农村残障群体是社会中的边缘和弱势群体。推动农村残障群体社会融合，共享经济社会发展成果是中国残疾人事业发展的目标。促进残障群体高质量就业，在提升其经济自主性的同时完成农村残障群体自我认知和社会认知的重构，是农村残障群体社会融合的重要途径。在此背景下，“文创助残”作为新时期政府、企业与社会力量协力推动农村残疾人高质量就业的新模式应运而生，一批残疾人文化创意产业基地在农村地区扎根成长。但这些文创基地的运作模式也存在着内部张力：即“文创”从业的“高要求”与农村残疾人的“低技能”；基地集中化管理形成的残疾人物理空间上的“隔离”与社会融合所要求的“回归”。基于此，本研究以全国残疾人文化创意产业基地山东省P县L画院的残障者为研究案例，采用质性研究方法，力图探讨：L画院的“文创助残”的模式下，农村残障群体能否跨越从业门槛，实现文创形式的就业；他们如何进入画院，适应院内工作及生活，并产生职业和自我认同；在这一集中就业的模式下，他们最终走向隔离还是回归。

研究发现，L画院通过“因材施教”的培训体系、“因残设岗”的岗位设置和“因地制宜”的配套设施构建起“点菜式”文创助残模式，以个性化、针对性化解文创就业“高要求”与农村残疾人“低技能”的矛盾。同时，曾经面临包括出行障碍和社会排斥在内的多重社会融合困境的农村残障群体因种种“机缘”来到画院后，因为机会难得、个人兴趣、艺术魅力和员工之间基于共同残障经历的集体认同感留在画院。他们在艺术实践中逐渐获得“匠人”的集体身份，建立起职业荣誉感和自我认同感，并通过网络社交媒介进行身份重构。与此同时，“文创助残”模式的良性运行在画院内部、画院周边及网络虚拟空间中形成了一个个更具包容性的“微社区”，在改变残障群体自我认知的同时也在悄悄改变着社区成员的残障观，促进着农村残障群体与社会的双向融合。本研究的结论是，L画院的“文创助残”模式以艺术实践活动为媒介，形成了“网络社会—现实社会”“自我—画院—农村社区—社会”两条社会融合路径，两条路径下，农村残障群体对自身“残障认知”的再造以及社会和他人“残障认知”的再造构成了农村残障群体社会融合的关键。L画院文创助残模式下，集中就业的形式性“隔离”带来了社会融合的实质性“回归”。

Rural disabled groups are a marginalized and vulnerable group in society. Promoting the social integration of rural disabled groups and sharing the fruits of economic and social development is the goal of the development of China's cause for persons with disabilities. Promoting high-quality employment for disabled groups and reconstructing their self-cognition and social cognition while enhancing their economic autonomy is an important means of social integration for rural disabled groups. Against this backdrop, "cultural creative support for the disabled" has emerged as a new mode for the government, enterprises and social forces to work together to promote high-quality employment for people with disabilities in rural areas. And a number of cultural creative industry bases for people with disabilities have taken root and grown in rural areas. However, there are also internal tensions in the operation mode of these cultural creative industry bases: the "high requirements" of the cultural creative industry and the "low skills" of rural persons with disabilities; the "isolation" of the physical space of the disabled formed by the centralized management of the base and the "return" required by social integration. The centralized management of the bases creates a "distance" from the physical space of people with disabilities and a "return" required for social integration. Based on this, this study takes the L Painting institution in P County, Shandong Province, a national cultural creative industry base for people with disabilities as a case , and adopts a qualitative research methodology, in an attempt to explore: Does the model of "cultural creative support for the disabled" of the L Painting Institute match the characteristics and employment needs of rural disabled groups in order to remove barriers to employment? How do rural disabled people enter, adapt to and identify with the model? Whether the model of "cultural creation for the disabled" as a form of centralized employment ultimately lead to the isolation or return of rural disabled groups?

The study found that the L painting institution meets the actual needs of the disabled by providing a training system that teaching in accordance with someone's aptitude, designing jobs that meet the disability situation, and adapting supporting facilities according to local conditions, so as to resolve the contradiction between the high requirements of cultural creative employment and the low skills of rural disabled people in a personalized and targeted manner. At the same time, rural disabled groups who once faced multiple social integration dilemmas such as travel barriers and social exclusion came to the art institution due to various "opportunities", and stayed in the art institution because of rare opportunities, personal interests, artistic charm and collective identity based on common disability experiences among employees. In their subsequent artistic practice, they gradually gained the collective identity of "craftsman", established a sense of professional honor and self-identity, and reconstructed their identity through online social media. At the same time, the benign operation of the "cultural creative help disabled "model has formed a more inclusive "micro-community" in the interior of the art institution, the surrounding of the art institution and the virtual space of the network. While changing the self-cognition of disabled groups, this model is also quietly changing the concept of disability of community members and promoting the two-way integration of rural disabled groups and society. The conclusion of this study is that the "cultural creative support for the disabled" model of L Painting institution takes artistic practice as the medium, forming two social integration paths of "network society-reality society" and "self-painting institution-rural community-society". Under the two paths, the reconstruction of rural disabled groups "own" disability cognition and the reconstruction of society and others "disability cognition" constitute the key to the social integration of rural disabled groups. Under the mode of "cultural creative support for the disabled" in L painting institution, the formal "isolation" of centralized employment has brought about the substantive " return " of social integration.