T_415
The work as shown. Every value below comes from vae.db, the master database of the Crucible Year.
Recorded
- Date
- 2026.11.03, day 310
- Size
- 97 × 180 cm
- Paper
- S14, Half-Cooked Red Star Mo She 6-Foot Bark Xuan Paper, self-sized
- Inks
- MB6, MB8, MB9, MB10, MC
- Phase
- P4 S14
- Shown on the site
- yes (combined score of 5.0 or more)
The combined score
- Combined score
- 6.24
- Read half
- 25
- Measured half
- 37.4
Read · V23 (v23.13)
- V23 rating
- 5
- Form
- 2
- Tonal depth
- 2
- Layering
- 2
- Composition
- 2
- Material and surface
- 1
- Ink cover
- 86%
- Dark share
- 63%
- Tonal steps
- 4
- Flaws named by the reads
- water stain 6, other 7, bloom 5, dead ink 1
Measured · V24, from the 16-bit TIFF
- Mass
- 10 of 10
- Tone
- 8.2 of 14
- Void
- 6.4 of 8
- Flow
- 8 of 10
- Balance
- 4.8 of 8
- Measured half
- 37.4 of 50
- Mass width in mm
- rung 5 of 5
- Mass width against the sheet
- rung 5 of 5
- Evenness of that width
- rung 5 of 5
- Depth of the darks
- rung 5 of 5
- Black plateau
- rung 2 of 5
- Step from mid to dark
- rung 1 of 5
- Evenness inside the darks
- rung 2 of 5
- Spread across tonal bands
- rung 2 of 5
- Voids gathered, not scattered
- rung 4 of 5
- Directions across the sheet
- rung 4 of 5
- Local gesture and edge
- rung 4 of 5
- Balance on the sheet
- rung 3 of 5
- Mass width
- 279 mm
- Depth of the darks (p75 density)
- 1.81
- Largest void, radius
- 296 mm
- Direction alignment
- 0.16
- Left and right asymmetry
- 0.69
- Resolution
- 3.87 px per mm
How the number was made
Read by the Visual Analysis Engine, version 23.13, on 2026.11.03: 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: 0.055 (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
“A broken concentric arc with real sweep and shaped white gaps, but its central black is bulky and partly flat, layering is modest, and blotchy speckling mars the upper grey band.”
Concentric arc segments are coherent with holding walls, but the huge central black and blunt lower-left wedge remain bulky, more filled-in than stroked, unlike R3's fluent bands.
WEAKEST Bulky central black arc, heavily filled; blunt left wedge
STRONGEST Upper-right dark bands following the arc's travel
Stretched view shows grain and arcs in the central black's lower right and mottled greys above, but its left half stays nearly uniform; modulation only modestly clears flat.
WEAKEST Left half of central black, flat and cloudy inside
STRONGEST Grained, striated right side of the central black arc
Grey wash, black arcs, overlapping upper-right bands and red pass read distinctly, but few overlaps build depth; the central black covers rather than layers, short of R3's sequence.
WEAKEST Central black mostly covers the earlier passes beneath it
STRONGEST Translucent overlap of the two upper-right dark bands
The arc carries the eye from lower-left wedge across the top to the right, and the white gaps are shaped, but the central mass crowds and weighs the sheet.
WEAKEST Massive central black dominates; lower right is heavy and dead
STRONGEST Broken arc sweeping from lower left over to right
Dark speckling and dirty mottling in the upper grey band show in colour beside principal masses; cloudy patch inside central black in stretched view; creases in lower grey wedge.
WEAKEST Blotchy speckled grey band beside upper-right dark bands
STRONGEST Dry-brush striations at lower right of central arc
5 distinct places, 1 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, 19 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.
Tonal depth held at rung 1.
4 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 v23.13, 5 reads. Fixed arithmetic, the same for every painting; the constants were set on a stratified sample of 24 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.