综合分析历年美术史论试题及模拟题(完整版)资料.doc

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1、综合分析历年美术史论试题及模拟题（完整版）资料(可以直接使用，可编辑 优秀版资料，欢迎下载）名词解释外师造化，中得心源：是唐朝画家张璪提出的，“造化”为大自然，“心源”之内心的感悟，意思是以大自然为老师，结合心中感悟，才能创造出一幅好画。六法：气韵生动,骨法用笔，应物象形，随类赋彩，经营位置，转移模写饕餮纹：商代青铜器上的装饰纹样多流行想象的动物纹，其主纹为饕餮纹。外师造化，中的新源： 有意味的形式：清初四王：王时敏，王鉴，王翠，王原祁四僧：石涛，朱耷da， 髡kun残，弘仁南宋四大家：李唐，刘松年，马远，夏圭元四家：黄公望，吴镇，倪瓒，王蒙永乐宫壁画：南北宗论：吴道子：野兽派：20世纪最早出

2、现的新艺术象征主义画派，特点是狂野色彩和强烈的视觉冲击力，常给人不合常理的感觉。以马蒂斯为首的年轻画家在巴黎沙龙画展出自己的形象简单，色彩大胆鲜艳的作品，震惊画坛。人们惊呼这简直是野兽，由此出现了新的画派野兽派。吴门四家：指中国画史上文征明，唐寅，沈周，仇英明代画家。他们在江苏苏州从事绘画。因苏州古为吴地故称其为吴门四家。四人中文征明，沈周擅长山水画，上承北京山水画的传统。唐寅山水，人物都擅长，以南宋院体为法。仇英以工笔人物，青山绿水著称。四人各有所长，不分前后，出沈周，文征明有师承关系外，唐寅和仇英各有风格，因此吴门四家是指明代四位造诣很高的大家，而且一个画派。美术的社会功能：认识，教育，审

3、美。石画像：中国古代墓室，祠堂，石碑等石刻装饰画。盛行于东汉其具有绘画性，雕塑性，建筑性。内容广泛，形式多样，构图丰富，艺术价值很高。代表作：武梁祠画像，沂南石墓画像等。曹衣出水，吴带当风：中国画的术语，北齐画家曹仲达所画人物，其体稠叠而衣服紧窄，犹如刚从水中出来。后者唐代画家吴道子所画人物，其势圆转而衣服飞扬，富于运动感，节奏感。故有“曹衣出水，吴带当风”之说。米洛斯的阿芙洛蒂特：从雕像被发现的第一天起，就被公认为希腊女性雕塑里面最美丽的一尊，多年来，人们对它倾注了很多赞美和歌颂。令人惊讶的是他的双臂，虽然已经残缺，但那尊雕像栩栩如生的身躯仍然给人以完美形态，以至于后世很多雕塑家复原手臂都给

4、人以画蛇添足的感觉，正是这一残缺的双臂给人以遐想的空间。形象思维：论述题一简述审美教育的意义？自蔡元培提出“以教育代宗教”的思想，说明审美教育已在我国国民教育体系中占有重要地位。强调了审美教育在保持教育协调统一中的重要作用，同时也说明美育在整个教育中是属于最高层次的活动。二，四大石窟是哪四个？请举其中一个分析其特征？龙门，莫高窟，云冈，麦积山；三，春秋战国时期青铜器的有什么特点？1，春秋时期，奴隶制度的瓦解，青铜器的造型也开始摆脱了商周时期的神秘宗教气息，而像清新活泼的风格发展。2，器形有庄严凝重变得奇巧富丽，器物的纹饰也活泼多样起来，变质朴严谨到清新活泼。3，纹样形式除适合纹样和带状二方连续

5、纹样，还有网状四方连续。四，顾恺之提出的“传神”理论是什么？传神写照，“传神写照”中的“神”是指人的风神，即描绘对象的内在个性和气质；“照”指描绘对象的外在形体和形象。“传神写照”传达的实质是绘画中的“形”与“神”即形体和精神的相互关系。五，中国雕塑的几个经历阶段？萌芽期：从新石器时代到夏商周成熟和繁荣期：秦汉和南北朝高峰期：唐朝低潮期：唐朝至清末六，顾恺之在中国绘画史的地位？1，克服前代限于说教性的特点，内容和题材丰富多样。 2，提出了“传神”的重要性。3，加强平列构图的变化，依靠画面人物相互关系的巧妙处理以显示人物的情思4，揉合汉化和西域的线条，创造“春蚕吐丝”的线条。5，在画法和画理上体

6、现出朴素的现实主义美学思想。七，佛教石窟造像产生的原因？1， 在战乱的年代里，人民寻求精神寄托，统治者要巩固权力地位。2， 正是佛教让他们找到了包治百病的精神方法。3， 正是由于佛教的传播，所以石窟造雕塑随之发展。八，中国古代雕塑的艺术特点？时代特点：在什么样的社会环境下与之相适应的就是什么样的作品，没有游离于时代背景之外的艺术。民族特点：古朴庄重，深沉雄大，气魄雄伟，想象神气，富于审美理想，是中国古代雕刻作品突出的特点。九，20世纪上半叶，中国的美术有哪些表现？1， 关注社会现实，为人生而艺术，艺术家们达成了共识。2， 绘画的题材和社会效应的到了空前的重视，3， 慢慢运用西方传统的写实方法以

7、及形式，创作出大量的表现工农群众的生活，歌颂领袖的丰功伟业，寓寄思想和情怀的优秀作品。十，花鸟画中“徐黄异体”各有什么特点？是指五代西蜀画院画家黄筌和南唐画家徐熙。黄筌的画风：多以宫廷珍鸟，奇花怪石为主。画法多采用双钩填彩，笔直工细。画风富丽，设色鲜明。徐熙的画法：取材多以民间汀花野竹，水鸟渊鱼为主画风多以用墨，连勾带染，被称为落墨画。设色不以晕淡为主，略带色彩画史上俗称 黄家富贵，徐家野逸十一，谢赫“六法”的内容及其解释？气韵生动：指对人物的精神状态及性格特征生动的描绘骨法用笔:指对人物的外表描绘而反应人物特征的笔法要求应物形象：指准确的描绘对象的形状随类赋彩：指根据描绘对象的固有色彩来设色

8、经营位置：构思及构图。转移模写：指绘画的临摹和复制。十二，中国古代建筑基本特征有哪些？1，主要是以群体组合的艺术2，精美的屋顶，坚实的结构3，灵活多变的室内空间4， 鲜明的色彩。十三，元代画风的转变主要在哪些方面？1， 作画重视主观的意兴心绪，把写实和形态放在次要位置2， 把书法融入到画中，丰富了点，线的表现力。3， 作品追求笔墨情趣，水墨画法的盛行4， 作品上流行写诗词，做到了诗情画意的境界。十四，现实主义的基本特征如实描写现实生活，揭露和批判了社会黑暗的创作思想便是现实主义的基本特征。十五，论述秦兵马俑的主要艺术特色？1， 以群雕的形式出现，利用众多直立静止体的重复，造成宏伟的气势。2，

9、崇尚写实，手法严谨，多注意刻画人物的精神面貌和性格特点。3， 妆彩粉饰，绘塑结合，使之更为丰富多彩。十六，民间美术的特点？1， 实用简洁，因材施艺2， 质朴简单，随性大方3， 热烈夸张，形象寓意十七，古代埃及的美术基本特征是什么？埃及是古代东方奴隶制度的典型代表，既要神化法老和贵族，又要服从统治者的要求，所以艺术的法则和程式是固定了的，总体来说具有宏伟，气势，壮丽，明确，肯定，严格的规范，又具有写实基础上的美化。十八，法国印象派对油画的艺术发展的主要贡献？1， 突破了色彩运用固有色的传统2， 树立了条件色的理念，并力图捕捉物体在特定时间内所呈现的自然的那种瞬息即逝的色彩和气氛。3， 是油画的色

10、彩显得更加丰富灿烂。4， 在欧洲绘画史上是一次色彩的重大改革。5，英语专业八级考试模拟题专业八级考试模拟题01PART I LISTENING COMPREHENSIONPART II PROOFREADING & ERROR CORRECTIONThe following passage contains TEN errors. Each indicated line contains a maximum of ONE error. In each case, only ONE word is involved. You should proof-read the passage and c

11、orrect it in the following way:For a wrong word, underline the wrong word and write the correct one in the blank provided at the end of the line.For a missing word, mark the position of the missing word with a / sign and write the word you believe to be missing in the blank provided at the end of th

12、e line.For an unnecessary word, cross the unnecessary word with a slash / and put the word in the blank provided at the end of the line.Classic Intention MovementIn social situations, the classic Intention Movement is the chair-grasp. Host and guest have been talking for some time, but nowthe host h

13、as an appointment to keep and can get away. His urge(1)to go is held in check by his desire not be rude to his guest. If he(2)did not care of his guests feelings he would simply get up out of(3)his chair and to announce his departure. This is what his body(4)wants to do, therefore his politeness glu

14、es his body to the chair(5)and refuses to let him raise. It is at this pint that he performs(6)the chair as about to push himself upwards. This is the first act(7)he would make if he were rising. If he were not hesitating, it(8)would only last a fraction of the second. He would learn, push,(9)rise,

15、and be up. But now, instead, it lasts much longer. He holds his readiness-to-rise post and keeps on holding it. It is as(10)if his body had frozen at the get-ready moment.1.2.3.4.5.6.7.8.9.10.PART III READING COMPREHENSIONSIn this section there are four reading passages followed by a total of fiftee

16、n multiple-choice questions. Read the passages carefully and then write your answers on the space given.TEXT AA magazines design is more than decoration, more than simple packaging. It expresses the magazines very character. The Atlantic Monthly has long attempted to provide a design environment in

17、which two disparate traditions literary and journalistic can co-exist in pleasurable dignity. The redesign that we introduce with this issue the work of our art director, Judy Garlan represents, we think, a notable enhancement of that environment. Garlan explains some of what was in her mind as she

18、began to create the new design: I saw this as an opportunity to bring the look closer to matching the elegance and power of the writing which the magazine is known for. The overall design has to be able to encompass a great diversity of styles and subjects urgent pieces of reporting, serious essays,

19、 lighter pieces, lifestyle-oriented pieces, short stories, poetry. We dont want lighter pieces to seem too heavy, and we dont want heavier pieces to seem too pretty. We also use a broad range of art and photography, and the design has to work well with that, too. At the same time, the magazine needs

20、 to have a consistent feel, needs to underscore the sense that everything in it is part of one Atlantic world. The primary typefaces Garlan chose for this task are Times Roman, for a more readable body type, and Bauer Bodoni, for a more stylish and flexible display type (article titles, large initia

21、ls, and so on). Other aspects of the new design are structural. The articles in the front of the magazine, which once flowed into one another, now stand on their own, to gain prominence. The Travel column, now featured in every issue, has been moved from the back to the front. As noted in this space

22、 last month, the word Monthly rejoins The Atlantic on the cover, after a decade-long absence. Judy Garlan came to the Atlantic in 1981 after having served as the art director of several other magazines. During her tenure here the Atlantic has won more than 300 awards for visual excellence. from the

23、Society of illustrators, the American Institute of Graphic Arts, the Art Directors Club, Communication Arts, and elsewhere. Garlan was in various ways assisted in the redesign by the entire art-department staff: Robin Gilmore, Barnes, Betsy Urrico, Gillian Kahn, and Lisa Manning. The artist Nicholas

24、 Gaetano contributed as well: he redrew our colophon (the figure of Neptune that appears on the contents page) and created the symbols that will appear regularly on this page (a rendition of our building), on the Puzzler page, above the opening of letters, and on the masthead. Gaetano, whose work ma

25、nages to combine stylish clarity and breezy strength, is the cover artist for this issue.11. Part of the new design is to be concerned with the following EXCEPT _A) variation in the typefaces.B) reorganization of articles in the front.C) creation of the travel column.D) reinstatement of its former n

26、ame.12. According to the passage, the new design work involves _A) other artists as well.B) other writers as well.C) only the cover artist.D) only the art director.13. This article aims to _A) emphasize the importance of a magazines design.B) introduce the magazines art director.C) persuade the read

27、er to subscribe to the magazine.D) inform the reader of its new design and features.TEXT BWHY SHOULD anyone buy the latest volume in the ever-expanding Dictionary of National Biography? I do not mean that it is bad, as the reviewers will agree. But it will cost you 65 pounds. And have you got the re

28、st of volumes? You need the basic 22 plus the largely decennial supplements to bring the total to 31. Of course, it will be answered, public and academic libraries will want the new volume. After all, it adds 1,068 lives of people who escaped the net of the original compilers. Yet in 10 years time a

29、 revised version of the whole caboodle, called the New Dictionary of National Biography, will be published. Its editor, Professor Colin Matthew, tells me that he will have room for about 50,000 lives, some 13,000 more than in the current DNB. This rather puts the 1,068 in Missing Persons in the shad

30、e. When Dr Nicholls wrote to the Spectator in 1989 asking for names of people whom readers had looked up in the DNB and had been disappointed not to find, she says that she received some 100,000 suggestions. (Well, she had written to other quality newspapers too. ) As soon as her committee had whitt

31、led the numbers down, the professional problems of an editor began. Contributors didnt file copy on time; some who did sent too many: 50,000 words instead of 500 is a record, according Dr Nicholls. There remains the dinner-party game of whos out. That is a game that the reviewers have played and wil

32、l continue to play. Criminals were my initial worry. After all, the original edition of the DNB boasted: Malefactors whose crimes excite a permanent interest have received hardly less attention than benefactors. Mr. John Gross clearly had similar anxieties, for he complains that, while the murderer

33、Christie is in, Crippen is out. One might say in reply that the injustice of the hanging of Evans instead of Christie was a force in the repeal of capital punishment in Britain, as Ludovie Kennedy (the author of Christie entry in Missing Persons) notes. But then Crippen was reputed as the first murd

34、erer to be caught by telegraphy (he had tried to escaped by ship to America). It is surprising to find Max Miller excluded when really not very memorable names get in. There has been a conscious effort to put in artists and architects from the Middle Ages. About their lives not much is always known.

35、 Of Hugo of Bury St. Edmunds, a 12th-century illuminator whose dates of birth and death are not recorded, his biographer comments: Whether or not Hugo was a wall-painter, the records f his activities as carver and manuscript painter attest to his versatility. Then there had to be more women, too (12

36、 per cent, against the original DBNs 3), such as Roy Strongs subject, the Tudor painter Levina Teerlinc, of whom he remarks: her most characteristic feature is a head attached to a too small, spindly body. Her technique remained awkward, thin and often cursory. Doesnt seem to qualify her as a memora

37、ble artist. Yet it may be better than the record of the original DNB, which included lives of people who never existed (such as Merlin) and even managed to give thanks to J. W. Clerke as a contributor, though , as a later edition admits in a shamefaced footnote, except for the entry in the List of C

38、ontributors there is no trace of J. W. Clerke.14. The writer suggests that there is no sense in buying the latest volume _A) because it is not worth the price.B) because it has fewer entries than before.C) unless one has all the volumes in his collection.D) unless an expanded DNB will come out short

39、ly.15. On the issue of who should be included in the DNB, the writer seems to suggest that _A) the editors had clear rules to follow.B) there were too many criminals in the entries.C) the editors clearly favoured benefactors.D) the editors were irrational in their choices.16. Crippen was absent from

40、 the DNB _A) because he escaped to the U.S.B) because death sentence had been abolished.C) for reasons not clarified.D) because of the editors mistake.17. The author quoted a few entries in the last paragraph to _A) illustrate some features of the DNB.B) give emphasis to his argument.C) impress the

41、reader with its content.D) highlight the people in the Middle Ages.18. Throughout the passage, the writers tone towards the DNB was _A) complimentary.B) supportive.C) sarcastic.D) bitter.TEXT CMedical consumerism like all sorts of consumerism, only more menacingly is designed to be unsatisfying. The

42、 prolongation of life and the search for perfect health (beauty, youth, happiness) are inherently self-defeating. The law of diminishing returns necessarily applies. You can make higher percentages of people survive into their eighties and nineties. But as any geriatric ward shows, that is not the s

43、ame as to confer enduring mobility, awareness and autonomy. Extending life grows medically feasible, but it is often a life deprived of everything, and one exposed to degrading neglect as resources grow over-stretched and politics turn mean. What an ignominious destiny for medicine if its future tur

44、ned into one of bestowing meagre increments of unenjoyed life! It would mirror the fate of athletics, in which disproportionate energies and resources not least medical ones, like illegal steroids are now invested to shave records by milliseconds And, it goes without saying, the logical extension of

45、 longevism the abolition of death would not be a solution but only an exacerbation. To air these predicaments is not anti-medical spleen a churlish reprisal against medicine for its victories but simply to face the growing reality of medical power not exactly without responsibility but with dissolvi

46、ng goals. Hence medicines finest hour becomes the dawn of its dilemmas. For centuries, medicine was impotent and hence unproblematic. From the Greeks to the Great War, its job was simple: to struggle with lethal diseases and gross disabilities, to ensure live births, and to manage pain. It performed

47、 these uncontroversial tasks by and large with meagre success. Today, with mission accomplished, medicines triumphs are dissolving in disorientation. Medicine has led to vastly inflated expectations, which the public has eagerly swallowed. Yet as these expectations grow un-limited, they become unfulfillable. The task facing medicine in the twenty-first century will be to redefine its limits even as it extend its capacities.19. In the authors opinion, the prolongation of life is equal to _A) mobility.B)