课程代码：00745

一、单项选择题(本大题共15小题，每小题2分，共30分)

在每小题列出的四个备选项中只有一个是符合题目要求的，请将其代码填写在题后的括号内。错选、多选或未选均无分。

1.“作画贵有古意”论出自(      )

A.钱选                                                             B.倪瓒  

C.郭若虚                                                         D.赵孟頫

2.南宗画系宗主是(      )

A.苏轼                                                             B.米芾  

C.王维                                                             D.董源

3.“谚云：‘黄家富贵，徐熙____________’不唯各言其志，盖亦耳目所习，得之于心而应之于手也。……”，其中黄家指的是黄筌。(      )

A.古朴                                                             B.野逸  

C.空灵                                                             D.雅致

4.中国绘画理论最早的功能说是____________。(      )

A.使民知神奸                                                  B.士气  

C.传神                                                             D.存形莫善于画

5.透视学上“三远”论出自(      )

A.郭若虚                                                         B.郭熙  

C.王微                                                             D.石涛

6.继谢赫后，南陈的姚最写了____________，提出了前人所未提的“心师造化”论。(      )

A.《古画品录》                                               B.《图画见闻志》     

C.《画山水序》                                               D.《续画品录》

7.东晋杰出的画家，理论家顾恺之画论著作有三篇：《魏晋胜流画赞》、____________、《画云台山记》，这是中国最早的专门画论。(      )

A.《图画见闻志》                                           B.《古画品录》  

C.《论画》                                                      D.《续论画》

8.唐代著名美术理论家张彦远在其著作____________中对谢赫提出的“六法”作了最早的解释，并对六法内容作了新的补充，即关于立意问题。(      )

A.《历代书画录》                                           B.《历代名画记》     

C.《图画见闻志》                                           D.《益州名画录》

9.宗炳在论山水画功能时，首先谈的就是(      )

A.金石之乐                                                      B.仁智之乐  

C.天伦之乐                                                      D.心悦之乐

10.明代的“南陈北崔”是指(      )

A.陈淳、崔子忠                                               B.陈洪绶、崔白

C.陈洪绶、崔子忠                                           D.陈淳、崔白

11.倪瓒绘画理论上主张“逸笔草草”以及(      )

A.搜尽奇峰打草稿                                           B.笔墨当随时代

C.写胸中之逸气                                               D.摄情

12.以“四王”为代表的“仿古”思想，在清初画坛上占有统治地位，是当时的正统思想。“四王”指的是(      )

A.王时敏、王鉴、王翬、王履                          B.王维、王鉴、王翬、王原祁

C.王时敏、王鉴、王微、王原祁                      D.王时敏、王鉴、王翬、王原祁

13.____________在理论上明确提出了“不似之似”这一绘画原则。(      )

A.石涛                                                             B.苏轼  

C.郑板桥                                                         D.徐渭

14.五代时期的荆浩在《笔法记》中提出了用笔“四势”与用笔(      )

A.“一病”                                                      B.“二病”  

C.“三病”                                                      D.“四病”

15.“圣人含道应物，贤者澄怀味像”论是由____________提出来的。(      )

A.王微                                                             B.宗炳  

C.谢赫                                                             D.陆探微