T_131
The work as shown. Every value below comes from vae.db, the master database of the Crucible Year.
Recorded
- Date
- 2026.03.22, day 84
- Size
- 70 × 140 cm
- Paper
- S6, Qing Yi half-raw
- Inks
- MB1, MB2, MB3
- Phase
- P1 Warm-up
- Shown on the site
- yes (V23 rating of 5.0 or higher)
- Early storage triage
- SA: save, archive (Peter's early system, since retired)
Measured · V23 (v23.8)
- V23 rating
- 5
- Form
- 2
- Tonal depth
- 2
- Layering
- 2
- Composition
- 2
- Material and surface
- 1
- Ink cover
- 74%
- Dark share
- 35%
- Tonal steps
- 5
- Flaws named by the reads
- bloom 5, tide line 1, water stain 8, other 3
Older engine
- V7
- 9
How the number was made
Read by the Visual Analysis Engine, version 23.8, on 2026.10.06: measured by code, then read 5 times by Claude Opus 5.5 against three reference paintings (R1 to R3), each read independent of the others. How the engine works.
Three views of one sheet.
Left, the photograph. Centre, the tone stretch the model is shown beside it: the darkest 45% of tones spread over the whole range, so flat black, banding and stains show. Right, every pixel as the measuring code classes it: cyan black ink, deep teal translucent grey, stone the palest ink, near black bare paper.
5 families of tone.
Every inked pixel's brightness in 64 bins, smoothed; each circled peak holds at least 4% of the ink. Life inside the black: 0.053 (under 0.045 reads as flat).
Five reads, one answer.
Each quality placed on its ladder by each read, and the mean the engine keeps.
READ 1, IN ITS OWN WORDS
“This is an ordinary layered sheet. The crescent stroke and diagonal flow work, but the grey slabs are blunt and the upper dark mass is cloudy and blotchy, which pulls down the surface.”
The upper-right crescent and the diagonal dart at centre-left follow the brush. The left and bottom-right grey slabs are bulky, wedge-like fills.
WEAKEST Bottom-right grey slab, blunt rectangular block
STRONGEST Sweeping dark crescent stroke across upper right
Five tonal steps. The dark mass at top right shows graded tone and banded arcs, and the left block has feathered gradation. The bottom-right block is mostly even grey.
WEAKEST Bottom-right grey slab, fairly flat interior
STRONGEST Upper-right dark mass with cloudy grading and arcs
Translucent grey planes sit under the darker crescent and the dart strokes and can still be read where they overlap. The top-right mass is murky in places.
WEAKEST Upper-right dark mass partly clouds the earlier passes
STRONGEST Crescent stroke laid over translucent grey planes
Ink covers about 74% of the sheet. The masses step diagonally upward to the right. The upper right is heavy and the bottom-left paper is weakly shaped.
WEAKEST Bottom-left empty paper reads as leftover
STRONGEST Diagonal flow from left dart to right crescent
The dark mass at top right has a cloudy, mottled wash with blotches and a ragged bleed edge at top centre. There are drip spots at the far right and grey staining across the paper.
WEAKEST Cloudy, blotchy interior of the top-right dark mass
STRONGEST Dry-brush spatter trails below the crescent
5 distinct places, 2 major.
Each read must name every flaw and where it is, in a ninth of the sheet. Here the reads named flaws in 5 distinct places, 17 mentions in all across 5 reads; the number in each ninth is how many times a flaw was named there. Reads agreeing on a place strengthen the evidence for one flaw; they do not multiply it. A major flaw holds Material and surface at rung 1.
Measured from the 16-bit master.
The previous engine (V22) measured this sheet's master file: 3 principal ink masses traced (cyan), 8 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 16 edge segments, 31% crisp, 56% soft or bloomed, 13% broken.
Tonal depth held at rung 1.
5 steps: not appliedMaterial held at rung 1. Mild waves in the unmounted paper are never a flaw.
5 major flaws: appliedThe rating cannot exceed 4.
lowest 1.0A read that breaks the reply format is discarded.
5 of 5 validV23 rating 5.0.
Engine v23.8, 5 reads. Fixed arithmetic, the same for every painting; the constants were set on 24 randomly chosen paintings so the median sheet scores 5. The scale is relative to this archive, not to painting in general, and a difference of less than half a point between two paintings is noise.