--- title: "T_132, sumi ink on paper | Crucible Year" url: https://peteryuill.art/works/T_132 description: "T_132 by Peter Yuill: Dark arcs of ink climb across grey horizontal slabs on pale xuan, with a black upright at the right and a heavy dark settling into the lower corner. Sumi ink on Qing Yi Half-Raw Xuan, 70 × 140 cm, 2026.03.22. Crucible Year." source: generated from the Crucible Year master database --- ![Black and grey ink bands arc diagonally across pale paper, beside a tall black block at right, with a dark mass at lower right and spatter.] ![T_132, tone-stretched: what the model was shown] ![T_132: every pixel as the measuring code classes it] 70 × 140 cm · the whole sheet, uncropped # T_132 The engine's reading Dark arcs of ink climb across grey horizontal slabs on pale xuan, with a black upright at the right and a heavy dark settling into the lower corner. 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_132](https://peteryuill.art/enquiries?work=T_132) Availability, price or a studio visit. Peter replies himself; asking commits you to nothing. The weather in the bottom right came in and did not leave. Farm people have a word for it, and it is not polite. A front rolls over the field, heavy and full of intent, and then it just sits there, grazing on the light, too pleased with its own darkness to rain. The barometer stops pointing anywhere. Up the slope, three dark tracks go past at a run, made by something with somewhere to be, and the grass along their edges is still rough where it was crossed. In the top right corner a few hard drops have already started, flung sideways onto the open ground like seed the wind broadcast before the farmer was up. 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_132#details)[The reading](https://peteryuill.art/works/T_132#reading)[How it was read](https://peteryuill.art/works/T_132#read)[Date](https://peteryuill.art/works/T_132#date)[Materials](https://peteryuill.art/works/T_132#materials)[Related](https://peteryuill.art/works/T_132#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:** arcing dark bands over grey horizontal slabs, black upright right, wedge top left - **Movement:** diagonal climbing from lower centre to upper left; horizontals and upright slab run against - **Coverage:** ink on about three fifths of the paper - **Tone:** five tonal steps, weighted dark - **Layering:** two kinds, pale grey washes under dark bands; readable at centre, fused lower right - **Edges:** crisp at slab ends; grainy along central arcs; soft and cloudy in lower right - **Feibai:** present, the grey stroke streaking rightward off the black upright toward the edge - **Open paper:** irregular field across the upper centre and top right, above the slab - **Chance marks:** spatter at top right and left edges; water stain lower left; bloom lower right - **Frame:** ink runs off bottom, top left, top centre and lower right; top right open Dark bands arc across the middle of the paper, climbing from the bottom edge toward the upper left. Grey slabs lie flat beneath them, and a black upright stands to the right of their path. The open paper above gives them room to travel. The arcs are where the sheet comes alive. Each band follows the brush's travel and holds its walls. Grain runs along the edges, where the hairs dragged and bare fibre showed through. Where the arcs cross the grey horizontals, both passes stay legible, and the grey reads through as a step in tone. The cost is the lower right. Too many wet passes meet there, and half-sized paper keeps layers apart poorly, so they sink into one cloudy, mottled dark. The slab above that corner is a filled rectangle rather than a stroke, and the weight of the sheet settles in the corner and stays. A pale water stain inside the lower-left mass costs a little more, and the fold creases at left are absorbed. The sheet has one good idea. It carries that idea well across the centre and spends it in the corner it runs into. Stand in front of it for the arcs. The rest is a working day. 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_132] ![T_132, tone-stretched] ![T_132, classed by brightness] 63% 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: 0.049 (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 “An ordinary sheet. The layered diagonal bands give it movement and some legible overlaps, but the bulky, cloudy dark mass in the lower right is weighed down by blooms and fused passes, which pulls the sheet toward R1.” Form · BUILT Diagonal bands from centre-left to lower-centre read as travelled strokes; the right dark slab and lower-left mass are bulky and partly blob-like. WEAKEST Bulky dark slab at right, stiff rectangle STRONGEST Diagonal arcing bands crossing the centre Tonal depth · MODELLED Centre bands show stepped density and grain; right block has streaks; lower-right mass is murky. Modulation 0.049 just above the flat threshold. WEAKEST Lower-right dark mass, cloudy and fairly uniform STRONGEST Overlapping translucent bands in centre Layering · LEGIBLE Grey slabs underlie darker diagonals with legible overlaps in centre; at lower right the passes fuse into one dark mass and order is lost. WEAKEST Lower-right where passes merge into dark STRONGEST Stacked translucent bands at centre Composition · WORKING Diagonal movement rises to the right block; top paper is shaped by the top-left band. Lower half is jammed with dark, bottom-right dead and heavy. WEAKEST Heavy lower-right quadrant crowds the frame STRONGEST Upward diagonal thrust from lower-left to right block Material and surface · FLAWED Lower-right and lower-centre masses carry mottled cloudy patches and bleed marks visible in colour view; pale blotch inside lower-left mass; fold creases. WEAKEST Cloudy blotched wash in lower-right dark mass STRONGEST Dry-brush feathered edge at right of block FLAWS ## 7 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 7 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: 2 principal ink masses traced (cyan), 4 enclosed voids at true size in their grid cells (amber), the main gesture from start to end (red). Of 20 edge segments, 55% crisp, 35% soft or bloomed, 10% 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_132). ## 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_132 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_131](https://peteryuill.art/works/T_131) [Back to all works](https://peteryuill.art/works) [Next T_146](https://peteryuill.art/works/T_146) ## Where next [T_127 same date, with 3 others](https://peteryuill.art/works/T_127)[T_146 the next shown painting in the sequence](https://peteryuill.art/works/T_146)[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)