问题 问答题 简答题

中国古典园林的产生与发展经历了哪几个时期?分述这些时期的特点及成就。

答案

参考答案:

①生成期:皇家园林规划宏大、气魄雄浑、成为这个时期造园活动的主流:殷、周朴素的囿;秦汉建筑宫苑和“一池三山”;西汉山水建筑园。

②转折斯:初步确立了园林美学思想。南北朝自然山水园;佛寺丛林和游览胜地。

③全盛期:园林发展进入了盛年期,作为一个园林体系,所具有的风格特征基本形成。隋代山水建筑宫苑;唐代宫苑和游乐地,唐代自然园林式别业山居;唐宋写意山水园。

④成熟时期及成熟后期:园林的发展,一方面继承前一时期的成熟传统,而更于精致,另一方面暴露出某些衰颓的倾向。北宋山水宫苑;元、明清宫苑;

阅读理解与欣赏

被时间决定的讲述

张锐锋

①我来到一个古老的村庄,帝舜耕作过的地方。从早上开始,我亲眼目睹了村民们一天的生活。

②鸡叫声是一天生活的起点。不到早上六点钟,鸡鸣响起,几千年来,这样的永不毁坏的大自然的钟表,精确无比。它总是将人的生活正点代入一个不朽的方程式,只是得出的答案日日常新。林一家人开始起床,林的老父亲年过古稀,照常起来做第一件事情:劈柴。锋利的斧头,在暗淡的天光里发出黑蓝的光,一个还未来得及被完全照亮的人的轮廓,用有点笨拙的姿势,预备一天的炊火之薪。斧头上下挥动,从高过头顶的地方,借取了这一高度上的自然能量,猛烈地越过空间。这一动作,这一被压缩了的短暂时间,以及啪的一声闷响,劈木开裂,舜的以前或舜的以后,从未改变。

③林的妻子早晨的第一件事就是打开鸡栅,一群鸡涌到院子里。她撒一把米,鸡们怀着感激之情扑动翅膀,争夺地上的米粒。然后她开始拿起扫帚打扫庭院,就像每天洗脸一样,对生活的敬畏含于其中。村庄的独特声息渐渐大了起来,那种类似于琴瑟的音乐之声,优雅,古老,节奏鲜明。这与城市庞大、庞杂的噪音能量不同,它代表着清淡、恬淡、恬静的基本秩序。林和大儿子一起,到院外的柿树上采摘柿子。邻居们做各自的事情,狭窄街道旁边的一块空地上,古老的笨重石磨转动起来,金黄的玉米被缓缓磨成面粉。一切劳动几乎没有语言的参与,似乎没有什么事情值得交谈。然而,这一点儿也没有损害劳作中的默契,仿佛一出戏剧的出演,已经经过了预先的排练。

④秋天就要过去,天气仍很暖和。地里的活儿已经做完,再有一场雨,就可以把冬小麦种好,那时的庄稼人就可以享受一年中最安逸的季节了。林这些天的习惯性动作,就是仰望天空,蓝,蓝,白云停留一会儿,就又很快散尽,剩下的,仍然是蓝。趁着这样的间隙,邻居开始盖房,林和妻儿前去帮工。他的老父亲则挑着柿子到河边的石头上晾晒,顺手用小刀将柿子皮削掉,以利于它的水分很快蒸发,以便在冬天贮存。河边的大石头献出了自己的平面,供老人坐下,他眯起眼睛发呆地望着远方。他在想什么?我们谁也不可能猜到。也许他所想的仅仅是眼前的一片蓝,天边的蓝。

⑤天很快就黑了下来。一天的光阴就像几千年的光阴,简单而迅忽。林的一家人陆续回到家中,林对着墙壁上挂着的日历,沉思了好久,好像想起了什么,又好像忘掉了什么,总之,他犹豫了一会儿,然后用老茧坚硬的大手,粗暴地撕下了一页。用大大的黑体字标着阿拉伯数字的日历,和造币厂刚刚印制的崭新纸币一样,挺括,坚韧,在黑夜到来前的最后时刻闪着光,它用每一个唯一的日子作为自己的防伪标志,一个日子根本不会与另一个日子混淆,只是在撕下它的一瞬,发出嗤的一声,尖锐,迅疾,刺激,不容置疑。一天的终结,多少年的终结,嗤的一声嘶裂。

⑥晚饭后才开了灯,一盏15瓦的灯泡,将并不明亮的光射向每一个角落,人们的脸庞现出明暗的分界,夸张的塑像都坐在小板凳上,一台14英寸的黑白电视机屏幕,在一片雪花斑点里推出了清晰度很差的人影,繁忙喧嚣的城市场景,豪华汽车和别墅,高架公路和人行天桥……奢华的生活只露出冰山一角,已经足够让人震惊。对于林一家人来说,电视剧中讲述的不过是一个传说,一个神话,和远去的舜的故事几无区别,甚至他们更相信后者。

⑦这个古老村落里的人们,几千年来恪守自己的寂静生活,按部就班,连步履也是那样从容、谨慎、不慌不忙,完全符合自然地悠悠节奏。但是其中仍然藏着神奇,平凡比非平凡可能更有价值,或者说,平凡乃是非平凡的极限。

(节选自《被时间决定的讲述》,有删改)

小题1:本文采用了什么叙述方式?有何好处?(5分)

小题2:如何理解文中画线部分的含意?(4分)

小题3:以③④段为例,简要分析本文语言上的特点。(4分)

小题4:你认为本文表达了怎样的思想情感?请结合文本作简要分析。(6分)

单项选择题

We live in an age when everyone is a critic. "Criticism" is all over the Internet, in blogs and chat rooms, for everyone to access and add his two cents’ worth on any subject, high or low. But if everyone is a critic, is that still criticism Or are we heading toward the end of criticism If all opinions are equally valid, there is no need for experts. Democracy works in life, but art is undemocratic. The result of this ultimately meaningless barrage is that more and more we are living in a profoundly-or shallowly-uncritical age.
A critic, as T. S. Eliot famously observed, must be very intelligent. Now, can anybody assume that the invasion of cyberspace by opinion upon opinion is proof of great intelligence and constitutes informed criticism rather than uninformed artistic chaos
Of course, like any self-respecting critic, I have always encouraged my readers to think for themselves. They were to consider my positive or negative assessments, which I always tried to explain, a challenge to think along with me: here is my reasoning, follow it, then agree or disagree as you see fit. In an uncritical age, every pseudonymous chat-room chatterbox provides a snappy, self-confident judgment, without the process of arriving at it becoming clear to anyone, including the chatterer. Blogs, too, tend to be invitations to leap before a second look. Do the impassioned ramblings fed into a hungry blogosphere represent responses from anyone other than long-heads
How has it come to this We have all been bitten by television sound bites that transmute into Internet sound bytes, proving that brevity can also be the soul of witlessness. So thoughtlessness multiplies. Do not, however, think I advocate censorship, an altogether unacceptable form of criticism. What we need in this age of rampant uncritical criticism is the simplest and hardest thing to come by.. a critical attitude. How could it be fostered For starters, with the very thing discouraged by our print media: reading beyond the hectoring headlines and bold-type boxes embedded in reviews, providing a one-sentence summary that makes further reading unnecessary. With only slight exaggeration, we may say that words have been superseded by upward or downward pointing thumbs, self-destructively indulging a society used to instant self-gratification.
Criticism is inevitably constricted by our multinational culture and by political correctness. As society grows more diverse, there are fewer and fewer universal points of reference between a critic and his or her readers. As for freedom of expression. Arthur Miller long ago complained about protests and pressures making the only safe subjects for a dramatist babies and the unemployed.
My own experience is that over the years, print space for my reviews kept steadily shrinking, and the layouts themselves toadied to the whims of the graphic designer. In a jungle of oddball visuals, readers had difficulties finding my reviews. Simultaneously, our vocabulary went on a starvation diet. Where readers used to thank me for enlarging their vocabularies, more and more complaints were lodged about unwelcome trips to the dictionary, as if comparable to having to keep running to the toilet. Even my computer keeps questioning words I use, words that can be found in medium-size dictionaries. Can one give language lessons to a computer What may be imperiled, more than criticism, is the word.
I keep encountering people who think "critical" means carping or fault-finding, and nothing more. So it would seem that the critic’s pen, once mightier than the sword, has been supplanted by the ax. Yet I have always maintained that the critic has three duties: to write as well as a novelist or playwright; to be a teacher, taking off from where the classroom, always prematurely, has stopped, and to be a thinker, looking beyond his specific subject at society, history, philosophy. Reduce him to a consumer guide, run his reviews on a Web site mixed in with the next-door neighbor’s pontifications, and you condemn criticism to obsolescence. Still, one would like to think that the blog is not the enemy, and that readers seeking enlightenment could find it on the right blog just as in the past one went looking through diverse publications for the congenial critic. But it remains up to the readers to learn how to discriminate.

When the author thinks that the critic has three duties of: novelist or playwright, "teacher" and "thinker", he probably means that a critic should be equipped with all of the following qualities EXCEPT ______.

A.original thinking

B.enlightened instruction

C.philosophical insight

D.matter-of-fact attitude