武丹 1662-1721

款識：仿夏禹玉法，呈獻翁老先生粲正。時丁卯（一六八七）仲秋，鐘山武丹。鈐印：武丹之印、衷白父

一、《墨韻—羅伊與瑪麗蓮 · 派普夫婦珍藏中國繪畫》，鳳凰城藝術博物館，一九九四年九月二日—十月九日；弗吉尼亞州克萊斯勒藝術館，一九九四年十一月十三日—一九九五年一月八日；柏林東亞藝術博物館，一九九五年九月九日—十一月十一日；漢堡工藝美術館，一九九五年十二月十五日—一九九六年二月十八日；華美協進社，一九九八年二月四日—六月十日
二、《墨韻—羅伊與瑪麗蓮 · 派普夫婦珍藏中國繪畫》，巴黎亞洲藝術博物館，一九九九年九月廿三日—十二月三十日
三、《詞意流傳—跨越四百年的中國繪畫》，納什維爾弗里斯視覺藝術中心，二〇〇七年六月廿二日—十月七日

一、《墨韻—羅伊與瑪麗蓮 · 派普夫婦珍藏中國繪畫》，鳳凰城藝術博物館，一九九四年，圖錄編號11，第39頁
二、《墨韻—羅伊與瑪麗蓮 · 派普夫婦珍藏中國繪畫》，巴黎亞洲藝術博物館，一九九九年，圖錄編號12，第49頁

- Silk bears tanned tone due to age. - Minor restoration.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

'Today, we still do not know much about Wu Dan’s life. But as more and more pictorial data surface, his visibility increases. A Nanjing native, he was working when the Eight Masters of Jinling were active. Gong Xian knew of him though the nature of their connection is still uncertain. Was he a friend, a teacher? Stylistically, Gong Xian was avant-garde and Wu Dan appears tradition-bound. However, we can observe affinities between him and some of the contemporary Jinling masters. The indebtedness to the Northern Song, for instance, was as much a regional characteristic as Wu Dan’s own. He commands respect for his monumental conception, careful attention to details, crisp execution and sensitivity to ink gradation. If the generic description above fits the present painting, it only underscores Wu Dan’s consistency. The sole surprising factor pertaining to this painting is not in style or form, but in his inscription in which he alludes to Xia Gui, a Southern Song master, as his model. The surging mountain ranges and deep valleys, tall peaks and plunging waterfall, enclosing mists and dissolving forms: these are the features which impressed Zhang Geng in a former time and remain just as effective as pictorial images today.' 
- Scent of Ink, p. 39