Wang Jianmin's resume is a big factory.

First, multiple-choice questions (65438+ 0 points for each small question, a total of 20 points)

1, China's calligraphy has at least a history of (b).

4500b，3500c，2500d，2000

2. Oracle Bone Inscriptions (b) was found in the Yin Ruins, the site of Wang Du in the late Shang Dynasty.

a， 1800b， 1898c， 19 19 d， 18 18。

3. The prosperous period of bronze inscriptions in history is (B)

A, Yin Shang B, Western Zhou C, Spring and Autumn D, Warring States Period

4. The most typical Jin prose from the mid-Spring and Autumn Period to the early Warring States Period is (b)

A, B, Hou Shu C, Wen County D, Qin Cemetery Stone Carvings.

5. The inscription in the Eastern Han Dynasty, solemn, upright and strict in statutes, is (a)

Cao Quanbei, Zhang Qianbei, DC.

6. The author of Shuo Wen Jie Zi is (C)

A, Cui Yuan B, Li Si C, Xu Shen D, Zhao Gao

7. Cao, a calligrapher in the late Eastern Han Dynasty, founded a school of calligraphy, which is (D).

A, seal script school b, official script school c, running script school d, cursive script school

8. The end point of calligraphy evolution is (C)

A, Western Han B, Eastern Han C, Wei and Jin D, Tang Dynasty

9. Wang Xizhi's early works still retain traces of official script. This handed down work is (b)

A, Lanting preface B, menstruation sticker C, first month sticker D, He Jie watch

10. The only literati handed down from ancient times in the Eastern Jin Dynasty was (a)

A, Wang Xun's Yuan Bo Post b, Wang Xianzhi's Duck Head Pill Post c, Wang Xizhi's Funeral Post d and Wang Xizhi's Preface to Lanting.

1 1. In the Longmen statue in Luoyang, the statue carved on Yang is (D).

A, Niu Mi Statue B, Yao Boduo Brothers Statue C, Statue D, Stone Statue

12, Huai Su, a monk in the Tang Dynasty, wrote a self-narrative post, which belongs to (C).

A, grass b, grass c, weeds d, grass.

After the excavation of 13, epitaph and (c) 1965, Guo Moruo published the article "From the excavation of Xie Wang's epitaph to the authenticity of the Preface to Lanting", which triggered the Lanting dispute.

A, epitaph b, epitaph c, couple epitaph d, Liu epitaph.

14, Song Taizong Zhao Xiu's Spring Flower Pavilion, of which Wang Xizhi and Wang Xianzhi's works account for about (c).

A, a third of b, a quarter of c, half of d, all of them.

15, Chu Suiliang's latest regular script is (b).

A, Master Meng Monument B, Preface of Wild Goose Pagoda C, Yi Que Buddha Monument D, crouching on the dead tree

16. The Tang Dynasty calligrapher who used lines to write tablets almost all his life and also wrote his own books was (a)

A, Li Yong B, C, He D, Huai Su

17 the calligrapher of "Huai Su's autobiographical post supplements the first six lines" is (a)

A, Su Shunqing B, Su Shunyuan C, Xu Kai D, Li Jianzhong

18, the overall characteristics of the calligraphy circle in Yuan Dynasty are (a)

First, revive the book style of Jin and Tang Dynasties; B, continue the book style of the Song Dynasty; D, integrating the North-South book style; Pursuing personality liberation.

19, Yuan Hongdao called it "eight methods to scatter saints, ci Lin Xia" is (a)

A, Xu Wei B, Fu Shan C, Zhang Ruitu D, Wang Duo

20. In the early Qing Dynasty, the calligraphy styles of calligraphers such as Cha Shibiao, Shen Quan and Jiang continued to belong to (B).

A, Zhao Mengfu style of writing b, Dong Qichang style of writing c, taking tablet and breaking post style d, tablet style of writing.

Second, multiple-choice questions (2 points for each small question, a total of 16 points)

2 1, the calligraphy schools in the middle and late Eastern Han Dynasty mainly include (a), (b), (d) and (e).

A, Cao's seal script school B, Du Cao, Cui Yuan and Zhang Zhi's cursive script school C, Li Yong's running script school D, Cai Yong's official script school E and Liu Desheng's running script school.

22. The inscription in the Northern Dynasties is (C)(E) () () ().

A, Yan Longyan Monument B, Bao Baozi Monument C, Zhang Menglong Monument D, He Monument E and Gaoling Temple Monument

23. Liu Gongquan's representative works are (a), (b), (c), (d) and ().

A, mysterious pagoda monument B, Shence military monument C, Hui Yuan Guanzhonglou Ming D, King Kong Pan Ruojing E, Bukong monk monument.

24. In addition to Su Shi, there are other calligraphers called "Song Sijia" by later generations, including (B)(D)(E)(E) (etc.).

A, Fan Chengda B, Cai Xiang C, Zhang Jizhi D, Huang Tingjian E, Mi Fei

25. The most typical reclusive calligraphers in the late Yuan Dynasty were (a), (b), (c) and (e) ().

A, Zhenwu B, Yang Weizhen C, Ni Zan D, E, Lu

26. Before the Ming Dynasty, the main style of calligraphy was (A)(B)(C)(E) ().

A, Hanza B, hand roll C, round fan D, folding fan E, banner

27. Ruan Yuan's works include (1), (3) and (1).

A. Textual research on North-South Calligraphy School B, Yizhou Shuangban C, Beibei Nanban D, Zhou Guangyi Shuangban E and Chunhua Pavilion Post

28. Among the following calligraphers, (a), (b), (e) and (c) are called "three-level masters of Yuan Dynasty".

A, Zhao Mengfu B, Deng C, Kang D, E, Xian Yushu

Three. Distinguish questions (2 points for each small question, 4 points in total)

29. The picture 1 shows the Eastern Han Dynasty (era) "Hanging Spring Gathering Hemp Paper and Ink" (title of the work).

←

draw

→

draw

30. The second picture shows "Mutu Tie" written by Song Dynasty (era, author).

Four. Noun explanation (3 points for each small question, total 15 points)

3 1, bronze inscription-Qin is called copper gold, so the words engraved on the bronze ware are called bronze inscription. Also known as "Zhong Dingwen Style", "Yi Style" and "Zhong Ding Style".

32. Jianghuai Bamboo Slips-Bamboo Slips of the Western Han Dynasty unearthed in the Yangtze River and Huaishui River basins in China. Such as bamboo slips and silk books unearthed from Yinque Mountain in Linyi, Shandong, Mawangdui in Changsha, Hunan and Lianyungang, Jiangsu. Most of the contents are ancient books, such as Lao Zi written by Ma Wangdui and Sun Tzu's Art of War written by Sun Bin in Shujishan. Their writers have a certain cultural accomplishment, simple and steady writing style, and the structure of brushwork is full of changes.

33. Epitaph-The epitaph was replaced because of the ban on tablets in Cao Wei and Western Jin Dynasty. Epitaph is transformed from the stone inscriptions buried in the tombs of the Eastern Han Dynasty, so it is also called epitaph and burial epitaph.

34. Ou Yangxun, Yu Shinan, Chu Suiliang and Xue Qi, four great masters in the early Tang Dynasty.

35, "Spring Flower Pavilion Post"-In the third year of Song Chunhua (992), Emperor Taizong ordered Wang Zhu to compile the ink of famous artists of all ages into ten volumes, engraved on jujube boards, and named it "Spring Flower Pavilion Post".

V. Short answer questions (5 points for each small question, total 15 points)

36. What is "Qianbei Brand"?

A: The Qianbei School is the predecessor of the Qing Dynasty tablet school. They are mainly good at writing official script and seal script. Most of them have worked hard on the traditional post study, and their creations have the characteristics of confusing the two or breaking the post with a monument. Deng and Ruan Yuan demarcated the boundary, and the broken post school with a monument in front of it was called Qianbei School. Since then, Zunbei School has been called Zunbei School. Representative figures are: Zheng Zhi, Cheng Yi, Jin Nong, Zheng Xie, etc.

37. Briefly describe the characteristics of Wumen School of Calligraphy.

A: At the beginning of the Ming Dynasty, Zhu Yuanzhang restrained Suzhou's literati and economy because his opponent Zhang Shicheng had occupied Wu and Suzhou's economy was developed and there were many rich households. When he became an ancestor, the capital moved northward and the political center moved northward. During the Chenghua period, this policy of political and economic bondage was gradually relaxed, and the creation of literati painters became free. In the mid-Ming dynasty, calligraphy gradually walked out of the fog of the early stage of Taige style. Taige calligraphy is for the needs of the exam, while Wu calligraphers are not bound by the court, and their creation appears free. Therefore, calligraphy activities are centered on this, and they have also turned from Beijing, the political and cultural center, to southern Jiangsu, where the commercial economy is prosperous, especially Suzhou, marked by the appearance of Wumen calligraphers. Suzhou, a metropolis in southern Jiangsu, has a long history, developed culture, rich economy and prosperous business. Scholars gathered here, and the geographical concentration of calligraphers was particularly prominent in this period. Wumen Calligraphy School became the largest calligraphy school in the history of Ming Dynasty, which broke the superficial prosperity and emptiness of calligraphy since the early Ming Dynasty and became the mainstream of calligraphy in the middle of Ming Dynasty. These calligraphers can get rid of the shackles of cabinets, abandon those who study and catch up with the Tang and Song Dynasties, and advocate the development of individuality and independence.

38. Briefly describe the important role of Emperor Taizong in the history of calligraphy in the Tang Dynasty.

A: Emperor Taizong was well aware of the principle of ruling the world by culture and formulated various policies suitable for the development of calligraphy. He set up a special educational institution-imperial academy, and took calligraphy as one of his learning contents. He set up a doctor of calligraphy to teach and implemented an important measure of taking books as officials. In the imperial examination, calligraphy is an exclusive subject, and the selection of officials is no exception. Emperor Taizong loved Wang Xizhi's calligraphy and personally wrote a biography for him, which established Wang Xizhi's exclusive position in the early Tang Dynasty and determined the development direction of calligraphy in the early Tang Dynasty. As a result, famous artists came forth in large numbers and the cause of calligraphy flourished.

Six, essay questions (15 points for each small question, a total of 30 points)

39. Try to describe the characteristics of Zhao Mengfu's calligraphy and its profound influence on the history of China's calligraphy.

A: Zhao Mengfu held high the banner of reviving the ancient law, which made the calligraphy of the Yuan Dynasty rejuvenate after more than a hundred years of depression in the Southern Song Dynasty, showing a thriving scene. Zhao Mengfu's view of calligraphy is an excellent return to the study of calligraphy in Jin Dynasty. He opposed learning calligraphy from Yan Zhenqing, pointing out that he traced back to the two kings of the Eastern Jin Dynasty and was completely retro in practice. His contribution lies not only in his calligraphy creation, but also in his calligraphy thought, pointing out that calligraphy should be pen-based, and efforts should be made to form words. It is not easy to use a pen through the ages, which has become a famous assertion in calligraphy theory since the Yuan Dynasty, prompting calligraphy. It was also from the brushwork that he began his retro style. He emphasized that it is beneficial to study calligraphy to ponder over ancient calligraphy posts and know the meaning of using pens. He put forward the viewpoint that brushwork is the first and word formation is the second, which is an important condition for calligraphy to be passed down as a traditional art. It is not only of great significance in the Yuan Dynasty, but also a famous saying guiding calligraphy practice today. Zhao Mengfu's contribution to calligraphy is outstanding. He influenced a large number of people in the Yuan Dynasty and formed a group of Zhao calligraphers with distinctive styles, which made the calligraphy circle in the Yuan Dynasty under Zhao calligraphy style. His calligraphy also influenced the Ming Dynasty, and his calligraphy style influenced for three centuries.

40. What's the difference between Wang Xianzhi's book style and Wang Xizhi's? Please use his representative works to explain the connotation of "beauty in the past but beauty in the present".

Wang Xianzhi's calligraphy is different from Wang Xizhi's. More beautiful than his father, in line with fashion aesthetics. It loves beauty but is thin, and people are affectionate. His cursive calligraphy is passionate and carefree, which can be called the most romantic brushwork. It can be seen that it breaks the shackles of tradition and highlights the feelings of life. His works in small letters, such as "Ode to the Goddess of Luo", turn the inner awe of the king into an external development, and the accumulation into an external release, with strong handwriting and distinctive personal characteristics. Cursive scripts, such as Mid-Autumn Festival posts and farewell posts, are magnificent, appearing up and down, and continuous. The running script Nineteen Posts is flat in shape, mixed with grass, lines and letters, accurate in brushwork, calm and open, forming an unprecedented new book style with full spirit and charm. Wang Xianzhi created cursive script on the basis of his father Wang Xizhi, completed a stage of reform since Zhong You and Wang Xizhi, and made the calligraphy of literati develop to a new height. His calligraphy is the extension and development of Wang Xizhi's calligraphy style. The so-called "father and son are the present, and today's people are the present" includes Wang Xizhi's "harmony with God" and "magic soldiers".

First, multiple-choice questions (65438+ 0 points for each small question, a total of 20 points)

1, China has a long history of calligraphy, about () P 1.

4500b，3500c，2500d，2000

2, the prosperity of bronze inscriptions in history is () P7.

A, Yin Shang B, Western Zhou C, Spring and Autumn D, Warring States Period

3. Academics believe that the earliest known ancient plum standard is () P 15.

A, Qingchuan Haojiaping Bamboo Slips B, Shuhou C, Wenxian D, Changsha Bullet Kuchu Silk Book.

4. Li Si, the prime minister of Qin Dynasty, adopted a new biography to make () P22.

A, Cang Xie B, Ethan C, Bo Xue D, Wen Zhi

5. Cao, a calligrapher in the late Eastern Han Dynasty, founded a calligraphy school, namely () P47.

A, seal script school b, official script school c, running script school d, cursive script school

6. The author of He Jie Biao is () P58.

A, Huang Xiang B, Suo Jing C, Wang Xianzhi D, Zhong You

7. Wang Xizhi's early works still retain traces of official script. This handed down work is () P66.

A, Lanting preface B, menstruation sticker C, first month sticker D, He Jie watch

8, luoyang longmen statue, Yang carved statue is () P85.

A, Niu Mi Statue B, Yao Boduo Brothers Statue C, Statue D, Stone Statue

9. Create a cursive writing mode is () P99.

A, Emperor Taizong B, Wu Zetian C, Li Yi D, Chu Suiliang

10, a self-report post written by Huai Su, a monk in the Tang Dynasty, belongs to () P 1 17.

A, grass b, grass c, weeds d, grass.

1 1, Song Taizong Zhao Xiu's "Chunhua Pavilion Post", among which the works of Wu Xizhi and Wang Xianzhi account for about () P 132.

A, a third of b, a quarter of c, half of d, all of them.

12, Su Shi's masterpiece is known as "the third running script in the world" () P 148.

A, Fengle Pavilion B, Huangzhou Cold Food Poetry Post C, Zuiweng Pavilion D, Du Fu Alnus Poetry Post

13, the overall feature of calligraphy circle in Yuan Dynasty is () P 175.

First, revive the book style of Jin and Tang Dynasties; B, continue the book style of the Song Dynasty; D, integrating the North-South book style; Pursuing personality liberation.

14. The close combination of calligraphy and Chinese painting has become a fashion of the times, which originated from () P 176.

A, Tang B, Song C, Yuan D, Ming Dynasty

15, the "Three Songs" in the early Ming Dynasty, besides Song Ke and Song Guang, there is also () P205.

A, Song Lian B, Song Mao C, Song Sui D, Song Yu

16, what Yuan Hongdao called "eight methods to scatter saints, and the word Lin Xia" is () P23 1.

A, Xu Wei B, Fu Shan C, Zhang Ruitu D, Wang Duo

17, Dong Qichang, a calligrapher under the influence of personality liberation in the late Ming Dynasty, advocated () P230.

A, tiancheng b, childlike innocence c, spirituality d, will

18, the calligraphy styles of calligraphers such as Cha Shibiao, Shen Quan and Jiang in the early Qing Dynasty continue to belong to () P246.

A, Zhao's style of calligraphy b, Dong Qichang's style of calligraphy c, monument's style of calligraphy d, monument's style of calligraphy.

19, the calligrapher of the Qing Dynasty who is called "Prime Minister with thick ink, but flowers with light ink" is () P263.

A, Liu Yong, B, Liu Yong, C, Weng Fanggang, D, Weng Tonghe,.

20. Kang Youwei's epigraphy thought is embodied in his works, namely () P278.

A, North-South Calligraphy School B, North Monument South Post C, Art Boat Double Boat D, Guangyizhou Double Boat

Second, multiple-choice questions (2 points for each small question, a total of 16 points)

2 1, belonging to Qin Shu octahedral () () () () P22.

A, big seal B, small seal C, official script D, insect script E, cursive script

22. The inscriptions on official scripts in the Eastern Han Dynasty are () () () P34.

A, Xiyue Huashan Temple Monument B, Yiying Monument C, Shi Chenbei Monument D, Liyue Monument E, Xianyu Emperor Monument

23. There are not many inscriptions in the Southern Dynasties, but () () () P79.

A, Longyan Monument B, Baozi Monument C, heming Monument D, Zhang Menglong Monument E, Gaoling Temple Monument

24. The representative works of Yan Zhenqing's regular script are () () () P 12 1.

A, Duobaota Monument B, Yanbei C, Huazan D, Datang Zhongxing Ode E, Monk Monument

25. In addition to land travel, there are () () () () P 16 1.

A, Fan Chengda B, Wu Ju C, D, Zhu E,

26.◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎◎9678

A, B, Chu Cai C, D, Zhao Shiyan E, Bo Yu

27. The representative figures of Wumen Calligraphy School are () () () () P2 15.

A, Tang Yin B, Wen Zhiming C, Zhu Yunming D, Chen Chun E, Chong Wang

28. Zhu Yunming's family origin has the deepest influence on his calligraphy thought () () () () () () P2 15.

A, Xu Youzhen B, Wang Ao C, Shen Zhou D, Wu Kuan E, Li Yingzhen

Three. Distinguish questions (2 points for each small question, 4 points in total)

29. Figure 1 shows the Western Zhou Dynasty (Mao era) (name of the work).

30. As shown in Figure 2, Zhong You (time and author) recommended the Three Kingdoms and Four Seasons (title of the work).

Figure 1 see page 9 of the textbook, and figure 2 see page 58 of the textbook.

Four. Noun explanation (3 points for each small question, total 15 points)

3 1, Oracle Bone Inscriptions P4

32. Qin imperial edict version

33. Four schools in the early Tang Dynasty P 100

34.tiger P202

35. On the North-South Calligraphy School P268

V. Short answer questions (5 points for each small question, total 15 points)

36. What is "official change"? P 15

37. Briefly describe the overall characteristics of calligraphy in the Sui Dynasty. P93

38. Briefly describe how Yun Jian Calligraphy School was formed. P225

Six, essay questions (15 points for each small question, a total of 30 points)

39. Try to explain the reasons why Wei and Jin calligraphy occupies a very prominent position in the history of calligraphy. P5 1

40. Try to describe the characteristics of Mi Fei's calligraphy style and the formation process of his calligraphy style. P 152

I. Multiple choice questions

BBAAA DBDAC CBACC ADBAD

2. Multiple choice problem

2 1、ABCD 22、ABCDE 23、AC 24、ABCD 25、ADE 26、AC 27、BCDE 28、AE

Jiangsu province higher education self-study exam in the second half of 2004

8874 seal cutting history of China

I. Multiple-choice questions (65438+ 0 for each small question, total 15)

1. The three bronzes unearthed in Anyang are the oldest known seals, and the academic circles call them () P4.

A, totem B, Shang 'er C, Qin 'er D, Hanyin

2. There are two kinds of official seals in Yuan Dynasty, besides writing in Chinese, there are also () writing. P 19

A, Tibetan B, Manchu C, Bathba D, Tadpole

3. In the early Ming Dynasty, Liu Ji's Xue Feilu said: "At the beginning, no one carved stones with anthers, which began with Shannong." Shan Nong means () P35.

A, Wu B, Liu Ji C, Wen Peng D, Wang Mian

4. There are many schools of seal cutting in Ming Dynasty, and the representative of "Sanqiao School" is () P53.

A, Wen Peng B, He Zhen C, Su Xuan D, Zhu Jian

5, the editor of the Ming dynasty "set ancient printed spectrum" is () P54.

A, Gu Congde B, C, Hu D, Wang Guan

6. In the Han Dynasty, the printing grade was strict, and it was stipulated to print by grade, such as the commonly used printing name () P 10.

A, Er B, Zhang Bing, Yin Ding, Ji

7. Huang Shiling, a famous seal engraver in Qing Dynasty, founded his own unique seal engraving school, which was later called () P 100.

A, Zhejiang School B, Huizhou School C, Surabaya School D, Yishan School

8. Huang Mufu's seal cutting style can be summarized as () P 100.

A, seeking elegance in fluency; B, seeking simplicity in fluency; C, see elegance in the vastness; D, see the ancient thickness in the vast expanse.

9. Japanese seal cutting spread in the late Ming and early Qing Dynasties, and the greatest achievement was Zhejiang monk () P74.

A, Cheng Yi B, Jing Zhai C, Independent D, Huineng

10, He Zhen is lyrical and sharp-edged, and his printing style is rated as () P4 1.

A, fierce b, cool c, rude d, presumptuous

1 1. The popularity of seal cutting became a phenomenon in the Republic of China. The author of Introduction to Seal Cutting is () P 152.

A, holes B, C, D, Sha Menghai

12, Erjin Dietang print is a collection of works by seal engravers in Qing Dynasty, and the author is () P94.

A, Wu Xizai B, Zhao C, Zhao D, Wu Changshuo

13, seal engravers such as Gao, Jin Nong and others gathered at () P75.

A, Hangzhou B District, Suzhou C District, Yangzhou D District, Changzhou District

14, Qi Baishi's seal cutting benefited from a lot of calligraphy, in addition to "A Monument to the San Gong Mountain", there is also () P 148.

A, Oracle Bone Inscriptions B, Yishan Monument C, Shi Guwen D, Tianfa Monument

15. The modern seal engraver known as "the first in modern Yuan Zhuwen" is () P 140.

A, Chen Julai B, Wu Changshuo C, Shi Zhao D, Qian Shoutie

Second, multiple-choice questions (2 points for each small question, a total of 10 points)

16, the origin of seals can generally be traced back to () () () P 1.

A, depicting b, printing c, casting d, drawing e, and tying rope.

17. Ancient seals developed into seal cutting. Taking the Yuan Dynasty as the turning point, the founder of seal cutting theory is () () () P32.

※ A, Wang Mian B, Wu C, Zhao Mengcheng D, Ke E, Wu.

18, the second seal changed from practicality to appreciation, and the Tang, Song and Yuan dynasties made preparations for the prosperity of seal cutting in the Ming Dynasty, mainly in () () P28.

A, the collection of calligraphy and painting leads to the change of seal from practical to ornamental; B, the introduction of printed music leads to appreciation; C, calligraphy theory's introduction of printing theory; The influence of seal script on seal cutting; There are many schools of seal cutting by literati.

19, there was a brief "cloud school" in Indian shrines in the Qing Dynasty, which represented that Indians had () () () P87.

A, Ba Weizu B, Wang C, D, Ju E, Cheng Sui

20. Xiling Printing Factory was founded in Guangxu period by () () () P 123.

A, Ding Ren B, Wang Ti C, Ye Weiming D, Wu Yine, Li Shutong

Three. Discrimination problem (3 points for each small question, total 12 points)

2 1 and figure 1 display (a)

A, Shanger B, Qiner C, Yuaner D, Song Yin

22. Figure 2 shows (d)

A, China and India B, Deng Style C, Huizhou School D, Zhejiang School

23. Figure 3 shows (a)

A, B, C, D and Wu Xizhai.

24. Figure 4 shows (b)