rendered details of costume and setting, reflecting a traditional Chinese interest in character and storytelling.
This painting comes from the private collection of Mr. J. Bahamonde, who over a period of 20 years acquired his collection from various prestigious dealers and has now decided to downsize his beloved collection.
CHSOS Collection – item #7
Technical Photography
Technical Photography: focus on Reflected Ultraviolet (UVR) imaging.
The strength of technical photography lies in its ability to capture a wide range of images, where only a few may uncover crucial insights. In this case study of an early 20th-century Chinese painting on silk, the UVR image proves the most revealing. The white pigment used to highlight certain contours strongly reflects UV light and therefore appears bright in the UVR photograph. As a result, previously invisible details become visible.
We are now going to test this UVR methodology on this Chinese painting on silk laid down on cardboard, dated to the early 20th century.
For this experiment, we will use the Technical Photography Kit.
This includes a camera configured for visible (VIS), ultraviolet (UV), and infrared (IR) imaging, which we position in front of the painting.
We also use the FABRIZIO UV lamp, placed directly in front of the artwork to provide controlled ultraviolet illumination.
From the Pigments Checker, we include the calibration card, which allows us to verify that the images are acquired correctly and consistently.
Visible Photography
We now move to the computer and open the camera control software.
After activating live view, the image initially appears overexposed, so we reduce the exposure settings.
At this stage, the image appears reddish because infrared radiation from the environment is reaching the sensor. To correct this, we mount the visible filter on the camera.
Once the filter is in place, the color rendering improves significantly.
We then adjust the focus and acquire the visible image of the upper part of the painting, which is the area of interest for this experiment.
UV-Reflected Photography (UVR)
Next, we remove the visible filter and mount the UV filter from the Robertina filter set.
The image initially appears very dark because there is no ultraviolet light in the environment.
Once we turn on the FABRIZIO UV lamp, the image becomes visible. We increase the exposure time to approximately one second.
Switching the image display to black and white improves visibility of fine details.
Since focus shifts when moving from visible to ultraviolet imaging, we carefully refocus the camera.
Interpretation of Results
When we compare all images, we immediately notice that some details appear much brighter than the surrounding areas in the UV-reflected image.
These brighter lines and features suggest the presence of later overpainting or retouching, possibly applied to enhance the appearance of the artwork—perhaps for restoration or market purposes.
This is a typical and important result of UV-reflected photography: it can reveal material differences and surface interventions that are not visible in normal light.
However, UVR imaging alone cannot identify the materials responsible for these differences.
Next Analytical Steps
To determine the nature of these brighter features, we must move to analytical techniques such as:
Raman spectroscopy
XRF
FTIR
These methods will allow us to identify the materials responsible for the observed differences.
In conclusion, UV-reflected photography has been successful in highlighting areas of interest, guiding us toward targeted analytical investigations.
Scientific Art Examination – Resources:
Getty Conservation Institute (GCI) – USA
The British Museum – Scientific Research Department – UK
Scientific Research Department – The Metropolitan Museum of Art, New York, USA
C2RMF (Centre de Recherche et de Restauration des Musées de France) – France
Rijksmuseum – Science Department – Netherlands
