《重屏会棋图》卷，五代，周文矩绘，绢本，设色，纵40.3cm，横70.5cm。
本幅无作者款印。经徐邦达先生鉴定，此系宋人摹本。尾纸除有明代沈度、文徵明的伪款题跋外，还有近人于怀的墨题真迹。钤元柯九思“緼真斋”，清安仪周“棠邨审定”、“安仪周家珍藏”及清内府“乾隆御览之宝”等鉴藏印共16方。其中的“緼真斋”、宋徽宗的“双龙小玺”、“宣和”、“政和”等宋元诸印均伪。
图绘摆设精美的室内，四位身份高贵的男子于棋桌前的情景。他们神态各异，举止不同，有的催促落子，有的举棋不定，有的观棋不语，真实地反映出观棋者与弈棋者不同的神态。画中没有标注这些人物的姓名。目前，经过几代学者的深入研究，才逐渐确认出本幅作品的画面主人公及其内容。图中描绘的是五代南唐中主李璟的宫廷行乐生活。有关此图情节的记载最早见于北宋《王文公集》卷五十中王安石的《江邻几邀观三馆书画》诗，诗中指认出图中头戴高帽者为李璟；南宋初年的王明清在《挥尘三录》中记载了他以家藏的李璟肖像画与此图进行考辨的过程；元代袁桷《清容居士集》和陆友仁《研北杂志》则考证出会棋者是李璟兄弟四人，屏风所画为白居易《偶眠》诗意。最终指明图中人物具体方位的是清吴荣光《辛丑销夏记》所录庄虎孙的跋语：“图中一人南面挟册正坐者，即南唐李中主像；一人并榻坐稍偏左向者，太北晋王景遂；二人别榻隅坐对弈者，齐王景达、江王景逿。”
作为写实性的绘画作品，作者在逼真地刻画出人物肖像特征的同时，也真实地描绘出室内的生活用具，如投壶、屏风、围棋、箱箧、榻几、茶具等，为后人研究五代时期各种生活器用的形制以及中国早期皇室的行乐雅集活动提供了重要的形象资料。作者以“颤笔描”绘制图中人物的衣纹，表现出布纹的质感，并准确地勾勒出不同动态下人物的形体变化，展示了周文矩以线塑型的深厚功底。此图的设色虽多用矿物颜料，但未层层积染或浓涂重抹，而只是在勾线后清淡地施以颜色。在几案边的花纹上勾染了略显深重的石青、石绿；而李璟的衣袍虽也用朱砂晕染，却甚为简淡，只是侍童的衣带用较重的朱砂，以与浅淡的衣袍形成对比。其余三人的衣着竟一色不染。
由于此图背景的屏风中还画有屏风，因此人们称此图为“重屏”图。它受到了历代画家广泛的传移摹写，并被宋内府《宣和画谱》、明张丑《清河书画舫》、清卞永誉《式古堂书画汇考》等数十种书著录。故宫所藏的这幅画即使不是周文矩原作，也应是接近于原作的宋人摹本精品。
此图自清宣统朝流出宫廷后散落民间。1949年后，国家文物局从吉林省长春文物商于莲客手中购得此图，随后将它与元代高克恭《秋山暮霭图》、任仁发《二马图》卷一并入藏故宫博物院。
清安仪周《墨缘汇观》、胡敬《西清札记》、内府《石渠宝笈三编》等著录。
周文矩，生卒年不详，活动于10世纪，句容（今属江苏）人，南唐画院翰林待诏。中主李璟时，他便以擅绘人物、车马、界画楼台以及宫廷贵族生活题材画而知名。后主李煜执政期间，他常受诏作画，曾像顾闳中一样被派去窥绘韩熙载的夜宴生活，只是他所画的韩氏夜宴图未能传世。他的画风受后主李煜的颤笔法影响很大，喜以瘦挺颤掣的笔法入画，以别具特色的画风称誉画坛。
--------Introduction in English--------
"Double Screen Chess Picture" Volume, Five Dynasties, Zhou Wenzhong Painting, Silk, Setting Colors, 40.3 cm in length, 70.5 cm in horizontal.
This picture has no author's seal. Mr. Xu Bangda identified this as a copy of the Song Dynasty. In addition to the false inscriptions and postscripts of Shen Du and Wen Zhengming in the Ming Dynasty, the tail paper also contains the true ink inscriptions that are close to people's hearts. There are 16 inscriptions and seals collected by Junyuan Kejiusi, Qing An Yi Zhou, Tang You, Anyi Zhou and Qianlong Royal View Treasure. Among them, "Qian Zhenzhai", "Shuanglong Xiaoxi", "Xuanhe", "Zhenghe" and other Song and Yuan Dynasties prints are all fake.
The picture shows four noble men sitting at the chess table in a beautifully decorated room. They have different attitudes and manners, some urge fallen pieces, some act indecisively, and some watch chess silently, which truly reflects the different attitudes of the players and the players. The names of these characters are not marked in the picture. At present, after several generations of scholars'in-depth study, it is gradually confirmed that the protagonist of this work and its content. The picture depicts the court life of Li Jung, the principal of the Southern Tang Dynasty in the Five Dynasties. Records of the plot of this picture were first found in Wang Anshi's poem "Three Museums of Calligraphy and Painting in Jiang Ling Ji Invitation" in Volume 50 of Wang Wen Gong Ji of the Northern Song Dynasty, in which Li Juan was identified as wearing a high cap; Wang Mingqing in the early Southern Song Dynasty recorded the process of identifying Li Juan's portrait paintings with this picture in his family's collection in "Three Records of Swinging Dust"; Yuan Fu's "Collection of Qingrong Jushi" and Lu Youren's "Yanbei" in the Yuan Dynasty. The magazine proved that the chess players were Li Jing's brothers, and the screen painted Bai Juyi's poem "Occasionally Sleeping". Finally, it points out the specific orientation of the figures in the picture is the postscript of Zhuanghusun recorded in Wu Rongguang's Xia Ji of Xin Uighu Sale in the Qing Dynasty: "One person in the picture is sitting in the south, that is, the main image of Li Zhong in the Southern Tang Dynasty; one person sits side by side slightly left, Wang Jingsui of the Northern Jin Dynasty; two people sit in a corner to play games, Qi Wang Jingda and Jiang Wang Jingsui."
As a realistic painting, the author not only vividly depicts the characteristics of the portraits of the characters, but also depicts the indoor living appliances, such as pots, screens, Go, boxes, tables, tea sets and so on. It provides important image data for future generations to study the shape of various living instruments in the Five Dynasties period and the activities of elegant music collection of the early imperial family in China. The author draws the figure's clothes with "trembling brush" to show the texture of the cloth, and accurately outlines the figure's shape changes under different dynamic conditions, showing Zhou Wenzhi's deep foundation of linear modeling. Although mineral pigments are mostly used in the design of this picture, they are not dyed layer by layer or heavily coated and re-painted, but only lightly applied after the outline. The patterns on the edges of several cases are marked with a slightly more profound stone-blue and stone-green, while Li Juan's clothes are also stained with cinnabar, but they are very simple. Only the waiters'clothes are stained with heavy cinnabar, in contrast to the light clothes. The rest of the three men were uniformly dressed.
Because the screen in the background of this picture is also painted with a screen, people call it a "double screen" picture. It has been widely transferred and imitated by painters of past dynasties, and has been recorded in dozens of books, such as Xuanhe Painting Spectrum of Song Neifu, Qinghe Painting and Calligraphy Fang of Ming Zhang Chou, Bian Yongyu of Qing Dynasty and Collection of Style Ancient Tang Painting and Calligraphy. The painting hidden in the Palace Museum should be close to the original copy of the Song Dynasty, even if it is not the original work of Zhou Wenzhuang.
This picture has been scattered among the people since the Xuantong Dynasty of the Qing Dynasty flowed out of the court. After 1949, the National Bureau of Cultural Relics purchased the map from a merchant in Lianke, Changchun, Jilin Province, and then incorporated it into the Tibetan Palace Museum with Gao Kegong's "Autumn Hill Twilight Map" and Ren Renfa's "Erma Tu" volumes in the Yuan Dynasty.
Records of Moyuan Huiguan, Hu Jing's Notes of the Western Qing Dynasty and Shiqu Baotu of the Neifu in Qing'an Yi Zhou Dynasty.
Zhou Wenzhuang, whose birth and death date is unknown, took part in the 10th century. Jurong (now from Jiangsu) was born in Hanlin, Nantang Academy of Painting. When Li Jing was the middle master, he was well-known for his ability to paint characters, horses and chariots, terraces of boundary paintings, and subjects of noble life in the court. During the reign of Li Yu, the later master, he was often instructed to paint. He was sent to see Han Xizai's banquet life like Gu Hanzhong, but his picture of Han's banquet was not handed down. His style of painting was greatly influenced by the later master Li Yu's quivering brushwork. He liked to draw with his thin, quivering brushwork, and praised the painting circle with his unique style of painting