From Copying to Promoting: A Study on the Cultural Education Value of Zhang Daqian’s Artistic Practice in Dunhuang

Abstract

Zhang Daqian's artistic practice in Dunhuang from 1941 to 1943 marked a crucial phase in his career, as he traced the origins of Chinese national art traditions beyond his previous study of traditional painting. Following the logical thread of “copying—promoting—educating,” this paper examines Zhang Daqian’s practical process — from cave exploration and mural copying to the organization of his works and their presentation in public exhibitions —and analyzes the cultural education value embedded in this process. The study argues that Dunhuang mural copying enabled Zhang Daqian, through direct practices of observation, identification, and replication, to deepen his understanding of ancient Chinese painting traditions, advancing him from technical study toward a holistic comprehension of the historical trajectory and aesthetic values of national art. Through organization, reproduction, and public exhibition, his copied works transcended the spatial constraints of the cave sites, transforming a personal artistic endeavor into socially oriented cultural dissemination and endowing Dunhuang art with broader public cultural significance. Zhang Daqian’s journey from copying to promoting demonstrates that the educational value of excellent traditional Chinese culture is progressively generated through the study of classics, embodied practice, and public promotion. The educational logic manifests in three dimensions: deepening cultural cognition through engagement with canonical works, consolidating cultural identity through artistic practice, and cultivating cultural responsibility through dissemination. This case provides a concrete practical reference for transforming China’s traditional cultural resources into educational resources.