《重屏會棋圖》背後的政治博弈——兼析其藝術特性

Weighing the Politics behind Zhou Wenju’s Double Screen and Chess

本文肯定了徐邦達先生對北京故宫博物院藏五代南唐周文矩《重屏會棋圖》卷是北宋摹本的鑒定結論。筆者試圖揭示出深藏於畫中的宫闈秘辛:根據畫中人物的年紀特别是幼弟的年紀,判定該圖的原本系周文矩奉旨繪於南唐保大年間(943-957);南唐中主李璟設定的主位繼承人序列與弈棋者的座次恰好一致,公開昭示了李家王朝的繼位順序。該圖所表現的悌行思想在一定程度上影響了北宋文治思想的形成,也是產生該摹本的政治背景。畫中的戰筆描法和屏中屏的空間手法以及連續性的時間表述法均爲周文矩的藝術新創。

This article re-confirms Xu Bangda’s authentication that Double Screen and Chess attributed to Zhou Wenju of the Southern Tang dynasty, now in the Beijing Palace Museum collection, is a Northern Song copy. The author seeks to reveal the hidden historical context underlying this painting: based on the different ages of the four brothers portrayed in the painting, especially that of the youngest, it can be inferred that the original painting was painted by Zhou Wenju under the royal commission at the end of the Baoda Reign(943-957);the order of succession to the throne designed by the second Southern Tang ruler,Li Jing, is consistent with the seating order of the chess players, declaring publicly the original succession order of the Li-family dynasty. The fraternal submission represented in this painting seems to have had a certain bearing on the formation of civil governing in the Northern Song dynasty, which might have also been the political background for the production of this copy. The tremulous 'brush-drawing'(zhanbimiao),the double-screen spatial arrangement, and the continuous temporal narrative were all artistic innovations by Zhou Wenju.