《仿王蒙山水图》轴，清康熙四十年（1701年）至四十四年（1705年），王原祁绘，纸本，墨笔，纵91cm，横46cm。
作者自题：“画贵简而山樵独烦，然用意仍简。且能借笔为墨，借墨为笔，故尤见其变化之妙。此图辛巳岁所作，以公务所稽，久而未成，暇时点染至乙酉重九始脱藁，不能一气贯注，多所修补，未免烦结生滞矣。幸体裁不失存之。麓台祁题于京邸榖诏堂。”迎首钤 “古期斋”朱文印，款下钤 “王原祁印”朱文印、“别号麓台”朱白文印，左下角钤 “西庐后人”朱文印, 鉴藏印有“孙煜峰珍藏印”、“徐紫珊秘箧印”、“徐文台竹隐盦收藏印“、“葱玉张氏”、“韫辉斋印”、“暂得于己快然自足”诸印。
款识中的“辛巳”、“乙酉”分别为清康熙四十年（1701年）和康熙四十四年（1705年），此图应为王原祁60至64岁之间的作品。
全画以高远法构图，崇山峻岭于雄奇中内具空灵之貌，山石与树木间开合有度，于多变的虚实呼应中构筑出丰厚华滋的气象。王原祁自言此图始画于“辛巳”，止于“乙酉”，前后历时四年之久才得以完成。虽然此图并非一挥而就之作，但是由于王氏具有深厚的传统笔墨功底和高超的设景造势能力，因此，全幅笔致墨韵仍显浑然天成，不失为王原祁晚年仿王蒙山水画而又别具风范的代表作。
--------Introduction in English--------
"Imitating Wang Meng Landscape Map" axis, Qing Kangxi 40 years (1701) to 44 years (1705), Wang Yuanqi painting, paper, ink, 91 cm vertical, 46 cm horizontal.
Author's title: "Painting is precious and simple, but the woodcutter is bored alone, but the intention is still simple. And can borrow the pen for the ink, borrow the ink for the pen, so especially see its wonderful change. This Tuxin's work at the age of 12 was not completed for a long time by official auditing. It was dyed in his spare time until the end of the ninth year of his life. He could not concentrate on it all the time. Many repairs were made, which made him tired and stagnant. Fortunately, genre does not disappear. The Qi inscription at the foot of the platform is in the Imperial Hall of the Beijing residence. YingShoujun "Gushizhai" Zhu Wen Yin, section under Jun "Wangyuan Qi Yin" Zhu Wen Yin, "nickname Lutai" Zhu Bai Wen Yin, the lower left corner of Jun "Xilu descendants" Zhu Wen Yin Yin, the collection of "Sun Yufeng treasure seal", "Xu Zishan secret seal", "Xu Wentai bamboo hidden seal", "onion Jade Zhang's", "Qi Huizhai seal", "temporary self-sufficiency" Zhu Wen Yin.
The "Xinsi" and "Yiyou" in Qian Xuan are respectively the works of Kangxi in Qing Dynasty (1701) and Kangxi in 194 (1705). This picture should be Wang Yuanqi's works between 60 and 64 years old.
The whole painting is composed with lofty method. The mountains and ridges have an empty and spiritual appearance in the magnificent and strange scenery. There is a degree of opening and closing between rocks and trees, and a rich and luxurious atmosphere is constructed in the changeable echo of reality and fiction. Wang Yuanqi said to himself that it took four years to complete the picture, starting with Xinsi and ending with Yiyou. Although this painting is not done in a flash, Wang's deep traditional brush and ink skills and superb ability of setting up scenery and creating momentum, therefore, the full brush-to-ink rhyme is still natural, and it is Wang Yuanqi's representative work of imitating Wang Meng's landscape painting in his later years.
