The conservation work presented here forms part of the research and preservation initiative Collaborative Investigation and Analysis of the Works of S. M. Sultan, undertaken by Bengal Foundation with support from the Ambassadors Fund for Cultural Preservation (AFCP). The initiative brings together historical research, documentation, and conservation in order to investigate, stabilize, and preserve selected works by the artist S. M. Sultan.
The S. M. Sultan Digital Archive serves as a platform through which selected documentation, research findings, and conservation records generated through this broader project are made accessible to scholars, students, and the wider public.
Conservation Infrastructure and Team
To undertake the conservation work, Bengal Foundation assembled a dedicated conservation team through a competitive selection process involving both local and international candidates. The team was led by Senior Conservator Kamila Korbela, whose experience in painting conservation guided the development of the project’s technical and methodological framework.
A specialized conservation facility—the Sultan Conservation Studio—was established at Bengal Shilpalay to support the examination and treatment of artworks. The studio was equipped with conservation workstations, environmental monitoring systems, conservation-grade lighting, and secure storage areas. Materials and technical supplies required for conservation were sourced from both regional and international suppliers to ensure that treatments adhered to established conservation standards.
Research-Guided Conservation Approach
The conservation methodology adopted for Sultan’s works was grounded in historical and ethnographic research. Sultan’s artistic practice was deeply connected to the landscapes and social worlds of rural Bangladesh, and his paintings often incorporate locally available materials and experimental techniques. For this reason, conservation decisions required careful consideration not only of the physical condition of the artworks but also of the cultural and conceptual contexts in which they were produced.
Consultations with artists, art historians, and scholars familiar with Sultan’s work reinforced the importance of adopting a sympathetic conservation approach—one that prioritizes minimal intervention while preserving the material authenticity and historical character of the artworks. International conservation specialists likewise emphasized that overly aggressive restoration can risk altering the visual and material integrity of historically significant works.
In addition, the conservation team had to account for the limitations of regional infrastructure for advanced laboratory analysis. While detailed chemical testing is often a standard component of conservation research, access to specialized analytical facilities remains limited in much of South Asia. As a result, the project relied on careful visual analysis, technical examination, and the use of reversible conservation materials and treatments.
This approach ensured that conservation interventions remained cautious, reversible, and responsive to the specific material characteristics of Sultan’s works.
Conservation Methodology
Within this broader framework, the conservation treatments followed a structured methodology commonly used in professional painting conservation. Each intervention was guided by the principles of minimal intervention, reversibility, and respect for the historical integrity of the artwork. Rather than applying standardized treatments, conservation strategies were developed individually for each artwork based on its condition and material composition.
The methodology generally proceeded through several interrelated stages.
Condition Reporting and Technical Assessment
The conservation process began with the preparation of detailed condition reports for each artwork. These reports documented the physical state of the paintings before treatment and served as a diagnostic tool guiding all subsequent conservation decisions.
Through careful visual examination and photographic documentation, conservators assessed the structural stability of the support, the condition of the paint layers, and the presence of damages such as cracking, flaking, abrasions, or discoloration. Environmental conditions—such as exposure to light, humidity, pollutants, and biological agents—were also evaluated, as these factors often contribute to the deterioration of artworks over time.
The condition report therefore provided a comprehensive record of the artwork’s material condition and formed the basis for developing an appropriate conservation strategy.
Preventive Conservation Measures
Preventive conservation formed an essential component of the conservation programme. Based on the findings of the condition reports, measures were implemented to reduce environmental and handling risks that could accelerate deterioration.
These measures included improved handling protocols, environmental monitoring, pest management, and the development of appropriate storage solutions. Preventive conservation aims to stabilize artworks and minimize the need for invasive interventions by addressing the environmental and structural factors that contribute to damage.
Cleaning and Surface Stabilization
Surface cleaning constituted an important stage of the conservation treatment. Over time, paintings accumulate layers of dust, airborne pollutants, aged coatings, and biological residues that may obscure the original surface and contribute to chemical degradation.
Cleaning treatments were undertaken only after careful testing to determine the stability of the paint layers and the compatibility of potential cleaning agents. Depending on the condition of the painting, conservators employed a range of controlled methods—from dry surface cleaning to carefully managed aqueous or solvent-based treatments—to remove surface contaminants while preserving the integrity of the original materials.
Throughout this process, the principle of minimal intervention guided every decision, ensuring that cleaning treatments remained as limited and reversible as possible.
Material Investigation
Understanding the material structure of the artworks was also an important aspect of the conservation process. Sultan frequently worked on canvas and jute-based supports, both of which present particular conservation challenges due to their organic composition and susceptibility to environmental fluctuations.
Through close visual examination and technical analysis, conservators investigated the composition of the support materials, ground layers, and pigments. While the absence of advanced laboratory facilities limited the scope of chemical testing, careful material observation and comparative research provided valuable insights into the construction and aging behaviour of the paintings.
Structural Stabilization and Consolidation
Several artworks displayed signs of structural instability, particularly in the form of flaking or lifting paint layers. This condition, known as delamination, occurs when the adhesion between different layers of a painting—such as the support, ground, and paint layers—begins to weaken.
To address this issue, conservators carried out consolidation treatments designed to stabilize fragile areas of paint and restore the cohesion of the artwork. Using carefully selected conservation-grade adhesives, detached or weakened layers were reattached to the underlying support. These treatments were performed with precision in order to strengthen the structural stability of the painting while avoiding visible alteration of the original surface.
Aesthetic Reintegration and Restoration
Where areas of loss or abrasion disrupted the visual coherence of a painting, limited aesthetic restoration was undertaken. In accordance with the principles articulated by the Italian conservation theorist Cesare Brandi, restoration was approached as a process of recognizing and preserving the artwork’s aesthetic and historical unity rather than attempting to recreate or modernize it.
Losses in the paint surface were carefully filled and retouched using stable and reversible conservation materials. Retouching was applied only within areas of damage and executed using techniques that allow the restored areas to remain distinguishable from the original paint upon close inspection. This approach ensures that the integrity of the original artwork remains clearly legible while restoring a coherent viewing experience.
Phased Conservation Process
Within the framework of the project, the conservation programme unfolded through a structured series of phases conducted between 2022 and 2025.
The initial phase focused on establishing the conservation studio and conducting condition assessments and preventive stabilization measures. This was followed by a period of analytical review during which conservation strategies were developed through consultation with specialists. The final phase involved the physical conservation treatments and the documentation of all interventions.
This phased approach ensured that conservation treatments were carefully planned, implemented, and recorded according to professional standards.
Preventive Conservation, Long-Term Preservation and Knowledge Sharing
The project emphasizes long-term preventive conservation alongside individual treatments. Conserved artworks are stored in controlled environments that minimize risks from fluctuations in temperature and humidity, exposure to pollutants, pest activity, and physical stress. Stable storage conditions and careful handling protocols ensure ongoing protection, reducing the need for further invasive interventions.
In addition to safeguarding the artworks, the project prioritizes knowledge dissemination and professional capacity building. The conservation component has produced a technical Conservation Handbook, documenting methodologies, procedures, diagnostic analyses, material stabilization strategies, and treatment practices developed during the initiative. Designed as a practical reference, the handbook supports emerging conservators, museum professionals, and conservation students by sharing technical insights and best practices derived from the preservation of S. M. Sultan’s works. All documentation and findings are also accessible through the S. M. Sultan Digital Archive, ensuring that both the material and procedural knowledge generated by the project remain publicly available.