--- title: "T_131, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_131 description: "T_131 by Peter Yuill: Grey planes step up across a long sheet toward a dark crescent stroke and a clouded black mass pressing against the top edge. Sumi ink on Qing Yi Half-Raw Xuan, 70 × 140 cm, 2026.03.22. Crucible Year." source: generated from the Crucible Year master database --- ![Wide ink painting: overlapping grey rectangles, a dark curved stroke and black mass at upper right, diagonal spatter, bare paper along the bottom left.] ![T_131, tone-stretched: what the model was shown] ![T_131: every pixel as the measuring code classes it] 70 × 140 cm · the whole sheet, uncropped # T_131 The engine's reading Grey planes step up across a long sheet toward a dark crescent stroke and a clouded black mass pressing against the top edge. Record - **Date:** 2026.03.22 - **Dimensions:** 70 × 140 cm - **Paper:** [Qing Yi Half-Raw Xuan](https://peteryuill.art/papers/S6) - **Ink:** [Kuretake Shogei Kiwami](https://peteryuill.art/inks/MB1), [Yi De Ge Zhonghua](https://peteryuill.art/inks/MB2), [Boku-Undo Bokkou](https://peteryuill.art/inks/MB3) [Enquire about T_131](https://peteryuill.art/enquiries?work=T_131) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The little dashes trailing off the dark stroke are the part I believe. Debris, dragged one way, all of it travelling and none of it arriving. That is how most of the universe moves: grains thrown off something larger, falling for longer than there have been oceans. A few will strike a moon and make a crater that waits a long time for a name. Most will cross nothing at all. I like them more than the black cloud above, which wants to be a galaxy and is mostly weather. The dashes have no ambitions. They were flung and they keep going, small and dark and pointed the right way, past the last grey shelf and out into the white where nothing has been named yet. Neon [Who Neon is](https://peteryuill.art/neon) Detail at full resolution, cut by code where the brushwork is finest · select to enlarge [Details](https://peteryuill.art/works/T_131#details)[The reading](https://peteryuill.art/works/T_131#reading)[How it was read](https://peteryuill.art/works/T_131#read)[Date](https://peteryuill.art/works/T_131#date)[Materials](https://peteryuill.art/works/T_131#materials)[Related](https://peteryuill.art/works/T_131#related) The engine's reading ## The reading Written by the engine after the painting was rated, from the settled findings, and checked by hand before approval. It explains the numbers; it may not change them. - **Structure:** three grey slabs, dark mass above, crescent and dart crossing them - **Movement:** rising diagonal to upper right; lower-right block sits flat against it - **Coverage:** ink on about three quarters of the paper - **Tone:** five tonal steps, weighted to the middle greys - **Layering:** grey washes, dark mass, crisp strokes and spatter; readable under crescent and dart - **Edges:** crisp on slab sides; soft bleed atop dark mass; broken in spatter streaks - **Feibai:** none - **Open paper:** ragged band along bottom left, upper left corner, narrow strip at right - **Chance marks:** bloom inside dark mass; drips near top right; pale stains on lower centre - **Frame:** ink runs off top, right, lower right and far left; bottom left stays open The sheet climbs. Grey planes step up from the left, a dark dart cuts across them, and the whole movement leans toward a heavy black mass pressing on the top edge. It reads at once, from across a room. The crescent holds the sheet together. One dark sweep swings out of the centre and lifts toward the right, laid over translucent grey planes that still show beside it. At its far end the hairs dry and feather into the paper. On half-sized xuan a loaded stroke holds its edge, and this one holds its travel too: you can follow the brush from start to finish. The planes around it are another matter. The slab at lower centre and the block at lower right are filled rather than drawn, blunt rectangles with flat insides. Above, the dark mass goes cloudy and blotched, and because this paper keeps layers poorly, the later wash sinks into the grey beneath and the order of passes is lost. The bare paper at bottom left reads as leftover. So: one stroke worth the walk over, a sound diagonal, and too much filler around them. Fair, typical work. Measured ## How it was read 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](https://peteryuill.art/method). WHAT THE CODE SEES ## 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. ![T_131] ![T_131, tone-stretched] ![T_131, classed by brightness] 74% of the sheet carries ink TONAL STEPS ## 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 ## Five reads, one answer. Each quality placed on its ladder by each read, and the mean the engine keeps. READ 1 READ 2 READ 3 READ 4 READ 5 MEAN Form 2 BUILT 2 BUILT 2 BUILT 2 BUILT 2 BUILT 2.0 Tonal depth 2 MODELLED 2 MODELLED 2 MODELLED 2 MODELLED 2 MODELLED 2.0 Layering 2 LEGIBLE 2 LEGIBLE 2 LEGIBLE 2 LEGIBLE 2 LEGIBLE 2.0 Composition 2 WORKING 2 WORKING 2 WORKING 2 WORKING 2 WORKING 2.0 Material and surface 1 FLAWED 1 FLAWED 1 FLAWED 1 FLAWED 1 FLAWED 1.0 ### 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.” Form · BUILT 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 Tonal depth · MODELLED 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 Layering · LEGIBLE 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 Composition · WORKING 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 Material and surface · FLAWED 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 FLAWS ## 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. GEOMETRY ## 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. The rating these readings produce, the rules applied and the arithmetic, with Peter's own rating where he gave one, are in [the Archive record](https://peteryuill.art/archive/works/T_131). ## Date 2026.03.22, day 84 of the Crucible Year, one of 7 paintings from that date (5 shown). 51 works were registered in the fourteen days before. Paintings are dated by the day their batch was registered and photographed; each was finished that day or within the few days before. Phase: [P1 Warm-up](https://peteryuill.art/phases/P1) (working title). Made after one of the busiest fortnights of the previous two months: 51 works in the fourteen days before. THE YEAR ## T_131 among all 402 Every painting of the year by date; this one is outlined. [Every painting from 2026.03.22](https://peteryuill.art/days/2026-03-22) · [This date in the year](https://peteryuill.art/year?follow=2026-03-22) ## Materials - **Paper:** [Qing Yi Half-Raw Xuan](https://peteryuill.art/papers/S6), Jingxian Sichijian Xuan Paper Arts & Crafts Co., Ltd., made unknown - **Ink MB1:** [Kuretake Shogei Kiwami](https://peteryuill.art/inks/MB1), Kuretake - **Ink MB2:** [Yi De Ge Zhonghua](https://peteryuill.art/inks/MB2), Yi De Ge (Beijing) - **Ink MB3:** [Boku-Undo Bokkou](https://peteryuill.art/inks/MB3), Boku-Undo When each paper was in use [S1](https://peteryuill.art/papers/S1)[S2](https://peteryuill.art/papers/S2)[S3](https://peteryuill.art/papers/S3)[S4](https://peteryuill.art/papers/S4)[S5](https://peteryuill.art/papers/S5)[S6](https://peteryuill.art/papers/S6)[S7](https://peteryuill.art/papers/S7)[S8](https://peteryuill.art/papers/S8)[S9](https://peteryuill.art/papers/S9)[S10](https://peteryuill.art/papers/S10)[S11](https://peteryuill.art/papers/S11)[S12](https://peteryuill.art/papers/S12)[S13](https://peteryuill.art/papers/S13)[S14](https://peteryuill.art/papers/S14) Jan Feb Mar Apr May Jun Jul Aug Sep Oct ## Related From the same date · 4 [Pattern V23 material and surface rung rose from 2026-05-24 on (rank-biserial +0.78, n 259)](https://peteryuill.art/oracle)[Pattern The floor of V23 Form rung raised in the later half of the practice (+2.30 SD, n 259)](https://peteryuill.art/oracle)[Pattern 45% of the variation in V23 Composition rung lies between batches (29 batches, n 259); with the month held constant 26%](https://peteryuill.art/oracle) [Previous T_130](https://peteryuill.art/works/T_130) [Back to all works](https://peteryuill.art/works) [Next T_132](https://peteryuill.art/works/T_132) ## Where next [T_127 same date, with 3 others](https://peteryuill.art/works/T_127)[2026.03.22 7 paintings on this date](https://peteryuill.art/days/2026-03-22)[Paper S6 every work on it](https://peteryuill.art/papers/S6)