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2019年8月31日，由敦煌研究院等单位联合摄制的大型纪录片《莫高窟与吴哥窟的对话》在敦煌国际会展中心首映。纪录片以亚洲文明对话为题材，向人们展现了不同文明之间命运相通、文化相通、艺术相通的奇妙关联。\n2020年2月，为致敬奋斗在抗疫一线的医务工作者，景区在恢复运营后，对全国所有医护人员实行免费开放，直至2020年底。5月10日，莫高窟恢复开放。\n莫高窟始建于前秦宣昭帝苻坚时期，据唐朝《李克让重修莫高窟佛龛碑》一书的记载，前秦建元二年（366年），僧人乐尊路经此山，忽见金光闪耀，如现万佛，于是便在岩壁上开凿了第一个洞窟。此后法良禅师等又继续在此建洞修禅，称为“漠高窟”，意为“沙漠的高处”。后世因“漠”与“莫”通用，便改称为“莫高窟”。另有一说为：佛家有言，修建佛洞功德无量，莫者，不可能、没有也，莫高窟的意思，就是说没有比修建佛窟更高的修为了。\n北魏、西魏和北周时，统治者崇信佛教，石窟建造得到王公贵族们的支持，发展较快。\n隋唐时期，随着丝绸之路的繁荣，莫高窟更是兴盛，在武则天时有洞窟千余个。安史之乱后，敦煌先后由吐蕃和归义军占领，但造像活动未受太大影响。北宋、西夏和元代，莫高窟渐趋衰落，仅以重修前朝窟室为主，新建极少。\n元代以后敦煌停止开窟，逐渐冷落荒废。明嘉靖七年（1528年）封闭嘉峪关，使敦煌成为边塞游牧之地。清康熙五十七年（1718）平定新疆，雍正元年（1723）在敦煌设沙州所，三年（1725）改沙州卫，并从甘肃各州移民敦煌屯田，重修沙州城。乾隆二十五年（1760）改沙州卫为敦煌县，敦煌经济开始恢复。莫高窟开始被人们注意。\n清光绪二十六年（1900）发现了震惊世界的藏经洞。不幸的是，在晚清政府腐败无能、西方列强侵略中国的特定历史背景下，藏经洞文物发现后不久，英人斯坦因、法人伯希和、日人橘瑞超、俄人鄂登堡等西方探险家接踵而至敦煌，以不公正的手段，从王道士手中骗取大量藏经洞文物，致使藏经洞文物惨遭劫掠，绝大部分不幸流散，分藏于英、法、俄、日等国的众多公私收藏机构，仅有少部分保存于国内，造成中国文化史上的空前浩劫。",[89,44,43,90,7,91,92,93],"壁画","垂幔","花纹","璎珞","装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2f12c198df8e645b413e5f0b8a85545d.jpg","未知","Xcm*Xcm",[],76,"F48FB1",{"id":101,"slug":102,"title":103,"dynasty":37,"author":19,"museum":20,"description":104,"tags":105,"thumbUrl":112,"material":95,"size":96,"collection":27,"collections":113,"showCount":12,"zanCount":11,"manualWeight":11,"mainColor":69},234421,"qing-ren-wen-shu-pu-sa-xiang-zhou-yi-ming-234421","清人文殊菩萨像轴","文殊菩萨，佛教菩萨名，梵文Maňjuśrī的音译，略称“文殊”，意为“妙德”“妙吉祥”等，新译“曼殊室利”。文殊师利菩萨是中国佛教四大菩萨之一，以论述“般若性空”和“般若方便”的理论著称。\n作为释迦牟尼佛的左胁侍，专司智慧，与司“理”的右胁侍普贤菩萨并称。此外，毗卢遮那如来、文殊菩萨、普贤菩萨被尊称为“华严三圣”。相传文殊菩萨的说法道场在山西五台山。\n文殊菩萨顶结五髻，以代表大日五智，手中持剑，表示以智慧为利剑，驾狮子以表示智慧之威猛。另外，文殊为相应众生的不同因缘，还会有不同形象的“示现”，如一字文殊、五字文殊、六字文殊、八字文殊、一髻文殊、五髻文殊、八髻文殊、儿文殊等。其中以五字五髻文殊最为常见。",[106,107,43,44,45,46,108,109,110,111,50,7],"国画","立轴","菩萨","护法","莲花","火焰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F144bc0ee0d7f076112633815d6773f52.jpg",[],{"id":115,"slug":116,"title":117,"dynasty":37,"author":19,"museum":20,"description":118,"tags":119,"thumbUrl":125,"material":95,"size":96,"collection":27,"collections":126,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":69},234413,"zhi-xing-fu-mu-tang-ka-yi-ming-234413","智行佛母唐卡","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。\n唐卡是藏族文化中一种独具特色的绘画艺术形式。具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，用明亮的色彩描绘出神圣的佛的世界；颜料传统上是全部采用金、银、珍珠、玛瑙、珊瑚、松石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等植物为颜料以示其神圣。这些天然原料保证了所绘制的唐卡色泽鲜艳，璀璨夺目，虽经几百年的岁月，仍是色泽艳丽明亮。因此被誉为中国民族绘画艺术的珍品，被称为藏族的”百科全书”也是中华民族民间艺术中弥足珍贵的非物质文化遗产。\n传统唐卡的绘制要求严苛、程序极为复杂，必须按照经书中的仪轨及上师的要求进行，包括绘前仪式、制作画布、构图起稿、着色染色、勾线定型、铺金描银、开眼、缝裱开光等一整套工艺程序。制作一幅唐卡用时较长，短则半年完成，长则需要十余年。",[43,45,44,51,107,46,50,120,121,122,123,62,7,124],"花卉","山峦","树木","火焰纹","装饰图案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47919a6f05c0b86e438887ba4126ae79.jpg",[],29,{"id":129,"slug":130,"title":131,"dynasty":18,"author":19,"museum":20,"description":132,"tags":133,"thumbUrl":135,"material":95,"size":96,"collection":27,"collections":136,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":69},223833,"bao-xiang-hua-wen-jing-2-yi-ming-223833","宝相花纹镜-2","唐代是中国古代铜镜制造的鼎盛时期，唐镜不仅继承了汉魏的文化传统，而且吸收了边疆民族的艺术成就，同时对外来（主要是波斯、印度）文化中的优秀部分也兼收并蓄，融汇一体，构图更加精细，使铜镜艺术达到了一个新的高峰。铸镜业是唐代最精细的工艺，每逢八月五日（唐玄宗生日）人们都将铜镜作为礼品送人，祝福长寿，这一天被定名为“千秋金鉴节”（金鉴指铜镜）。",[134,25,7,77],"铜制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ffd3d705072fb14ea63ed2657f8796.jpg",[],19,{"id":139,"slug":140,"title":141,"dynasty":37,"author":19,"museum":20,"description":142,"tags":143,"thumbUrl":146,"material":95,"size":96,"collection":27,"collections":147,"showCount":148,"zanCount":149,"manualWeight":11,"mainColor":69},249555,"qian-long-kuan-hua-fa-lang-bao-xiang-hua-wen-pan-yi-ming-249555","乾隆款画珐琅宝相花纹盘","用漆涂在各种器物的表面上所制成的日常器具及工艺品、美术品等，一般称为“漆器”。生漆是从漆树割取的天然液汁，主要由漆酚、漆酶、树胶质及水分构成。用它作涂料，有耐潮、耐高温、耐腐蚀等特殊功能，又可以配制出不同色漆，光彩照人。在中国，从新石器时代起就认识了漆的性能并用以制器。历经商周直至明清，中国的漆器工艺不断发展，达到了相当高的水平。中国的炝金、描金等工艺品，对日本等地都有深远影响。漆器是中国古代在化学工艺及工艺美术方面的重要发明。\n中国古代漆器的工艺，早在新石器时代就已经出现，夏代的木胎漆器不仅用于日常生活，也用于祭祀，并常用朱、黑二色来髹涂。殷商时代已有“石器雕琢，觞酌刻镂”的漆艺。1973年河南成蒿成台西村商代遗址中出土的漆器残片，在木胎上雕饰饕餮纹，并涂上朱、黑两色的漆。 [2]\n西晋以后到南北朝，由于佛教的盛行，出现利用夹纻工艺所造的大型佛像，此时的漆工艺被用来为宗教信仰服务，夹纻胎漆器也因而发展。所谓的夹纻是以漆灰和麻布造型作为漆胎，胎骨轻巧而坚牢。\n唐代经济发达文化繁荣，种种因素使工艺美术也随之发达，在艺术、技术以及生产上，皆远超过前期。唐朝漆器大放异彩，呈现出华丽的风格，漆器制作技术也往富丽方向发展，金银平脱、螺钿、雕漆等制作费时、价格昂贵的技法在当时极为盛行。\n宋代漆器的制胎和髹饰技艺已经十分成熟，当时不仅官方设有专门生产机构，民间制作漆器也很普遍。漆器所制作的器皿，样式多且富变化，造型简朴，表现出器物结构比例之美。一般而言，宋代漆器以素色静谧为主。\n明代时期的工艺美术跨入新的阶段，官方设厂专制御用的各种漆器，并由著名的漆艺家管理。除了官设的漆器厂外，民间漆器生产也遍及大江南北。明代江南漆器名家辈出﹐明初有张德刚﹐包亮﹐明代中期有方信川，明末有江千里等，并出现集漆器工艺之大成的著作：黄成著，杨明注《髹饰录》。\n髹饰工艺在这时有很大的革新，结合多种传统技法，两种以上的技法作结合，不同的文饰在不同的素地上更换，开创出千文万华的繁荣局面。\n今日中国大陆和台湾，漆器仍是民间工艺的重要组成部份，著名的漆器工艺，包括福州的脱胎漆器，厦门的髹金漆丝漆器，广东晕金漆器，扬州螺钿漆器，稷山螺钿漆器，山西平遥推光漆器，成都银片罩花漆器，安徽屯溪犀皮漆器，北京剔红漆器，台湾南投县黑髹漆器等。",[37,144,145,7,44],"珐琅器","画珐琅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad1885a22d9317862381d21a78f1a44e.jpg",[],18,1,{"id":151,"slug":152,"title":153,"dynasty":18,"author":19,"museum":86,"description":87,"tags":154,"thumbUrl":160,"material":95,"size":96,"collection":27,"collections":161,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":69},226500,"ku-yong-dao-bei-pi-yi-ming-226500","窟甬道北披",[89,44,155,156,157,7,158,159],"装饰纹样","植物纹样","几何纹样","卷草纹","条纹装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff3cb1ca399c4788839de5eb5c3c01546.jpg",[],{"id":163,"slug":164,"title":17,"dynasty":18,"author":19,"museum":20,"description":132,"tags":165,"thumbUrl":10,"material":95,"size":96,"collection":27,"collections":166,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":69},223831,"bao-xiang-hua-wen-jing-yi-ming-223831",[18,134,25,7,77],[],16,{"id":169,"slug":170,"title":171,"dynasty":37,"author":19,"museum":20,"description":172,"tags":173,"thumbUrl":178,"material":95,"size":96,"collection":27,"collections":179,"showCount":180,"zanCount":149,"manualWeight":11,"mainColor":181},263578,"cai-lin-bao-xiang-hua-wen-jin-yi-ming-263578","彩鳞宝相花纹锦","《说文》：“锦，襄邑织文。从帛，金声。”即用彩色经纬丝织出各种图案花纹的纺织品，泛指具有多种彩色花纹的丝织物。锦的生产工艺要求高，织造难度大，所以它是古代最贵重的织物。“锦，金也，作之用功重，其价如金。”古人把锦看成和黄金等价。这种织物有经起花和纬起花两种，也叫经锦和纬锦。经锦是用两组或两组以上的经线同一组纬线交织。经线多的二色或三色，一色一根作为一副，如果需要更多的颜色，也可以使用牵色条的方法。纬线有明纬和夹纬；用夹纬把每副中的表经和底经分隔开，用织物正面的经浮点显花。\n用染好颜色的彩色经纬线，经提花、织造工艺织出图案的织物。中国丝织提花技术起源久远。早在殷商时代中国已有丝织物。周代丝织物中出现织锦，花纹五色灿烂，技艺臻于成熟。汉代设有织室、锦署，专门织造织锦，供宫廷享用。自汉武帝后，中国织锦通过丝绸之路传入波斯（今伊朗）、大秦（古罗马帝国）等国。三国时四川蜀锦成为主流。唐代贞观年间窦师伦的对雉、斗羊、翔凤等蜀锦图案，称为绫阳公样。在织造工艺上由经锦改进为纬锦，并出现彩色经纬线由浅入深或由深入浅的退晕手法。北宋宫廷在汴京等地建立规模庞大的织造工场，生产各种绫锦。元代是中国历史上大量生产织金锦（一种加金的丝织物）的时代，宫廷设立织染局、织染提举司，机构庞大，集中了大批优秀工匠。\n明清两代织锦生产集中在江苏南京、苏州，除了官府的织锦局外，民间作坊也蓬勃兴起，形成江南织锦生产的繁荣时期。织锦大多采用传统提花工艺和木制花楼织机，有些织锦因品种不同而有所区别。如宋锦、土家族织锦采用通经断纬工艺，即分段调换彩色纬线，使色彩更加丰富。杭锦采用铁制提花机。织锦种类有南京云锦、四川蜀锦、苏州宋锦、杭州织锦以及少数民族的黎锦、壮锦、傣锦、瑶锦、侗锦、苗锦、土家锦、爱得利斯锦等。1960年以来，中国织锦在继承、发扬传统织锦的基础上，恢复了云锦的妆花锦和蜀锦的浣花锦、锦上添花锦、八答晕锦，并生产了窗帘、沙发套、枕套、被面、台毯、靠垫、床罩、提包、民族服装用料等新品种。\n锦已有3000年以上的历史，战国、西汉以前流行以二色或三色经轮流显花的经锦，包括局部饰以挂经的挂锦、具有立体效果的凸花锦和绒锦。1959年在新疆民丰尼雅遗址发现的东汉“万年如意锦”使用绛、白、绛紫、淡蓝、渥绿五色，通幅分成十二个色条，就是汉代典型的经锦。\n纬锦是用两组或两组以上的纬线同一组经线交织。经线有交织经和夹经；用织物正面的纬浮点显花。1969年在新疆阿斯塔那发现的唐代锦袜，在大红色地上起各种禽鸟花朵和行云的图案，就属于这一种锦。\n经锦和纬锦具有不同的织造效果。经锦的纬密比较低，只用一把梭子，生产效率比较高。纬锦织造比较费时，但可以使用两把以上的梭子，容易变换色彩，色彩丰富。这两种锦在中国出现的时间都比较早。但是六朝以前织造的，以经起花为主；隋唐以后织造的，似乎以纬起花为主。\n在苏联的巴泽雷克发现一批中国战国时期的丝绸，就有用红绿二色纬线织造的纬斜纹起花的纬锦。产生于宋代前后的宋锦以地经、地纬交织成经斜组织，按结经与纹纬交织成纬斜组织。\n金元之际流行加金的丝织物——织金锦，又称“纳石失”。明清时盛行以挖花缎的彩纬多达30—40种，锦面的经、纬方向都有逐花异色的效果，是中国织锦最高水平的代表。\n锦在历史上曾用多棕多蹑机和束棕花楼机织造，现代生产采用纹版提花机。\n国家非常重视非物质文化遗产的保护，南京云锦木机妆花手工织造技艺作为中国古老的织锦技艺最高水平的代表，于2006年列入首批国家级非物质文化遗产名录。2006年5月20日，土家族织锦技艺经国务院批准列入第一批国家级非物质文化遗产名录。2007年6月8日，湖南凤凰水云织锦坊获得国家文化部颁布的首届文化遗产日奖。2009年8月《地理标志产品云锦》国家标准在南京通过国家级专家评审，同年9月成功入选联合国《人类非物质文化遗产代表作名录》。",[174,175,7,176,44,177],"织锦","布料","花卉纹样","传统纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3d7bc64e1c15da237393187b3a6cbb43.jpg",[],15,"BDBDBD",{"id":183,"slug":184,"title":185,"dynasty":18,"author":19,"museum":20,"description":132,"tags":186,"thumbUrl":191,"material":95,"size":96,"collection":27,"collections":192,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":181},223832,"bao-xiang-hua-wen-jing-1-yi-ming-223832","宝相花纹镜-1",[187,134,25,188,7,120,189,190],"唐代风格","浮雕","铜镜","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8a3fe6339f5f61218403df8d409d97dd.jpg",[],{"id":194,"slug":195,"title":196,"dynasty":37,"author":19,"museum":20,"description":197,"tags":198,"thumbUrl":210,"material":95,"size":96,"collection":27,"collections":211,"showCount":212,"zanCount":149,"manualWeight":11,"mainColor":69},242001,"yin-du-jin-xiang-zhu-bao-wu-feng-wen-dian-wei-yi-ming-242001","银镀金镶珠宝五凤纹钿尾","澄澈幽蓝的点翠铺陈出扇形轮廓，晕开雅致温润的柔光。五凤以累银丝为骨，身覆点翠羽翼，口衔珠宝错落排布，肌理宛然灵动，似振翼欲飞。舒展的宝相花与缠枝纹以花丝勾勒筋骨，点翠晕染底色，莹润珍珠、浓艳红宝石与凝腻翡翠交相辉映，将花丝点翠的精巧华贵尽数展现。整体构图饱满对称，流金缀宝间尽显雍容气度，把吉祥寓意与极致工法融为一体，静静诉说着旧时妆奁之上的华贵风华。",[199,200,201,202,203,7,204,205,206,207,208,209],"饰品","银镀金","点翠","花丝工艺","凤凰","缠枝纹","珍珠","红宝石","翡翠","雍容华贵","吉祥寓意","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F46059bf52b2bff83469f45aa097deaf9.jpg",[],8,{"id":214,"slug":215,"title":216,"dynasty":37,"author":19,"museum":20,"description":172,"tags":217,"thumbUrl":221,"material":95,"size":96,"collection":27,"collections":222,"showCount":223,"zanCount":149,"manualWeight":11,"mainColor":181},267683,"bai-se-di-bao-xiang-hu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