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土耳其DM德馬甲骨文數字文化非遺傳承館20260213期 香港東方書畫院［院長梁君度］ 《白雲堂黃湘詅——「渡海三家」之一黃君璧的女兒，也是黃大師的傳人藝術》 
黃君璧先生早年隨李瑤屏先生習畫，一生恪守「師人、師古、師造化」的六字箴言。他浸淫石谿的蒼茫、漸江的冷逸、夏圭的剛勁，將古人筆墨精髓化入骨髓——這是「師古」的深功。然而真正點燃他藝術生命的，是那雙踏遍萬里的芒鞋。抗戰時期蟄居蜀地，他晨觀峨眉雲海，暮對三峽奔濤；晚年更遠渡重洋，於尼加拉瓜、維多利亞的磅礡瀑布前駐足凝神。蜀中濕潤的雲霧滲進了他的絹素，世界級瀑布的氣勢融入他的筆端。他開創的「雲法」與「水法」，既見傳統皴擦的韻致，又暗合西方寫生的光影透視，將飛瀑流雲的瞬間動勢，凝結為紙上的永恆。 作為黃君璧的傳人，白雲堂藝術研究會會長黃湘詅並未止步於「守成」。她承繼的不僅是父親的堂號，更是那套「浸透古人而後創造」的藝術精神。研究會定期授課，她親自示範，將黃君璧先生「傳承經典、調和中西」的理念，化為一道道具體的筆痕墨跡；舉辦展覽時，她既展父親的曠世名跡，也為當代水墨新人搭建舞臺。在她的經營下，白雲堂不再是畫史中的一個名詞，而成了一脈生生不息的活水。 更難得的是，黃湘詅的繪畫本身，便是對父親藝術最好的詮釋。她筆下的山水，既有黃君璧先生那種吞吐大荒的雄渾氣魄，雲水之際尤見乃父遺風；卻又隱約透出屬於她這個時代的溫潤與從容。她畫雲，不似父親那般刻意營造千鈞之勢，反倒多了一種閒適的飄逸；她畫水，少了幾分奔騰咆哮，卻添了些許潺湲入耳的幽韻。這是女兒以筆墨寫給父親的情書，也是一位成熟畫家對傳統的溫柔回應。 「白雲千載，悠悠我思。」如今千載白雲依舊悠悠，只是看雲的人換了——不，或許從未更換。當黃湘詅提筆蘸墨的那一刻，她父親眼中那萬里山河的煙雲，便再一次從她的筆底升起。白雲千載，這藝術的香火，終是綿延不絕了。 
Mr. Huang Junbi, in his early years, learned painting from Mr. Li Yaoping and adhered the six-character motto of "learning from teachers, learning from the ancients, and learning from nature" throughout his life. He was immersed in the desolate beauty of Qian, the cold and elegant style of Zhen Jiang, and the vigorous brushwork of Xia Gui, integrating the essence of ancient artists into his very being—this the profound skill of "learning from the ancients". However, what truly ignited his artistic life was his pair of dusty shoes that had traveled thousands of miles. During war, he lived in Sichuan and observed the sea of clouds of Emei Mountain in the morning and the rushing waters of the Three Gorges in the evening. In later years, he even crossed the ocean and stood in front of the magnificent waterfalls of Niagara and Victoria. The moist clouds and mist of Sichuan seeped into his scrolls, and the momentum of the world-class waterfalls were integrated into his brushwork. He created the "cloud method" and "water method", which not only the charm of traditional Chinese painting but also harmonized with the light and shadow perspective of Western sketching, condensing the instantaneous momentum of the waterfall and clouds into an eternal work of on paper. As Huang Junbi's successor, Huang Xiangzhen, the president of the Baiyun Hall Art Research Society, did not at "preserving the legacy". She inherited not only her father's studio name but also that set of artistic spirit of "immerse in the ancients and then create. The research society regularly offers classes, and she personally demonstrates, turning Mr. Huang Junbi's concept of "inheriting classics and harmonizing Chinese and Western" into brushstrokes and ink marks; when holding exhibitions, she not only exhibits her father's great masterpieces but also builds a stage for contemporary ink painters. Under her, Baiyun Hall is no longer just a term in art history, but a living stream of endless vitality. More importantly, Huang Xiangzhens paintings themselves are the best interpretation of her father's art. The landscapes she painted not only have the grandeur of Huang Junbi's vastness but also show father's style at the junction of clouds and water; yet they also subtly reveal the tenderness and ease of the times she lives in. She paints clouds, not as father deliberately created the momentum of a thousand catties, but with an additional leisurely elegance; she paints water, less of the rushing and roaring, but with a hint the melodious charm of murmuring water. This is a love letter written to her father with her brush and ink, and also a gentle response to tradition from a mature. "A thousand years of white clouds, my thoughts wander endlessly." Now, a thousand years of white clouds still wander endlessly, but the person watching the has changed—no, perhaps has never changed. When Huang Xiangzhen dips her brush in ink, the smoke and clouds of the vast mountains and rivers in her's eyes rise once again from her brush. A thousand years of white clouds, this artistic legacy, continues uninterrupted 
特別鳴謝合作單位： Special thanks to partners: 
開創人：CEO/林鏡德 LIN JING DE DMSIXSEVEN / 林鏡德 LIN JING DE 1973 
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