1. In our book room, we also need other tools like: ( )shuidi, seal clay, and so on.
在文房中，我们还需要（ ）、水滴、印泥等。
A:woolen felt 羊毛毡
B:paperweight 镇纸
C:water pots 笔洗
D:seals 印章
答案:AI参考:正确选项为：A:woolen felt 羊毛毡 B:paperweight 镇纸 D:seals 印章。\n\n文中提到“In our book room, we also need other tools like”，表明此处列举的是文房中的其他工具，结合选项可知，选项A和B都是常见的文房用品，选项C中的“水盆”不是文房用品，而选项D中的“印章”属于印泥的一部分，故应选ABD。'
2. Which seal calligraphers followed the way of Li Yangbing's writing seal script during Tang and Song period? 唐宋时期哪些篆书家是沿用李阳冰的表达方式？（ ）
A:Guo Zhongshu 郭忠恕
B:Deng Shiru 邓石如
C:Xu Xuan 徐铉
D:Meng Ying 梦英
答案:AI参考:唐宋时期沿用李阳冰的表达方式的有邓石如。\n\n所以，正确选项是B:Deng Shiru 邓石如。'
3. It is related to the Egyptian hieroglyphs and the cuneiform script of the Mesopotamia plain, and the seals we use are also related to these civilizations of ( ). 这种文字无论跟是埃及的象形文字，还是两河有流域的楔形文字，都有一定的相关性，包括我们在使用的这些印章啊也是跟（ ）文明有一定的关联性。
A:Mesopotamia plain area 美索不达米亚平原地区
B:Persia area 波斯地区
C:Middle Asia area 中亚地区
D:Mediterranean area 地中海地区
答案:AI参考:正确选项为：A:Mesopotamia plain area 美索不达米亚平原地区。\n\n文本中提到了与埃及的象形文字和两河楔形文字相关的文字，而“两河”流域就是指“美索不达米亚平原地区”，因此，该句描述的是与美索不达米亚平原地区的文明相关的文字和印章。其他选项中，波斯地区、中亚地区、地中海地区与文本描述的内容不相关。'
4. But such works in show rooms are not ( ), as the Chinese aesthetic may still be biased towards neutral visual experience. 但是展厅里的作品并不（ ），因为中国人的审美可能还是会偏向于中和的视觉体验。
A:suitable for a home environment 适合居家环境
B:be able to stand the visual test for a long time不一定能经受得住长时间的视觉考验
C:big and small sizes 尺寸大小
D:wet and dry 枯湿
答案:AI参考:正确选项为【B:be able to stand the visual test for a long time不一定能经受得住长时间的视觉考验】。\n\n句子中提到了“But such works in show rooms are not”，根据上下文推测，这句话的意思是在展厅里的这些作品不一定能够经受得住长时间的视觉考验，也就是说，它们可能并不会长时间吸引人们的目光。因此，选项B“be able to stand the visual test for a long time不一定能经受得住长时间的视觉考验”最符合句意。其他选项中，A选项“suitable for a home environment”和C选项“big and small sizes”都与句意无关，D选项“wet and dry”也不符合句意。'
5. This course introduced the tools needed to write calligraphy. The main ones are the 'four treasures’ in our book room – ( ). As the old Chinese saying goes, "If you want to do a good job, you must first make good use of the tools", which refers to the importance of tools. 这节课介绍了写书法所需要的工具。最主要就是有“文房四宝”之称的（ ）。中国古话讲“工欲善其事，必先利其器”，说的就是工具的重要性。
A:paperweight 镇纸
B:brush 笔
C:paper 纸
D:ink 墨
E:ink stone 砚
答案:AI参考:正确选项是【B:brush 笔 E:ink stone 砚】。\n\n文章中提到“主要就是有‘文房四宝’之称的”，而“文房四宝”是指笔、墨、纸、砚，所以选项B和E是正确的。而paperweight不是文房四宝之一，它通常指的是放在文件或纸张下面的重物，防止文件滑动。因此选项A不正确。文章中没有提到纸，所以选项C不正确。墨是用来写字的，而砚是用来研墨的，所以选项D也不正确。'
6. How does one acquire an aesthetic appreciation of Chinese calligraphy? 怎么去获得对于中国书法的审美呢？ （ ）
A:to understand traditional Chinese aesthetics 了解中国传统美学
B:to appreciate different calligraphy works 欣赏不同的书法作品
C:to travel in China 在中国旅游
D:to learn Chinese philosophy 学习中国哲学
答案:AI参考:正确选项为B:to appreciate different calligraphy works 欣赏不同的书法作品。\n\n审美能力的提升需要多欣赏不同的书法作品，通过观察、分析和理解，逐渐形成自己的审美观点和标准。选项A、C、D虽然也与审美有关，但并不是获得中国书法审美能力的直接途径。因此，欣赏不同的书法作品是获得中国书法审美能力的最佳途径。'
7.Although the writing itself may not seem that difficult, it can be very challenging if you want to get it right. 尽管书写本身看起来没有那么难，但是如果你想把字写好是非常有难度的。 （ ）
A:错
B:对
答案:AI参考:正确答案是B:对。这句话的意思是，尽管书写本身可能看起来并不难，但是如果你想要写得好，它可能会非常具有挑战性。因此，选项B“对”是正确的答案。'
8.In the ancient books, we always see the stories about the great people who created the characters, and then the ghost cried and the crops rained. We just open the book shuowenjiezi , the first dictionary in the Chinese history, we can see the record in the preface of the book.文献记载中，古代中国人不止一次地提到仓颉、伏羲这样的神话人物创造了文字，当文字创造以后，甚至 “泣鬼神，天雨粟”。《说文解字序》中就有记载。（ ）
A:对
B:错
答案:AI参考:答案是A：对。\n\n根据题干中的描述，文献记载中提到古代中国人多次提到神话人物创造了文字，并且文字创造后出现了“泣鬼神，天雨粟”的现象。而《说文解字序》中也有类似的记载，因此可以判断选项A是正确的。选项B是错误的。'
9.One of the amazing things about calligraphy is that just because a work is appealing at first glance does not mean that it will stand the test of time. 书法里面有很神奇的一点在于，就是第一眼很吸引人的作品不代表它能经受住长时间的考验。（ ）
A:错
B:对
答案:AI参考:正确答案是B:对。\n\n根据句子结构和语境，这句话的意思是书法很神奇的一点在于，即使第一眼看上去很吸引人的作品，也不代表它能经受住长时间的考验。因此，该句表达的是一种客观事实，与选项B“对”相符。选项A“错”与句意不符。'
10.If you are not in good state, you may encounter obstacles and problems everywhere, so your expression will be less fluent and less satisfactory. “五乖”则可能处处碰壁，处处不顺畅，所以你的表达就会不那么流利，不那么理想。 （ ）
A:错
B:对
答案:AI参考:答案是B：对。\n原文中提到“五乖”可能会处处碰壁，处处不顺畅，导致表达不流利、不理想。因此，可以推断出原文作者认为如果状态不好，可能会遇到各种障碍和问题，导致表达不流畅和满意度降低。因此，该判断题为正确选项B。'
11.This course will be taught in English but will still be open to Chinese people. 本课程虽用英语讲授，但仍将面向国人开放。 （ ）
A:错
B:对
A:错 B:对 13.Mr. Sha Menghai said more than ninety years ago that if there had been good carvers in the Northern Wei, there would have been Zhao Mengfu style at that time. 沙孟海先生早在九十多年前就已经说过，如果北魏有好的刻工，那时候就应该有赵孟頫了。（ ）
A:错 B:对 14. There were no more changes in the script from Wei and Jin Dynasties to present day, it is just an era of（ ）. It can therefore be said that this script has influenced us for the longest time. 从魏晋一直到现在，字体就不再有什么变化，都是一个（ ）时代。因此也可以说它影响了我们最久。
A:seal script 篆书 B:regular script 楷书 C:clerical script 隶书 D:running script 行书 15. Wang Xun’s ( ) is authentically the earliest surviving works of celebrity. It is now in the Palace Museum in Beijing.王询（ ）是至今存世最早的名人真迹，现存北京故宫博物院。
A:‘Mid-Autumn Letter’ (‘Zhongqiu Letter’) 《中秋帖》 B:‘Mourning for Aunt Letter’ (‘Yi Mu Letter’) 《姨母帖》 C:‘Letter to Bo Yuan’ (‘Bo Yuan Letter’)《伯远帖》 D:‘Janurary Letter’ (‘Chu Yue Letter’) 《初月帖》 16. Who is the most important calligrapher in Yuan Dynasty? 元代最重要的书法家是谁？（ ）
A:Xianyu Shu 鲜于枢 B:Zhao Mengfu 赵孟頫 C:Deng Wenyuan 邓文原 D:Kangli Naonao 康里巎巎 17. Chinese characters have been in use for more than ( ) years, so they are truly the 'living fossil'. 中国汉字（ ）多年一直在使用，所谓“活化石”的称号名不虚传。
A:500 B:5000 C:3000 D:2000 18. The calligraphy profession was established in China in the ( ), but, because of the social circumstances of that time, it did not last long.
书法专业从上世纪的（ ）开始在中国成立，但是，因为当时的一些社会环境，并没有持续太久。
A:1960s 二十世纪六十年代 B:1970s 二十世纪七十年代 C:1980s 二十世纪八十年代 D:1990s 二十世纪九十年代 19. So today these stone drums are still preserved in ( ) . 所以今天这个石鼓还保存在（ ）。
A:National Museum of China 中国国家博物馆 B:Palace Museum in Beijing 北京故宫博物院 C:Palace Museum in Taipei 台北故宫博物院 D:Shanghai Museum上海博物馆 20. Calligraphy was opened as a specialty at ( ) , and after the reform and opening up of the country, undergraduate and postgraduate students were recruited, making calligraphy an art discipline under fine arts, 书法作为一个专业开设在（ ），并且在改革开放以后，本科、硕博研究生的招收，使得书法成为了一个美术学下面的艺术门类。
A:academy of Chinese language 中文学院 B:department of literature 文学系 C:department of art 艺术系 D:academy of fine art 美术学院 21. We cannot see many stone carvings of the ( ) today. There are only a few pieces, such as Wufeng carving stone. 我们今天看不到太多的（ ）的刻石作品。只有五凤刻石等寥寥几件。
A:Western Jin Dynasty B:Eastern Han Dynasty C:Eastern Jin Dynasty D:Western Han Dynasty 22. To learn cursive script, one needs a ( ) sight so as to understand it better.草书学习，需要（ ）视野，这样才能更好地理解。
A:seal script 篆书 B:clerical script 隶书 C:regular script 楷书 D:running script 行书 23. According to the ‘Shi Ji’, King Wen of Zhou was "imprisoned in his palace, and the eight trigrams of Yi were transformed into the ( )". 据《史记》载，文王"其囚羑里，盖益易之八卦为（ ）"。
A:the 256 trigrams 二百五十六卦 B:the 32 trigrams 三十二卦 C:the 64 trigrams 六十四卦 D:the 16 trigrams 十六卦 24. Chinese art has always been inextricably linked to Eastern philosophy, for example, 'wu' (enlightenment) is ( ) thought, and to gain some knowledge requires inner comprehension.中国艺术中，总是跟东方哲学有着千丝万缕的关系，比如“悟”就是（ ）思想，而要获得一些认知，需要内心的领悟。
A:Buddhist 佛教的 B:Confucian 儒教的 C:Taoist 道教的 D:Zen 禅宗的 25. The ( ) was a watershed in the advancement from ancient to modern writing.
（ ）是由古文字推进到今文字的分水岭。
A:running script 行书 B:cursive script 草书 C:regular script 楷书 D:clerical script 隶书 26. ( ) unified the north part of China, and the Luoyang script emerged, which is really a very standard regular script. Today we see many tombstones excavated at Mount Mang area, and the style of the characters carved on these stones, we call them Wei Bei Script. （ ）统一了北方于是出现了洛阳体，这种文字的字体真的是很标准的楷书了。我们今天看到很多东西都是从邙山出土的一些墓志，呈现出了北魏时期楷书的一些风貌。
A:the emperor of Sui Dynasty 隋朝皇帝 B:the emperor of Northern Wei Dynasty 北魏皇帝 C:the emperor of Wei Kingdom in Three Kingdoms period 魏国皇帝 D:the emperor of Northern Dynasty 北朝皇帝 27. ‘Shuo Wen Jie Zi’ is the ( ) dictionary in Chinese history.
《说文解字》是中国历史上第（ ）本字典。
A:first 第一 B:third 第三 C:second 第二 D:fourth 第四 28. We have seen some of Ouyang Xun's clerical works, which of course were called（ ） in the Tang dynasty, which are actually very close to the clerical style of the Northern dynasty, so Ouyang’s brushwork can be said to have been inherited from the calligraphy of the Northern dynasty. 我们看到欧阳询的一些隶书作品，当然唐代称之为（ ），其实跟北朝的隶书风貌是非常接近的，所以欧书笔法可以说就是从北朝书法中继承下来的。
A:‘Ba Fen’ 八分 B:clerical script (‘Li shu’) 隶书 C:the script for official document (‘Zhang cheng shu) 章程书 D:the script for carving (‘Ming shi ti’) 铭石体 29. In the ancient books, we always see the stories about the great people who created the characters, and then the ghost cried and the crops rained. We just open the book called ( ) , we can see the record in the preface of the book. 文献记载中，古代中国人不止一次地提到仓颉、伏羲这样的神话人物创造了文字，当文字创造以后，甚至 “泣鬼神，天雨粟”，（ ）序中就有记载。
A:‘Shu Pu’ 《书谱》 B:‘Shu Hou Pin’ 《书后品》 C:‘Shuo Wen Jie Zi’ 《说文解字》 D:‘Shu Duan’ 《书断》 30. There is also the concept of structure, both of which are a product of ( ) as it entered its mature stage. 另外还有结构这个概念，都是（ ）进入成熟期以后的产物。
A:regular script 楷书 B:clerical script 隶书 C:running script 行书 D:cursive script 草书 31. For example, ( ), they are still different with calligraphy in Chinese culture. So, I actually prefer to translate calligraphy as shufa, rather than Chinese calligraphy. 例如，（ ），但是跟中国文化中的书法还是有差异。因此我其实更像把书法翻译成shufa,而不是Chinese calligraphy。
A:handwriting 手写体 B:the script in English 英文中的字体 C:epigraphy 金石学 D:Chinese characters 汉字 32. Which is the calligrapher in Yuan Dynasty? 以下谁是元代的书家？（ ）
A:Kangli Naonao 康里巎巎 B:Xianyu Shu 鲜于枢 C:Zhao Mengfu 赵孟頫 D:Song Ke 宋克 33. Which calligrapher is good at cursive script in Ming Dynasty? 以下哪位明代书家擅长写草书？（ ）
A:Chen Chun 陈淳 B:Wen Zhengming 文征明 C:Dong Qichang 董其昌 D:Zhu Yunming 祝允明 34. When the emperor asked Liu Gongquan about his brushwork, he replied that if his heart was right, his brush would be right. This shows the theoretical logic of Confucianism, and not specifically a discussion of brushwork techniques. 皇帝问柳公权笔法，柳公权回答，心正则笔正。可见儒家的理论逻辑，而并不是具体在讨论用笔技法。（ ）
A:错 B:对 35.In fact, we have seen some remnants of paper unearthed in the northwest, and it is clear that neither Zhong Yao nor Wang Xizhi was the creator of the script, but only a representative calligrapher of the cultural elite. 事实上我们看到西北出土的一些残纸，显然钟繇也好，王羲之也好，都不是文字的创造者，只能说是文化精英的代表书家。（ ）
A:错误 B:正确 36.rubbing: A type of paper to which an object is attached and then struck on the paper with ink through a cotton packet, preserving the basic appearance of the original object, often used in this way for stone inscriptions. 拓本：指的是一种将物件上附纸张，再用墨通过拓包打在纸张上，保留下原器物的基本样貌的纸张，石刻文字往往使用这种方式。（ ）
A:对 B:错 37.What we see today is the earliest, mature writing, the oracle bone and gold inscriptions of the Shang dynasty. The oracle bone script and the ‘gold’ script are actually products of the same period, which is not the same as what we used to know. 我们今天看到的就是最早的，成熟的文字就是商代的甲骨文和金文。甲骨文和金文其实是一个同时期的产物，这跟我们以前的认知并不相同。 （ ）
A:正确 B:错误 38.In particular, today, due to the influence of showroom culture, calligraphic works are becoming larger and larger, and works in showrooms can be very visually intense, with people often using the sharp contrasts of blank, wet and dry, and thick and thin to increase the visual impact, but such works are not necessarily suitable for a home environment, or may not be able to stand the visual test for a long time, as the Chinese aesthetic may still be biased towards Chinese aesthetics may still be neutral, or what we call ‘Zhong Yong’ visual experience. 尤其在今天，受到展厅文化的影响，书法的作品越写越大，在展厅里面的作品可能视觉感受非常强烈，大家往往会运用我们空白、枯湿、浓淡的鲜明对比来增加视觉冲击，但是这样的作品并不一定适合一个居家环境，或者说不一定能经受得住长时间的视觉考验，因为中国人的审美可能还是会偏向于中和，也就是我们说的中庸一种视觉感受。（ ）
A:对 B:错 39.We know that calligraphy is first and foremost writing, and only then can we discuss whether it is good calligraphy. 我们知道书法首先是书写，其次才可以讨论是不是好的书法。 （ ）
A:错 B:对 40.In fact, in later times, when the regular script was widely used, still there was no strict principles when people write with several scripts, we can see in Wang Xianzhi's works, which actually was a letter to someone at that time. 当后世进入楷书时代了以后，其实人们书写时候，几种字体并没有严格区分开来的要求，我们可以从王献之的尺牍看出这一点。 （ ）
A:错 B:对 41.At the Dawenkou site we can see a figure of a sun above and a fire below, which has been separated from the concrete objects and is the earliest Chinese character. 在大汶口遗址我们看到一个太阳在上、火在下的图像，这个图像已经具有从具象中脱离出来的迹象，最早的中国汉字。 （ ）
A:错误 B:正确 42.Facsimile: a version done by means of copying, often with more emphasis on the subjective initiative of the writer, without the need to be exactly the same as the original. 摹本：通过临写的方式完成的版本，往往更强调书写者的主观能动性，而并不需要跟原作完全一致。（ ）
A:正确 B:错误 43.Until regular script, there were no more changes in the script, that is, from the Wei and Jin Dynasties to the present day, it is just an era of the Regular Script. 直到楷书，字体就不再有什么变化，也就是从魏晋一直到现在，都是一个楷书时代。 （ ）
A:错 B:对 44.Lu Weizhao, in his 'Description of Calligraphy', lists the feelings he derived from tasting calligraphy, and these words are simply evaluations of different people, for example, heroes are sober and powerful, beauties are clear and graceful, gentlemen are dignified and heavy, talented men are suave and handsome, wild old men are muddy and ancient, and hermits are elegant. 陆维钊先生在他的《书法述要》中列出了他品鉴书法所使用的这些词简直就是对不同人的评价，比如英雄是沉雄、豪劲，美人是清丽、和婉，君子是端庄、厚重，才士是倜傥、俊拔，野老是浑穆、苍古，隐者是高逸、幽雅。 （ ）
A:错 B:对 45.When discussing the regular script after it has been established, people no longer have the graphic awareness of their predecessors, so they begin to discuss the specific strokes, down to the way each stroke is written and the order of the strokes. 人们在讨论定型以后的楷书时，已经没有前人的图形意识了，所以开始讨论具体笔画，细致到每一笔的写法，以及笔画之间的前后顺序，简称笔顺。 （ ）
A:对 B:错
