当代甘肃绘画艺术创作,经过一段相当长时间的整合与重建,保持着一种与传统文化的亲和力,一方面致力于对传统文化情境的追求,同时也流露出在艺术表现中对生活层面的关照与感悟。游历于传统和现代之间,穿梭在一种核心精英文化的边缘,保持着一种纯朴的本性,表达着原生的地域情感和人文内涵。在一定程度上超越了传统的绘画理念,形成一种相对独立的绘画格局,精神情境的地域性阐释在这个绘画群体中占据主体地位,融山水、人物、花鸟于一体,强调和关注民族的、地域的、人文的绘画环境,凝聚成一股具有生命力的洪流,有明显的整体绘画风格凸现。中国山水画的精神指向,营造着较为宽泛的情感依从与情感认同。这一点,在西部山水画的创作中表现得更为直接,西部山川的宏阔之 Contemporary Gansu painting creation, after a fairly long period of integration and reconstruction, maintains a kind of affinity with traditional culture, on the one hand is committed to the pursuit of traditional cultural situations, but also reveals the artistic aspects of the life level of care And perception. Traveling between the traditional and the modern, shuttling to the edge of a core elite culture, maintaining a simple nature, expressing the original geographical feelings and cultural connotation. To a certain extent, it has gone beyond the traditional concept of painting and formed a relatively independent painting pattern. The regional interpretation of spiritual context occupies the dominant position in this painting group, integrating landscapes, figures, flowers and birds, emphasizing and paying attention to nationality, Regional and cultural painting environment, condensed into a torrent of vitality, there is a clear overall style of painting highlights. The spirit of Chinese landscape painting points to create a more extensive emotional compliance and emotional identification. This point is more direct in the creation of the western landscape painting. The grand scope of the western mountains and rivers