‘수묵화’가 아시아의 역사적 정체성을 띠고 서구에 대항하는 수단이 되면서 미술시장에 서 변화를 만들고 있다면, 그 차별화된 미술시장에서 새로운 변화는 무엇일까? 본 연구는 중 국의 개혁･개방 이후로 경제 발전기인 1990년대부터 ‘당대 미술(컨템포러리 아트)’로서 ‘수 묵화’를 중심으로 그 의미와 한계를 고찰해 보고자 한다. 1990년대부터 시작된 미술품 경매 시장의 성장과 더불어 2010년대에 이르면 아트페어와 같은 시장이 현지화한다. 따라서 본 논문은 사회주의 중국에서 반(反)전통과 반(反)서구적 방법으로 모색했던 ‘신수묵’의 범주에 속한 ‘실험수묵’이 어떤 당대적 의미를 담거나 포기하고 있는지를 살펴본 것이다.

Yangbanxi("model plays") symbolize the Cultural Revolution(1966~1976) in China. The Eight Model Revolutionary Works include five Chinese Modern Peking Operas, namely, Taking Tiger Mountain by Strategy(智取威虎山), Harbor City(海港), Shaijabang(沙家浜), The Red Lantern(紅燈記), and Raid on the White Tiger Regiment; (奇襲白虎團), ballets such as The Red Detachment of Women(紅色娘子軍) and The White-Haired Girl(白毛女); and a symphony: Shajiabang(沙家浜). On April 24, 1967, Chinese leaders, including Mao Zedong, saw a performance of The White-Haired Girl. Yanbanxi was performed in Beijing between May 24 and June 15 the same year. The Red Lantern was designated as a work for the proletarian classes by Jiang Qing(Mao Zedong's third wife and the most influential woman in China) and spread nationwide. It was also made into a film to be enjoyed by many people. The modern Chinese operas went a long way in their creation of visual images of revolutionary heroes. The Red Lantern, in particular, came to be regarded as the most representative revolutionary opera. In the course of such a process, Jiang Qing used Yangbanxi as a political tool for compelling the people to worship and pledge their allegiance to Mao in an effort to turn the Cultural Revolution into a class struggle on behalf of her husband. During the Cultural Revolution period, artists were made to associate with workers, farmers and soldiers based on the idea of advocating revolutionary arts for the proletarian classes. The characters in The Rend Lantern were portrayed as heroes from the proletarian classes according to the demands of the era. Chinese leaders set forth the principles of artistic expression, stressing three important factors: politics, heroes, and heroic acts, which were to be applied to all the visual arts, including Yangbanxi. This paper attempts to present a new view of fine arts during the Cultural Revolution in China by focusing on the productive significance of a leading style of a specific era in the past. To that end, this paper sheds light on products made in conformance with political instructions, stressing the importance of revolutionary heroes in The Red Lantern.

The term ‘modern’, in broader sense, refers to the concepts like modernity,modernization, modernism and the like, which came from Westernization impling therecognition of indigenous culture as being inferior to Western culture by comparison alongwith the expanded influences of the Empire of Japan. These concepts, however, ratherthan evolving from Western standards, came into being as a form of civilization led byJapan which had already tasted the fruits of modernization by 1920s. Since 1920s, the policy of, so-called, reconstructing Asian countries by Japan came tocreate eastern way of modernism, as a new East Asian trend mainly revealed in Chinawhich was against colonization after Japan’s invasion and conquest of Manchuria.Therefore, Eastern‘modern’unlike Western one could be understood in the widespreadterminology,‘Modern(摩登)’in Shanghai, reflecting consciousness like‘Fashion’or‘Trend’in female images on a variety of visual media. By 1930s it was the most notablethat‘modern’was accepted as something similar with‘Fashion’, or‘Trend’in socio-cultural contexts. These atmosphere had led commercial arts to enable to communicatewith the public in a great deal of supports and success in Shanghai which was widelyregarded as the citadel for the inflow of Western culture, among which transformations infemale images were remarkable as a representative form of culture. It is also remarkablethat‘historical modernity’transforming from the feudal age to modern society wasconsidered a synchronic modernity, and nationalism was regarded as a sort of beingmodern, while involved in the newly-changed female images as a fashion mode. Changes in fashion including hair style in Shanghai by 1930s, as a way ofexpressions showing what was modern through commercial artistic productions, wereeasily noticed in visual media as an outlet of modern women’s inner desire revealing theirpursuit for new mode of life in metropolitan cities. As a characteristic of the time creating anew code of visual female images, it is notable that there existed another form of‘modern’satisfying socio-cultural needs of the general public seeking for being‘modern’.

본 연구는 지적장애인의 일상생활동작 재활에 있어서 원예치료 프로그램을 실시하여 일상생활 움직임의 향상에 긍정적인 효과가 있음을 알 수 있다. 이러한 결과는 장기적인 원예치료 프로그램을 실시함으로써 일상생활동작평가에서 하위 모든 영역에서 평가 점수가 증가하는 양상을 보여 일상생활 움직임 향상에 효과가 있는 것으로 나타났으며, 특히 머리와 손의 협응 능력과 관련이 깊은 식사 능력과 사회참여와의 연관성이 높은 대화 능력에서 많은 향상이 있었다. 이와 같은 연구 결과는 김동훈(2011), 이민정(2010), 김순덕(2004)의 연구결과와도 일치한다. 이로 인해 원예치료프로그램이 지적장애인의 재활에 미치는 영향은 자신감과 성취감을 갖게 하였으며 또한 정서적 안정과 대인관계의 향상에 도움을 주었다는 것을 알 수 있다. 따라서 전문적이고 구조화된 원예치료 프로그램을 개발하여 지적장애인의 일상생활동작의 기능을 재활시키고 남에게 의존하지 안의며 자신의 문제를 스스로 해결하는 통합적으로 신체적 능력의 향상을 기대해 본다.