1, outer inner circle
2. Pottery basin
3. Translation by ceremony officer Lu Dongzan Tong
4. The underground world on earth
5. You Chuntu
6. Xu Beihong
Second, the single choice
1——5:CBDBA
6—— 10:ADABB
Third, the noun explanation:
1，A:
I also need to make a map of pure land change. Commonly known as pure land mandala. Refers to the images or sculptures depicting pure land buddhas and bodhisattvas, saints and various solemn installations, so as to present the scene of pure land. As opposed to "disguised hell". Change has two meanings, namely: (1) the meaning of movement, that is, the picture does not move but draws various movements of bliss, so it is called disguised form. (2) Realize the meaning of disguised form by painting various phases of pure land. The transformation of pure land is due to the popularity of pure land belief. With the popularity of beliefs such as pharmacists, Guanyin and Maitreya, there are many kinds of pure land transformation. The types of disguised forms can be divided into: (1) Pure Land Change in Lushenao, that is, Lotus, China and Tibet world centered on Lushenao Buddha. (2) The Change of the Pure Land of Lingshan is a painting by jiusan (Gaojue Mountain), a Buddhist deity. (3) The change of pharmacists' pure land is a description of the oriental pure glass world. (4) The change of Maitreya Pure Land depicts the place where the Buddha is about to become a Buddha, and the pocket of the Bodhisattva leads to the Heavenly Palace. In addition, there is the change of the pure land compiled by Guanyin. The most popular pure land is the change of Amitabha's western pure land.
2. a:
"Nature" refers to nature, and "mind source" refers to inner feelings. It means that artists should learn from nature and combine their inner feelings to create good works.
Fourth, short answer questions
1，A:
Ritual vessels are an important symbol of the identity and status of ancient nobles, and they are the patents of nobles. As a tool to maintain the patriarchal society of slavery, bronze ritual vessels were sanctified by the rulers at that time. This is a remarkable feature that distinguishes China's ancient bronze culture from other countries, that is, it is closely related to the political life of the country at that time. The unusually developed bronze ritual vessels reflect the political civilization of the Bronze Age.
2. a:
1. is tall and similar in size to a real person or a real horse. The large number of people shows great spirit and great strength. The image records many real soldiers of Qin State with individual characteristics, which is a true portrayal of the army of Qin State. Strictly simulate the real thing and strive to be similar to the real thing. The height, size, face shape and hairstyle of various samurai characters are very rigorous and serious. It focuses on presenting the overall situation in an exquisite way. In order to achieve vivid and vivid effects, they all made necessary artistic exaggeration and key portrayal. For example, the author does not stick to depicting the truth of hair roots, but uses exaggerated methods to shape angular beards, especially beards, some of which are flying, some are erect, and some are rolled up. This kind of exaggeration will not surprise and distort people, but will help to express the spirit and temperament of the characters and make their personality very distinct. The hair of some pottery figurines is carved into a melon-shaped shape, and hills and valleys appear alternately; Some are like big splashes of ink in a painting, rising and falling, and the waves fluctuate. This not only enhances the fluffy texture of hair, but also shows the open-mindedness of the role.
The modeling of Terracotta Warriors and Horses also integrates the external form with the internal spiritual temperament, which embodies the traditional aesthetic requirements of China. Qin terracotta warriors and horses not only successfully grasped the whole, but also paid attention to the description of details. They organically combine round carving, relief carving and line carving in technique, which not only shows the body, quantity and shape of a large-scale three-dimensional image, but also does not rule out the fine depiction of various rhythm lines in some details, which sets off the dynamics of the characters and enhances the realism of the characters, which indicates that the sculpture art has entered a mature stage.
2. The expression description of Qin Terracotta Warriors and Horses is good at grasping the personality characteristics and mental outlook of different identities and figures, and has shaped generals including different ranks; Many soldiers with different arms, different ages, different faces and different personalities, as well as various figures from different regions and nationalities such as Guanzhong, Southwest and Northwest.
3. The painting art of Qin figurines is characterized by bright colors and strong contrast. The clothing colors of Qin terracotta warriors are mainly red, green, pink purple and sky blue. In the relationship between painting and modeling, it is noted that the two complement each other and cooperate with each other, showing the artistic effect of combining painting and modeling.
In a word, the art of Qin figurines left a deep impression on people. His artistic expression is realistic and vivid, which is inherited by later generations. It can be said that it is a model in the history of ancient sculpture in China and a treasure in the treasure house of human culture in the world.
Verb (abbreviation of verb) works appreciation
1，A:
This galloping horse with four hooves spread out is vigorous and powerful, with its head held high and its tail wagged, its head slightly to the left, its three legs flying, and only its right hind foot landed on the back of a sparrow spreading its wings. The stout and round body of the steed shows its great strength, but its movements are so light that people seem to forget that it puts all its weight on a swallow with only one foot. It screamed, its mane and tail fluttering in the wind, full of "unconstrained style" pride; Yan Fei seems to be looking back and surprised at his unexpected meeting with Ma Ben. This is simply the true reappearance of the ancient poem "Whip a bird to fly"!
Every part of the horse's figure is extremely perfect and symmetrical, with a strong sense of movement and accurate balance. Obviously, the center of gravity of the sculpture is carefully calculated and firmly falls on one foot of the stepping bird. As a circular sculpture with three-dimensional space, it can achieve such extraordinary artistic effect, and the author's outstanding imagination, novel ideas and clever use of copper casting technology are amazing.
Flying Swallow on horseback is the crystallization of artists' high wisdom, rich imagination, romantic spirit and superb artistic skills in the Han Dynasty, and it is a rare treasure of ancient sculpture art in China.
2.A.
3.A.
4.A.
This painting depicts the marriage between Princess Wencheng, who was married by Emperor Taizong in the fifteenth year of Zhenguan (64 1), and Songzan Gambu, the king of Tubo. On the right side of the picture, Emperor Taizong is sitting on the webbed steps, surrounded by nine ladies-in-waiting, who shoulder the webbed steps and palm fans. The nine ladies-in-waiting of Emperor Taizong were petite and exquisite, some with webbed arms and fans, some with their heads held high, some with their heads held high, with different postures and expressions. Their body proportions were subtly reduced, which just set off Emperor Taizong sitting in the middle. Among the three figures on the left, the leader is the ceremonial officer in the foreman. Dressed in red and bearded, he looked calm and capable, guiding the Tibetan messenger Lu Dongzan to meet him. Lu Dongzan dressed in a small group of colorful clothes, while paying tribute, was introduced to Emperor Taizong by a courtesy officer. The behavior and appearance of Lu Dongzan and his party have strong plateau ethnic characteristics, and their facial expressions appropriately depict Lu Dongzan's wise, wise and modest personality characteristics. In the painting, Lu Dongzan is thin, wearing a flat-topped hat and a narrow-sleeved robe. His eyebrows rose slightly and he behaved modestly. Detail description, a face of awe, without losing the heavy appearance of the ambassador. The last person dressed in white may be an interpreter, dressed in white, holding a board, cautious and fearful. It strongly expressed the spirit of the Tang Dynasty.
Emperor Taizong's image performance is even more successful, showing extraordinary tolerance under the deep and modest appearance. This work faithfully shows the friendly exchanges between the central government and the remote ethnic groups in the Tang Dynasty, and it still has important historical value. Although Lu Dongzan is the king of a country, he is still inferior to the emperor in the Tang Dynasty, so the choice of characters determines the status of Emperor Taizong, who is the most authoritative and unparalleled in the picture. The painter not only depicts the modest manner of Emperor Taizong, but also sets off his steadiness and prudence with the gentleness of women around him, and sets off the greatness of Datang with Lu Dongzan's figure and manner.
From the composition point of view, this painting obviously divides all the characters into two groups: the three people on the left line up in turn with the axis of the picture as the boundary, orderly, without any decoration, and slightly restrained in the rules; On the right, the figures with Emperor Taizong as the center, the images of ladies surrounded by them, and decorations such as "two screen fans", "displaying banners" and "stepping on chariots" naturally divide the layout of the characters into different roles according to their functions. The fluttering clothes of ladies and the classical fluttering in the wind deliberately depict a kind of gentle, serene and kind mood. This contrast, especially the translator's cautious and fearful attitude, is in sharp contrast with the expressions of elegant and generous ladies. A kind of relaxation, a kind of softness, and a combination of rigidity and softness make people's vision fully enjoyed. Just like the left hand accompaniment when we play the piano, it is steady and low; The right-hand high-pitched area shows gorgeous but not vulgar skills; Echo each other, harmonious and orderly.
The author skillfully uses the color matching between the classical ceiling and the ladies-in-waiting costumes to set off a peaceful and festive atmosphere.