6.将画竹过程分为“眼中之竹”、“胸中之竹”、“手中之竹”的画家是

A.文同                                                           B.郑板桥

C.苏轼                                                           D.石涛

7.南宗画系宗主是

A.苏轼                                                           B.米芾    

C.王维                                                           D.董源

8.元代____对王维《辋川图》评述：“其台榭景物无不可游，可玩，可忘世，以故赏识者称画中有诗，苟非胸次磊落，指掌神奇，恐未易臻此也。”

A.倪瓒                                                           B.柯九思 

C.赵孟頫                                                       D.汤垕

9.透视学上“三远”论出自

A.郭若虚                                                       B.郭熙    

C.王微                                                           D.石涛

10.赵孟頫“作画贵有古意”的古意指绘画要取法

A.唐人                                                           B.宋人    

C.汉代                                                           D.魏晋

11．苏轼论画不提六法、四格，而提出“常理”，在绘画上提倡____，他曾评论王维的画“味摩诘之诗，诗中有画，观摩诘之画，画中有诗”。

A.书画相合                                                    B.以书入画    

C.诗文入画                                                    D.诗情画意

12.“美术革命”的口号由____提出，主张中国画要改良，必须采用西洋画写实之精神。

A.陈独秀                                                       B.林凤眠 

C.高奇峰                                                       D.康有为

13.画忌六气：一曰俗气，二曰匠气，三曰火气，四曰草气，五曰闺阁气，六曰蹴黑气。是清代____提出的。

A.沈灏                                                           B.邹一桂 

C.郑燮                                                           D.恽格

14.“一画论”之说者是

A.石涛                                                           B.黄宾虹 

C.郭熙                                                           D.顾恺之

15.借物抒情，不拘成法的明代书画家____，在谈章法中：“旷如先天，密如天地为上”。其艺术思想对中国画影响颇深。

A.沈周                                                           B.陈淳    

C.徐渭                                                           D.林良