6.將畫竹過程分為“眼中之竹”、“胸中之竹”、“手中之竹”的畫家是

A.文同                                                           B.鄭板橋

C.蘇軾                                                           D.石濤

7.南宗畫系宗主是

A.蘇軾                                                           B.米芾    

C.王維                                                           D.董源

8.元代____對王維《輞川圖》評述：“其臺榭景物無不可游，可玩，可忘世，以故賞識者稱畫中有詩，茍非胸次磊落，指掌神奇，恐未易臻此也�！�

A.倪瓚                                                           B.柯九思 

C.趙孟頫                                                       D.湯垕

9.透視學(xué)上“三遠(yuǎn)”論出自

A.郭若虛                                                       B.郭熙    

C.王微                                                           D.石濤

10.趙孟頫“作畫貴有古意”的古意指繪畫要取法

A.唐人                                                           B.宋人    

C.漢代                                                           D.魏晉

11．蘇軾論畫不提六法、四格，而提出“常理”，在繪畫上提倡____，他曾評論王維的畫“味摩詰之詩，詩中有畫，觀摩詰之畫，畫中有詩”。

A.書畫相合                                                    B.以書入畫    

C.詩文入畫                                                    D.詩情畫意

12.“美術(shù)革命”的口號由____提出，主張中國畫要改良，必須采用西洋畫寫實(shí)之精神。

A.陳獨(dú)秀                                                       B.林鳳眠 

C.高奇峰                                                       D.康有為

13.畫忌六氣：一曰俗氣，二曰匠氣，三曰火氣，四曰草氣，五曰閨閣氣，六曰蹴黑氣。是清代____提出的。

A.沈?yàn)?nbsp;                                                          B.鄒一桂 

C.鄭燮                                                           D.惲格

14.“一畫論”之說者是

A.石濤                                                           B.黃賓虹 

C.郭熙                                                           D.顧愷之

15.借物抒情，不拘成法的明代書畫家____，在談?wù)路ㄖ校骸皶缛缦忍�，密如天地為上”。其藝術(shù)思想對中國畫影響頗深。

A.沈周                                                           B.陳淳    

C.徐渭                                                           D.林良