[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"$fA081k2K98dg3SEiJvjvR5Xw8lDLxkL6Fee7070PZ4ec":3},{"answer":4,"createTime":5,"id":6,"options":7,"origin":12,"question":15,"related":16,"source":28,"type":39},[],"2025-03-31 08:36:18",1064668918,[8,9,10,11],"戏剧的&quot;综合空间&quot;指戏剧运用除戏剧以外的其他艺术来构造剧场空间,旨在达到视听完整统一的效果","&quot;戏剧体戏剧&quot;延续了古希腊思想家亚里士多德在《诗学》中提出的戏剧应具有情节等要素的观点,戏剧应模仿生活,其发展到极致就是自然主义的戏剧","&quot;叙述体戏剧&quot;观念由德国戏剧家布莱希特提出,目的是在模仿现实生活的戏剧观念之外,通过&quot;陌生化&quot;的效果,发展一种供观众理性思考的戏剧","&quot;后戏剧剧场&quot;观念并不呼吁把戏剧艺术从文学中独立出来,它不排斥戏剧文本",{"courseImg":13,"courseName":14},"https:\u002F\u002Ftihai-oss-cloud.itihey.com\u002Fimg\u002F9219774276d74c206a30a13f3e903df4.jpg","[AI课]艺术与审美","以下关于戏剧的说法,错误的是",[17,30,40,49,58,67,76,85,94,103],{"answer":18,"createTime":19,"id":20,"options":21,"question":27,"source":28,"type":29},[],"2025-03-31 08:36:19",1064668820,[22,23,24,25,26],"艺术是生活的本质的再现","艺术表现想象力","艺术表现自由的感觉","艺术表现情感","优秀艺术品总是天才的创造","以下符合艺术表现论原理的表述有:( )","v2",1,{"answer":31,"createTime":5,"id":32,"options":33,"question":38,"source":28,"type":39},[],1064668825,[34,35,36,37],"所谓&quot;平&quot;,是指运笔时用力平均,起讫分明,笔笔送到,既不柔弱,也不挑剔轻浮","所谓&quot;圆&quot;,是指行笔转折处要圆而有力,不妄生圭角","所谓&quot;留&quot;,是指运笔要含蓄,要有回顾,不急不徐,不浮不滑,不放诞犷野","所谓&quot;重&quot;即沉着而有重量,要如&quot;高山坠石&quot;,不能象&quot;风吹落叶&quot;,即古人说的&quot;笔力能扛鼎&quot;的意思","&quot;锥画沙&quot;是一种什么样的用笔技法",0,{"answer":41,"createTime":5,"id":42,"options":43,"question":48,"source":28,"type":39},[],1064668828,[44,45,46,47],"&quot;国剧之本质,是艺术不是剧本.&quot;这说明戏曲表演最本质的特征是其程式化的表演,因此,行当程式、四功五法是戏曲本体之所在","面对西方戏剧的冲击,戏曲不能&quot;破格&quot;、&quot;创格&quot;,而应该&quot;守格&quot;,只有这样,才能保有中国艺术主体的纯粹性","中国戏曲艺术的总体特征是程式化、歌舞化、虚拟性、综合性","从上世纪三十年代梅兰芳访苏到新世纪初昆曲名列&quot;人类口头和非物质遗产代表作&quot;,事实证明,只有最精微的艺术才最能体现一个民族的审美特质","下列关于戏曲艺术的说法,哪一种最为恰当",{"answer":50,"createTime":5,"id":51,"options":52,"question":57,"source":28,"type":39},[],1064668872,[53,54,55,56],"硬板阶段","胶片阶段","数码阶段","机械阶段","摄影的发展可以概括为三个阶段,以下选项中,不属于摄影发展阶段的是",{"answer":59,"createTime":5,"id":60,"options":61,"question":66,"source":28,"type":39},[],1064668874,[62,63,64,65],"巴米扬石窟","云冈石窟","麦积山石窟","龙门石窟","石窟是古代艺术、宗教和文化的宝库,中国古代雕塑有一部分就出自石窟.以下哪一石窟不在中国",{"answer":68,"createTime":19,"id":69,"options":70,"question":75,"source":28,"type":29},[],1064668877,[71,72,73,74],"&quot;文&quot;与&quot;艺&quot;相通,而&quot;道&quot;是根本;&quot;道&quot;指世界变化的最终原因,&quot;文&quot;、&quot;艺&quot;是世界变化的感性显现形式,艺术是&quot;道&quot;的显现","扬雄《法言》里讲到:&quot;故言,心声也;书,心画也.&quot;这种观点可以和西方的艺术表现论相互沟通","从魏晋南北朝到唐代,&quot;感兴论&quot;逐渐成为中国人的普遍的艺术观念","《论语》记载孔子说&quot;诗可以兴&quot;,这里的&quot;兴&quot;,就是兴发、感动,&quot;诗可以兴&quot;可以看作艺术的&quot;感兴论&quot;的一种表述","关于中国的艺术观念,下列说法正确的是",{"answer":77,"createTime":5,"id":78,"options":79,"question":84,"source":28,"type":39},[],1064668910,[80,81,82,83],"唐代画家张璪的这八个字是中国绘画美学的纲领性的命题","&quot;造化&quot;即生生不息的万物一体的世界,亦即中国美学说的&quot;自然&quot;","&quot;心源&quot;是说&quot;心&quot;为照亮万法之源.这个&quot;心&quot;,是非实体性的、生动活泼的&quot;心&quot;","&quot;外师造化,中得心源&quot;是&quot;造化&quot;与&quot;心源&quot;在主客二分基础上的统一(认识论意义上的统一)","下列对于&quot;外师造化,中得心源&quot;的理解哪一种不正确",{"answer":86,"createTime":19,"id":87,"options":88,"question":93,"source":28,"type":29},[],1064668911,[89,90,91,92],"人生境界包括一个人的情感、欲望、志趣、向往、追求等","人生境界是一个人的精神世界的整体,是人生的意义和价值","人生境界指引着一个人的各种社会行为的选择","近代学者王国维在《人间词话》中提出的&quot;境界&quot;,就是指人生境界","下面关于人生境界的说法,正确的是",{"answer":95,"createTime":5,"id":96,"options":97,"question":102,"source":28,"type":39},[],1064668915,[98,99,100,101],"无锡寄畅园&quot;知鱼涧&quot;&mdash;&mdash;《庄子》:&quot;鲦鱼出游从容,是鱼乐也&hellip;&hellip;子非鱼,安知鱼之乐?&hellip;&hellip;&quot;","绍兴&quot;流觞亭&quot;&mdash;&mdash;王羲之《兰亭集序》:&quot;永和九年,岁在癸丑,暮春之初,会于会稽山阴之兰亭,修禊事也&hellip;&hellip;&quot;","苏州拙政园&quot;留听阁&quot;&mdash;&mdash;李商隐:&quot;秋阴不散霜飞晚,留得枯荷听雨声.&quot;","苏州网师园&quot;竹外一枝轩&quot;&mdash;&mdash;苏轼:&quot;竹外桃花三两枝,春江水暖鸭先知.&quot;","在中国,为了体现建筑空间的意境之美,文人墨客多为之题匾立碑.以下题匾与诗文不符的是",{"answer":104,"createTime":5,"id":6,"options":105,"question":15,"source":28,"type":39},[],[8,9,10,11]]