还记得在自序里，林语堂先生曾总结苏东坡的多重身份中，有一层是新派画家和大书法家，因此本章则是花了重笔细说苏东坡的书画才华和特性。
苏自评自己的书画为：“吾书虽不甚佳，然自出新意，不践古人，是一快也。” 这份快意来自于酒后的灵感，泼墨挥笔，直抒胸臆，一如其为人的坦荡狂放。
同时林语堂先生也借这个机会着实向读者详细介绍了一番国画的独特与鉴赏角度。国画之精髓取之于山水，求的是透过自然表象悟到那份真意，方能诉诸于笔端，画家快意，赏家有共鸣。
一理百通，给我的启发是，不仅仅对画作对诗词，甚至对于我们生活中的每一段经历、每一次旅游，每一个博物馆，每一场电影，每一本书，都需要我们细心去体会，去了解作者、编剧、艺术家的个人经历和创作历程的关系。而更为重要的是在我们的人生中，我们要适时驻足，去倾听一下自己内心的声音，才不会人云亦云的稀里糊涂的走完这一生。
读书不思考，只是看过而已；艺术品不求真意，只是见过而已；生活不用心体味，只是走完而已……
如是我感。
Words and Expressions：
At the outset it must be made clear that in China calligraphy and painting are one and the same art…
at the outset, 副词，表示 “起先，当初”，the start or beginning of something，与 at the beginning 同义；注意区别 from the outset = from the beginning 的意思是 “从一开始便…” ；
例句：I was opposed to the plan from the outset. [我从一开始便反对这个计划，并不是后来才反对的]
例句：I was opposed to the plan at the outset. [我起初反对这计划，后来不反对了]
Yuko’s paintings of bamboos, rocks, and dried up trees may be said to have truly seized the inner spirit of the objects.
dried up， 作为形容词，除了原文句子中表示 “干枯的” 之外，口语中还可用来形容 “老态龙钟的” 老人，带有点无礼的贬义；If you describe someone as dried-up, you are saying rudely that they are old and dull, and not worth paying attention to；
例句：She lives in the fears of becoming a dried-up old prune.
Sentences:
After a while he woke up, approach the table, and began to write or paint as fast as the wind. [落笔如风]
At any moment he may get up, take a brush, dip it in ink, and write out what is there in his breast. [直抒胸臆]
这两句话一系列的动词，让整个场景非常生动有画面感，两个短语 as fast as the wind 和 write out what is there in his breast 更是很形象的点出了作者 “胸中有丘壑，下笔如有神” 的状态。
In this sense, the so-called impressionistic Chinese painting, whether of a twig of bamboo, a group of gnarled roots, or rain in the mountains, or snow over the river, is a pantheistic revelry.
这句话里同样用几组短语名词，非常简洁又清楚的总结了国画的主题特色：修竹、盘根、山中烟雨或江上雪景。
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