Please, speak freely.”
It was like being at a train wreck; I couldn’t turn away. I had the sense that Dr. Yang, if he’d known a martial art, would be practicing it on Doug Haig as the rest of us watched.
“All right,” he said icily, eyes still on Haig. “Dr. Lin, I believe what I’ve brought will interest you, too.” He gestured to the table and waited. Jack, quicker to catch on than the rest of us, started to replace Anna’s paintings in their portfolio to clear a space. Haig gave a strangled gurgle and almost slapped Jack’s hand. With great ceremony, handling them delicately by their edges, he placed the paintings on the far side of the table where they were out of the way but still visible. Dr. Yang didn’t spare Haig a glance, just waited until he was done. Then he laid down the portfolio he’d brought, unzipped it, and from its inner cardboard folder pulled another ink painting.
The paper, with a fine toothed surface, was the same as Anna’s. The pure black ink, powerfully thick or delicately thin, or soft gray wash where the artist wanted it to be, looked identical. The meticulously controlled brushstrokes created exactly the same tension with the wild composition. The painting’s subject, three large carp peering up through the water under a bridge, and the accompanying poem about flashes of silver and gold as fish jump and return to the same spot in the everchanging stream, put it in the same nature-metaphor category. But it wasn’t the same.
Anna’s paintings were undeniably beautiful. Next to this, though, they seemed childish, naive. Her lines and forms had an arbitrary quality I wouldn’t have understood if I hadn’t seen this painting, where every stroke of ink was the right one, nothing was missing, and nothing was extra.
“This,” said Dr. Yang, in his hard, quiet voice, “is a Chau.”
Haig stared. Jack and I stared. Even Woo was out of his chair, tilting his head to see this wonder. No one moved or spoke until finally, with a grunt, Woo sat back down again. He resumed slurping, proving that in the face of the miraculous the world does go on.
Haig, as though unable to believe what was happening, said, “Dr. Lin?”
Jack looked up at him, nodded, looked back down. “Would have to examine, of course. But can be almost no question. Amazing. So skillful, so accomplished. Chau, but even better than any known. As though … Dr. Yang, where this comes from?”
“That doesn’t matter.” Dr. Yang dismissed the question, and Jack. His eyes riveted to Haig’s, he said, “It’s a Chau and I’ll authenticate it.”
“I also!” Jack said, the man from Hohhot suddenly seeing his year in America slipping away. “After examine, of course.”
“Well.” Haig folded his arms over his balloon belly. “Well. Dr. Yang, how do I know this is truly a Chau?”
“Dr. Lin just said it was. Isn’t that enough for you? Although I suppose it’s reasonable to mistrust his judgment, since a moment ago he was prepared to authenticate my daughter’s paintings as Chaus.” He spoke with disgust, including in it both Jack and Haig, and probably me, too. Not Woo; he was beneath the professor’s contempt.
Dr. Yang’s scorn rolled right off Haig, whose supercilious air didn’t change. Jack, the offended academic, widened his eyes and began to protest. “My daughter’s,” Dr. Yang repeated firmly. “They’re very good. But they’re not Chaus.” I almost smiled. Even under the circumstances, the father can’t resist praising the daughter. “There are differences. A real expert could tell you.” Quick, angry glance at Jack. “The control of the quantity of ink on the brush, to keep a line solid or break it up, as the artist chooses. The change of brushstroke angle around the sweep of a curve. If all that’s too subtle for you, Mr. Haig, you can look to the poem. This, here, is Chau’s calligraphy. That’s Liu Mai-ke’s, my daughter’s husband’s, as is the poem, though it was put there by my daughter in imitation of Liu’s hand. Chau uses poems by classical masters, as he always did. This poem is by Wang Wei. But I’m sure you can see that.”
I was sure Haig couldn’t, and I was sure the professor knew that, too. I was tempted to give Haig a pass, though. I could read the Chinese, but my classical education was so poor I couldn’t have told Wang Wei from Liu Mai-ke. Or, for that matter, from A. A. Milne.
“Yes, all right,” Haig said, not even pretending to study the painting. “And you’ll say all that? When you authenticate it?”
“I’ve brought a letter.”
Haig seemed to try to put the brakes on, to think about this miracle the way he would any transaction. “What’s the painting’s provenance?”
“It’s from my personal collection. It was painted the year Chau died. I brought it with me from China. That, too, is in the letter.”
“I see. All very interesting. And Dr. Yang, you’re offering to do what? Consign the painting to me? On what terms?”
“Don’t be ridiculous. I wouldn’t expect you to agree to anything as fair as a consignment. No, I’ll give it to you. In exchange for these.”
“Well.” Haig rubbed his chins. “Well. A true, unknown Chau. Authenticated by two major experts.” He looked at Jack, who nodded quickly. “If handled correctly, I imagine it could bring upwards of eight hundred thousand dollars.” He looked from the carp painting to the others. “Oh,” he said, as though a thought had occurred to him, “but these can be authenticated, too. Can’t they?” Again, he looked at Jack. Jack swallowed, threw a quick look at Dr. Yang, and nodded again.
“They are not Chaus!” Dr. Yang barked.
“So
Dr. Yang ground his jaw, making the vein in his forehead pop again. “Mr. Haig,” he said quietly, “your greed doesn’t surprise me. I was prepared for it, though I suppose I’d hoped to find it less boundless than it appears. Consider this: One painting authenticated by Dr. Lin and myself will be worth a good deal more than four authenticated by Dr. Lin alone and challenged by me. Challenged also by the painter, my daughter, who, I must tell you, is prepared to sacrifice her career rather than allow you to commit this despicable crime. Since this situation is to some extent her fault, not for making the paintings but for failing to grasp the dangers of people’s greed and malevolence, I’m prepared to permit her that sacrifice. However, if we can find another answer, that would be preferable.” The professor slipped his hand into the portfolio again and brought out another painting.
