T_157
The work as shown. Every value below comes from vae.db, the master database of the Crucible Year.
Recorded
- Date
- 2026.03.28, day 90
- Size
- 70 × 180 cm
- Paper
- S3, Tanxi Jing Pi, raw
- Inks
- MB1, MB2, MB3
- Phase
- P1 Warm-up
- Shown on the site
- yes (V23 rating of 5.0 or higher)
- Early storage triage
- PT: probably trash (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
- 89%
- Dark share
- 57%
- Tonal steps
- 4
- Flaws named by the reads
- water stain 7, other 6, tide line 3, bloom 2, ring 2
Older engine
- V7
- 8
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.
4 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: 0.048 (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
“Landscape-like wave of layered grey and black bands with good horizontal flow and a fine dry-brush arc at right, but a heavy, flat lower black mass and small water accidents near centre keep it ordinary.”
Wave bands follow brush travel through centre and right; lower-left black mass is a heavy filled slab with stiff vertical left edge.
WEAKEST Bottom-left dark slab, bulky and filled-in
STRONGEST Right sweeping arc wave with dry-brush striations
Stretched view shows stepped greys and arcs in right wave and upper-left band; lower black band is largely flat; modulation 0.048 just above flat.
WEAKEST Lower dark band interior nearly uniform
STRONGEST Right arc grey with striations and graded density
Pale splash layer top, grey wave bands, then black base; overlaps readable at left and right, but bottom black largely buries what is beneath.
WEAKEST Lower black band covers earlier passes
STRONGEST Grey upper-left band overlapping dark band, legible
Wave line gives clear horizontal flow; 89% coverage leaves little shaped paper; top-left splashes scattered; lower half dead weight.
WEAKEST Bottom half crowded, heavy dark mass
STRONGEST Undulating horizon wave carrying eye left to right
Cloudy pale patch and ring near centre at dark band edge, white nick mid-right in black, vertical streak marks in lower black; visible in colour view.
WEAKEST Pale milky blotch at centre on dark edge
STRONGEST Dry-brush striations in right arc
5 distinct places, 0 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, 20 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.
Measured from the 16-bit master.
The previous engine (V22) measured this sheet's master file: 1 principal ink mass traced (cyan), 9 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 17 edge segments, 18% crisp, 47% soft or bloomed, 35% broken.
Tonal depth held at rung 1.
4 steps: not appliedMaterial held at rung 1. Mild waves in the unmounted paper are never a flaw.
none namedThe 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.