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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。",[62,63,64,65,26,66,67,68,69,70,7,71,72,73],"壁画","南北朝风格","宗教题材","线条勾勒","佛像","菩萨","飞天","供养人","古代服饰","人物群像","宗教壁画技法","壁面绘制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71b3a62d2883cac04e8b299e670573b7.jpg","未知","Xcm*Xcm",[],117,{"id":80,"slug":81,"title":82,"dynasty":83,"author":84,"museum":85,"description":86,"tags":87,"thumbUrl":88,"material":89,"size":90,"collection":49,"collections":91,"showCount":92,"zanCount":52,"manualWeight":11,"mainColor":93},219237,"xu-kong-zang-pu-sa-xiang-ri-ben-yi-ming-219237","虚空蔵菩萨像","不详","日本·佚名","日本东京国立博物馆","画面沉敛的墨色里，虚空藏菩萨端坐莲台，面容温润如满月，双目微阖似含慈悲。头戴宝冠缀饰精巧，璎珞垂肩映出细碎华光，衣纹线条婉转如流云，金箔点缀处更显庄严雅致。身后多层背光暗红交织墨色，层层晕染如涟漪扩散，凝住神性的辉光。莲座花瓣层叠纹理细腻，承托坐姿安稳如山。整幅作品以凝练笔触勾勒庄严法相，每一处细节都藏着对神性的敬畏与美的追求，凝视间仿佛能触到心灵的沉静，感知那怀纳无尽智慧与福德的力量，让浮躁心绪在这古典的静谧里慢慢沉淀。",[23,25,27,26,28,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1d15498dcc5a053db8d3797f3b59f65f.jpg","绢本,设色","132.0×84.4",[49],110,"37474F",{"id":95,"slug":96,"title":97,"dynasty":98,"author":19,"museum":20,"description":99,"tags":100,"thumbUrl":111,"material":26,"size":48,"collection":112,"collections":113,"showCount":114,"zanCount":115,"manualWeight":11,"mainColor":53},219248,"shi-jia-san-zun-xiang-yi-ming-219248","释迦三尊像","元","三屏并置构局对称庄严，中央主尊端坐莲台，袈裟朱红如燃，衣纹流转似风拂涟漪；左普贤乘六牙白象，象踏祥云，彩饰环身；右文殊跨青狮，狮吼若闻，威凛自生。下方侍从或执杖肃立，或捧器躬身，衣袂飘举间线条劲健。设色虽历久斑驳，仍可见朱砂浓艳、石绿清润与泥金辉光相映，兼具宋画细腻工致与元人开阔气度，将佛国神圣与人间鲜活悄然融合，尽显元代佛画独特神韵——既承汉地传统笔墨之精，又融多元文化的开阔气象，是佛画艺术在时代交融中的生动遗存。",[23,101,25,102,27,26,28,103,7,104,105,106,107,66,108,109,110],"国画","立轴","神兽","护法","胁侍","坐骑","佛教","骑兽","胁侍菩萨","弟子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fad0d370ff3dae005e118f1bc294f41e9.jpg","设色画精选",[112],74,1,{"id":117,"slug":118,"title":119,"dynasty":83,"author":19,"museum":59,"description":120,"tags":121,"thumbUrl":128,"material":48,"size":48,"collection":129,"collections":130,"showCount":131,"zanCount":115,"manualWeight":11,"mainColor":93},245452,"liu-cheng-jin-fu-shi-yi-ming-245452","六成金佛饰","此像通体鎏金，宝光内蕴华贵雍容。造像面容圆润慈悲，笑意柔和内敛，宝冠嵌饰点缀，更显庄严。双手托宝瓶结禅定印，身佩璎珞环钏，纹饰饱满细腻。莲座与背光一体铸就，背光层次分明，莲瓣周正规整，线条流畅利落。整体比例合度，金水厚重匀净，尽显精妙工法，沉静肃穆间裹挟着庄重气韵，将藏地造像的审美意趣凝练其中，是兼具宗教意蕴与工艺价值的上乘造像。",[25,122,123,42,43,124,7,125,126,127],"金器","雕刻","结印","火焰纹","六成金","金属工艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fea3fd2ed62e691ffc607b3703739476a.jpg","雕塑精选",[129],61,{"id":133,"slug":134,"title":135,"dynasty":18,"author":19,"museum":59,"description":136,"tags":137,"thumbUrl":142,"material":75,"size":76,"collection":48,"collections":143,"showCount":144,"zanCount":11,"manualWeight":11,"mainColor":53},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。",[25,27,26,34,102,28,33,138,139,140,125,7,32,141],"花卉","山峦","树木","装饰图案","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F47919a6f05c0b86e438887ba4126ae79.jpg",[],29,{"id":146,"slug":147,"title":148,"dynasty":98,"author":19,"museum":59,"description":149,"tags":150,"thumbUrl":155,"material":48,"size":48,"collection":48,"collections":156,"showCount":157,"zanCount":11,"manualWeight":11,"mainColor":53},228227,"xu-kong-zang-pu-sa-xiang-li-zhou-yi-ming-228227","虚空蔵菩萨像立轴","此作所绘菩萨面容慈悲恬和，端坐莲云宝台之上，周身璎珞环佩错落华贵，衣纹卷草繁复精美。身后圆光放射清辉，将法相衬得愈发澄澈庄严。设色沉雅古艳，晕染柔和细腻，带着浑穆静雅的气质。下方青绿山水澹然悠远，将神圣法界与俗世林泉相融，传递出安宁清寂的禅意。笔致工谨入微，既恪守宗教造像的肃穆仪轨，又暗合传统绘事的雅致意韵，尽显神性之美与笔墨意趣，是兼备信仰内涵与艺术价值的上乘之作。",[23,101,151,152,102,25,28,27,26,153,154,7],"书画","元代","莲花","山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd4519e845bfd0c73213cf3ff0697c5d5.jpg",[],16,{"id":159,"slug":160,"title":161,"dynasty":18,"author":162,"museum":163,"description":164,"tags":165,"thumbUrl":173,"material":174,"size":175,"collection":48,"collections":176,"showCount":177,"zanCount":11,"manualWeight":11,"mainColor":178},223313,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是一幅非常精美的佛教画作，其中所传达出的超凡慈悲和修行成果，对于追求佛道的人来说是一种极大的启发和鼓励。",[23,101,151,25,26,27,28,168,140,138,233,234,235,7,236],"建筑","飞鸟","器物","岩石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5d3ff9044a8d766a04e933b1773dd242.jpg",[],{"id":240,"slug":241,"title":242,"dynasty":208,"author":19,"museum":59,"description":243,"tags":244,"thumbUrl":251,"material":75,"size":76,"collection":48,"collections":252,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":53},254694,"shan-ye-ni-fu-pu-sa-xiang-yi-ming-254694","善业泥佛菩萨像","模压而成的泥质造像，以密檐佛塔为中心，塔中各层皆趺坐佛陀，周遭环列结跏趺坐的诸佛与身姿修长的胁侍菩萨，造像皆顶覆头光，排布紧凑饱满。\n\n朴拙泥胎之上，将佛塔崇拜与造像组合相融，虽经岁月侵蚀，线条渐趋漫漶，却依旧能窥见造像的肃穆精工，方寸之间铺陈出净土佛国的万千气象，把虔诚的信仰凝缩在一方泥版之中，尽显造像风尚里的沉静佛韵。",[211,25,245,246,247,167,67,248,224,7,249,250,28],"泥雕","模制","浮雕","坐佛","佛塔","楼阁式塔","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5ee6b8523dffdf2279684fde7eeffed.jpg",[],{"id":254,"slug":255,"title":256,"dynasty":58,"author":19,"museum":59,"description":257,"tags":258,"thumbUrl":261,"material":75,"size":76,"collection":48,"collections":262,"showCount":115,"zanCount":11,"manualWeight":11,"mainColor":93},254316,"tong-liu-ye-nu-zao-shi-jia-duo-bao-fo-xiang-yi-ming-254316","铜刘也奴造释迦多宝佛像","舟形尖顶背光修长舒展，浅刻莲纹点缀其间，素雅古朴。两佛并坐方台，结跏趺坐，面容沉静和柔，衣纹简约凝练，尽显洗练之风。整体铜色沉穆，包浆厚重，带着岁月摩挲的温润质感。\n造像虽体量小巧，却以极简线条勾勒出佛陀端严慈悲的气韵，空灵静穆之美凝于方寸之间，暗含早期佛教造像的质朴庄严意趣，尽显这一时期造像的典型审美特质，是一件极具代表性的小型造像佳作。",[58,25,185,123,66,259,7,260],"双佛","造像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F758e485d808932ccd4ef4f8b5b507008.jpg",[],{"id":264,"slug":265,"title":266,"dynasty":18,"author":19,"museum":59,"description":267,"tags":268,"thumbUrl":273,"material":75,"size":76,"collection":48,"collections":274,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":53},256104,"ni-ca-ca-fu-zuo-xiang-yi-ming-256104","泥擦擦佛坐像","中国雕塑是指具有中国特色且原产于中国的雕塑艺术品。中国雕塑（Chinese sculptures），为中国文化的重要组成部分。中国古代雕塑艺术的主要内容分别是陵墓雕塑（包括地上的纪念性石刻与墓室随葬俑）、宗教雕塑、民俗性及其他内容的雕塑。\n大型陵墓石刻肇始于汉代墓前的石人、石兽。存世的古代陵墓石刻主要为南朝宋、齐、梁、陈及唐、北宋、明、清各代帝陵和勋臣贵戚墓的遗存。北魏、辽、金、西夏等朝代陵墓遭严重破坏，仅有少量石刻遗留下来。南朝和唐代的作品代表了陵墓石刻的最高成就。自唐代乾陵起，以迄北宋，石刻的内容、配置方式，逐步形成定制，并为明、清两代所承袭。宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。石窟寺是开凿于山崖之上的宗教寺庙。以佛教为主，也有少量道教或其他宗教内容的造像。石窟形制源自印度，约于 3世纪传至中国。造窟风气最盛的时期为南北朝至唐代中期，约当5～8世纪。重要石窟多以皇室或勋臣贵戚雕造的大像为中心，由众多的窟、龛、摩崖造像等，构成庞大的石窟群。雕造的时间常延续10多个世纪。每个窟内又以立体雕塑本尊佛造像为中心，由弟子、菩萨（以后增加天王、力士）组成群像，四壁布满浮雕或壁画，形成浓厚的宗教氛围。由于造像和壁画、浮雕内容、样式的差异，而形成不同时期、不同地区的艺术风格。功能\n中国雕塑既可以是一个国家文化的标志和象征，又可作为该民族文化积累的产物。雕塑述说着民族发展的历史，凝聚着民族的精神和传统，代表着每一历史时期的精神面貌，反映着自古至今，人们的无限追求与执着信仰，展现价值观念及审美情趣。中国雕塑，城市建筑等，都是一个民族精神文明与物质文明最直观、最集中的表现。\n中国雕塑不仅仅是文化的产物，同时也是一个国际不可或缺的经济投资点。中国雕塑和其他其他国际建筑等共同构成世界高雅美丽的环境，使生活在城市中的人们受到优越的审美体验，感受到文化的魅力与美的精神，中国雕塑的存在影响了中国环境，提升了文化形象，产生了视觉空间的凝聚力，这就创造了一种对于环境的投资潜能。",[24,25,123,269,270,7,271,272],"泥塑","坐像","莲座","纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3709460b5faebc2502b2fbf6d91e7909.jpg",[],{"id":276,"slug":277,"title":278,"dynasty":18,"author":19,"museum":59,"description":267,"tags":279,"thumbUrl":282,"material":75,"size":76,"collection":48,"collections":283,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":93},254938,"shi-fu-zuo-xiang-yi-ming-254938","石佛坐像",[24,25,107,123,212,280,270,66,281,7,271],"珐琅镶嵌","石质","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe78d249aef2aa473e3a6f7201e907c9e.jpg",[],{"id":285,"slug":286,"title":287,"dynasty":18,"author":19,"museum":59,"description":267,"tags":288,"thumbUrl":292,"material":75,"size":76,"collection":48,"collections":293,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":93},252807,"tong-liu-jin-wu-liang-shou-fu-zuo-xiang-yi-ming-252807","铜鎏金无量寿佛坐像",[185,212,123,289,25,66,270,7,290,291],"铸造","清代风格","镶嵌","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd402acc30ee2850044ecddc0e77f2133.jpg",[],{"id":295,"slug":296,"title":297,"dynasty":18,"author":19,"museum":59,"description":298,"tags":299,"thumbUrl":301,"material":75,"size":76,"collection":48,"collections":302,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":93},245657,"jin-dai-bei-guang-zuo-qian-zhu-bao-fu-yi-ming-245657","金带背光座嵌珠宝佛","造像法相端严，结跏趺坐于莲台，双手合十，宝冠垂饰尽显华贵雍容。周身鎏金璨然夺目，衣纹舒展贴合躯体，静穆慈悲的诸佛仪范尽显无余。背光錾刻繁复缠枝纹饰，衬得造像愈发庄肃高远。\n\n莲座下支架嵌饰珠宝，宝光与金辉交相辉映，镂雕花饰精巧灵动，层层底座纹饰饱满厚重，尽显金细作的极致工巧，将宗教神性与匠造的奢华质感融为一体，静立间自有清净庄严的佛门气韵，是金工造像中的精妙之作。",[24,122,300,7,66,25,123,127],"嵌珠宝","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5f8defdf0faed6e2a1ea8e604b7eaec3.jpg",[],1777535721203]