One Thousand and One Conjectures

Maya polychrome cylinders pose a closed-loop composition problem, and workshop painters solved it the way a tailor does: by giving the garment a seam and placing it at the back. Because these vessels were presented and used along a principal viewing axis…

The Primary Standard Sequence on Maya vases is a fixed dedicatory formula fitted onto rims of very different circumferences; if the band was planned like piecework lettering against available length, abbreviation should be hierarchical rather than ad hoc, dropping the same expendable…

Pattern sheets travelled as outline drawings with colour given verbally — the Göttingen Model Book literally writes out its recipes — while copying from a finished exemplar transmits paint by eye but forces a freehand redraw. Two transmission channels, opposite bandwidths: model-book…

Rubbed-out faces in Persian and Arabic figural manuscripts are usually narrated as diffuse pious attrition accumulating across many readers. If that were so, defacement per manuscript would spread smoothly with use. But if defacement is typically one owner's single campaign through the…

Insular interlace obeys strict under-over alternation, and its rare violations are treated as random lapses. The conjecture: the slips are structural — they concentrate where the drawing process broke off, at panel joins, pigment-field boundaries, and day-work seams — so error positions…

Steppe animal-style motifs crossed gold, openwork bronze, felt, wood, and tattooed skin. What a mobile craftsman memorizes is the armature — which limb crosses which, how the coil closes, how many contact points — while proportions are re-fitted to every object. Topology,…

Romanesque corbel tables read as carnivalesque miscellany, but carving proceeded bay by bay from scaffolds, one carver working consecutive blocks with whatever type he was fluent in that week. Subject types should therefore show strong serial autocorrelation around the eaves — runs…

Gothic Passion diptychs were serial products of Parisian workshops. If scene selection were devotionally bespoke, observed combinations would spread across the combinatorial space of available scenes; if workshop-standardized, they collapse into a few fixed menus, and menu identity should track workshop groups…

Ornament in stained glass — border types, diaper grounds, grisaille foliage — is studied inside glass scholarship, but glaziers stocked their cartoon chests from painters' books. Ornament families should therefore appear in dated manuscripts before dated glass of the same region, with…

Chinese connoisseurship separates traced copies (mo) from freehand copies (lin) by brush quality — a judgement call. But tracing is mechanical transfer and locks absolute dimensions, while freehand copying rescales freely. Catalogue metadata alone should therefore bifurcate attested copy-pairs into a size-locked…

Collector seals accumulate on Chinese paintings for centuries, and their placement is discussed as taste. The conjecture: placement obeys an interstitial packing rule — each collector takes the best remaining slot in a stable preference order, corners of the image proper first,…

Sheets and scrolls of stamped Buddhas look like space-filling repetition, but the devotional act was arithmetic: vows specified counts. If the count, not the sheet, was the unit of work, totals should cluster at canonical numbers and their multiples, and completed items…

At Dunhuang, painted banners and woodblock prints of the same deities circulated in the same decades. Prints from one matrix are identical trivially; the conjecture is cross-matrix: variance across different woodblocks of one deity should still be far below painted variance, because…