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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。",[113,114,25,115,27,116,117,118,119,29,120,50,28,121,7],"唐代","壁画","宗教","飞天","兽","鹿","马","山峦","云纹","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F23cd3130d2f67f6a5e8f63d64a3488bc.jpg","未知","Xcm*Xcm",[],86,1,{"id":129,"slug":130,"title":131,"dynasty":132,"author":133,"museum":134,"description":135,"tags":136,"thumbUrl":138,"material":34,"size":139,"collection":36,"collections":140,"showCount":141,"zanCount":11,"manualWeight":11,"mainColor":60},220350,"liu-hai-xi-chan-tu-liu-jun-220350","刘海戏蟾图","明","刘俊","河北省博物馆","图绘刘海居中，呈侧身面像，身着宽袖长袍，衣带飘动，与海涛和谐，腰系宝芦与紫芝，左手托金蟾，漂游于海上。此图的背景为天空祥云飘渺，脚下为浩瀚无边际的大海，汹涌澎湃的波涛作烘托，给人以海阔天空的感觉，从而更加突出了刘海不同凡人的仙人气质。",[23,70,24,48,26,25,27,7,137],"蟾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F11e188e8c25060d16d9643720fc227de.jpg","纵181.3厘米,横108.8厘米",[36],83,{"id":143,"slug":144,"title":145,"dynasty":65,"author":19,"museum":67,"description":146,"tags":147,"thumbUrl":152,"material":75,"size":75,"collection":75,"collections":153,"showCount":154,"zanCount":127,"manualWeight":11,"mainColor":60},223653,"chi-bi-tu-ce-ye-yi-ming-223653","赤壁图册页","《宋无款赤壁图》是宋代佚名创作的一幅画。\n本幅是一叶扁舟为主景的局部山水，画面中置石壁于右上角，仅画出赤壁之山脚与山石部分，可以说是把赤壁予以浓缩成近景特写。\n扁舟上回身仰望的苏东坡，暗示出他看到的赤壁在画外的高耸着，赤壁的特色，并不因其只画山角而失去，反因取材精简，景致更能突出。\n波浪起伏回转，表现一叶扁舟之摇摇荡荡，飘飘乎遗世而独立，可说极为生动地将〈 〉最为浪漫的憧憬画出了。",[23,24,70,48,148,25,26,149,29,27,89,150,151,7],"册","皴法","江水","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5fcb770c34ae0fb5c7a2dc0e116c105e.jpg",[],76,{"id":156,"slug":157,"title":158,"dynasty":18,"author":159,"museum":67,"description":160,"tags":161,"thumbUrl":165,"material":123,"size":124,"collection":75,"collections":166,"showCount":167,"zanCount":11,"manualWeight":11,"mainColor":60},230158,"peng-lai-xian-jing-tu-ping-12-tiao-ping-yuan-yao-230158","蓬莱仙境图屏-12条屏","袁耀","袁耀（生卒年不详），清朝画家，字昭道，江都（今江苏扬州）人。袁江之侄。",[23,24,25,162,26,149,29,163,164,151,31,7],"界画","楼阁","松树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F54bd480a9dcef63f008711c8e7e61623.jpg",[],69,{"id":169,"slug":170,"title":171,"dynasty":132,"author":133,"museum":172,"description":173,"tags":174,"thumbUrl":177,"material":178,"size":179,"collection":36,"collections":180,"showCount":181,"zanCount":127,"manualWeight":11,"mainColor":60},222137,"liu-hai-xi-jin-chan-tu-zhou-liu-jun-222137","刘海戏金蟾图轴","石家庄市博物馆","画中刘海蟾神情怡然，步态从容，身着长袍，足凳云履，腰系葫芦与紫芝。左手托三足金蟾，飘波于碧涛之上。背景远山一抹，海天辽阔。驻足画前细细品味，一股清新自然之气扑面而来。在浩瀚无垠的大海和辽阔无边的天空映衬之下，刘海蟾的神仙气质脱颖而出。画家摄取了刘海蟾信步波上的瞬间，虽无情节，却给人留下无限遐想的空间——他是到蓬莱赴会众神仙，还是到凡间赐福世人？这正是花架构思的奇妙之处。",[23,24,49,26,25,27,7,175,176],"荷","金蟾","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1450695127d7e3b981d63088893321af.jpg","绢地，设色","纵181.3厘米，横108.8厘米",[36],50,{"id":183,"slug":184,"title":185,"dynasty":132,"author":186,"museum":84,"description":187,"tags":188,"thumbUrl":190,"material":191,"size":192,"collection":193,"collections":194,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":40},222484,"shang-bo-hua-ji-xuan-36-1-zhang-lu-222484","上博画集选36-1","张路","张路（1464—1538 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，设色","纵60cm，横28.3cm",[101],28,{"id":257,"slug":258,"title":259,"dynasty":18,"author":260,"museum":261,"description":262,"tags":263,"thumbUrl":266,"material":34,"size":267,"collection":75,"collections":268,"showCount":269,"zanCount":11,"manualWeight":11,"mainColor":40},218334,"shen-xian-gu-shi-tu-ce-5-leng-mei-218334","神仙故事图册-5","冷枚","大英博物馆","这一卷是一幅关于神仙故事的画。笔触做得非常好，人物也很自然，比例匀称。虽然色彩强烈，但并没有压倒性的效果，而且景观、动植物和工具都被描绘得非常巧妙。",[23,24,25,26,27,264,7,73,148,265],"神仙","衣帽","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F781bd26342a026f38abb9ad0392e3bd2.jpg","38x42",[],25,{"id":271,"slug":272,"title":273,"dynasty":132,"author":274,"museum":67,"description":275,"tags":276,"thumbUrl":278,"material":123,"size":124,"collection":75,"collections":279,"showCount":280,"zanCount":11,"manualWeight":11,"mainColor":60},288166,"za-hua-tu-ce-kai-chen-hong-shou-288166","杂画图册开","陈洪绶","插图》《水浒叶子》《博古叶子》等版刻传世，工诗善书，有《宝纶堂集》。",[70,24,148,25,26,29,277,7,97],"黄河","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F12365422828b25d6751d1298c3d2a401.jpg",[],23,{"id":282,"slug":283,"title":284,"dynasty":82,"author":285,"museum":227,"description":286,"tags":287,"thumbUrl":290,"material":25,"size":75,"collection":36,"collections":291,"showCount":292,"zanCount":11,"manualWeight":11,"mainColor":293},219443,"da-mo-xiang-qian-xuan-219443","达摩像","钱选","画面中达摩披衣而立，络腮虬髯衬出沉静面容，光头显露出禅者清寂。衣袂以金线勾描，满布回纹与吉祥符饰，流转间似有梵音暗涌。背景以浓墨晕染云雾与浪涛，深幽色调衬得金身愈显庄严。脚下礁石隐现，衣袍下摆随波轻漾，仿佛正立于渡江之际，静对万顷沧溟。线条细劲却含张力，金墨与黑底相映成趣，既见工笔之精，亦藏写意之韵，将达摩的坚毅与禅意凝于方寸，尽显古雅深邃之美。",[24,48,49,115,27,25,288,7,289,97],"描金","礁石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb5239eb198863f33d5f3ab58ec0b3ec1.jpg",[36],18,"37474F",{"id":295,"slug":296,"title":297,"dynasty":65,"author":19,"museum":67,"description":298,"tags":299,"thumbUrl":303,"material":75,"size":75,"collection":75,"collections":304,"showCount":305,"zanCount":11,"manualWeight":11,"mainColor":40},227889,"cang-hai-yong-ri-tu-ye-yi-ming-227889","沧海涌日图页","此作用浓淡变幻的墨色勾勒翻涌沧波，层叠浪涛卷着白沫奔涌不息，一轮朝日自海雾中缓缓浮现，晕染开朦胧天光。水纹肌理刻画入微，浪涛的雄浑动感与朝日的静穆柔和相映，将拂晓山海间辽远磅礴又带着初醒静谧的意境尽数铺展。\n\n左侧题诗与画境呼应，诗画合璧，以尺幅团扇承载浩瀚山海气象，尽显以小见大的精妙意趣，笔力苍劲细腻，墨色层次丰富，把沧海涌日的磅礴瞬间凝于绢素之上，藏天地灵韵于方寸之间。",[23,300,24,48,148,26,25,29,301,7,302,87,97],"宋画","海","日","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F29729fff9eb5bf2c5f979e5438cdbc4f.jpg",[],16,{"id":307,"slug":308,"title":309,"dynasty":65,"author":19,"museum":227,"description":310,"tags":311,"thumbUrl":313,"material":34,"size":314,"collection":36,"collections":315,"showCount":305,"zanCount":11,"manualWeight":11,"mainColor":40},218803,"li-tie-guai-mo-jian-tu-yi-ming-218803","李铁拐磨剑图","画中的人物头发凌乱，满脸胡须，衣服破烂，赤脚，肌肉发达，在海滩上的一块凸起的石头上磨剑。滚动的海浪，加上松树和滚动的云朵，是画面的焦点。这幅画的原题是 周帝打醮，但从人物旁边的手杖来看，这幅画描绘的是道教传说中的八仙之一的李铁拐。传说他是一个魁梧的人，在成为不朽的人之后，被赋予了一个饥饿的人的身体，因此他的外表很丑陋。明朝的一位宫廷画师也制作了类似的图像，用来驱除邪灵。",[23,70,24,48,148,26,189,25,27,164,151,7,312],"剑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6e1584d50aced77bd7bb3f19029177fc.jpg","23.9x21",[36],{"id":317,"slug":318,"title":319,"dynasty":18,"author":320,"museum":227,"description":321,"tags":322,"thumbUrl":328,"material":329,"size":75,"collection":75,"collections":330,"showCount":331,"zanCount":127,"manualWeight":11,"mainColor":40},218032,"tian-wang-xiang-9-yao-wen-han-218032","天王像-9","姚文瀚","画面中人物端坐云涛花海间，蓝袍红裙缀着细碎纹样，衣袂流转似凝微光。双目微阖含禅意，手中法器古朴，指节分明藏着沉静力道。身下五彩祥云裹挟莲华与瑞草，粉白黄紫交织如锦；脚下波涛翻涌，龟甲隐现、红枝探水，似有灵韵暗生。背景山林隐隐，云端仙佛颔首，淡墨晕染的树影与暖金祥云相映，添了几分空灵神圣。设色妍丽却清雅，线条工细如丝，将人物庄严与自然灵韵融于方寸。每一笔都透着匠心：衣纹褶皱的转折、花瓣脉络的细腻、水波纹理的起伏，皆见功底。整体意境空灵而肃穆，仿佛天地呼吸都凝在这帧画卷里，让人望之便生敬畏与沉静。",[24,26,25,115,27,323,7,28,324,325,326,97,327],"祥云","龟","花卉","树木","工笔重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefda59d6ea133eebd3dbe9a283923b41.jpg","纸本,设色",[],15,{"id":333,"slug":334,"title":335,"dynasty":132,"author":336,"museum":67,"description":337,"tags":338,"thumbUrl":339,"material":75,"size":75,"collection":75,"collections":340,"showCount":341,"zanCount":11,"manualWeight":11,"mainColor":60},228361,"da-mo-du-jiang-tu-sun-ke-hong-228361","达摩渡江图","孙克弘","少林七十二绝技之一，又名一线穿、一苇渡江、又名水上飞行术，俗名踩软绳，即说部中所谓蹬萍渡水、踏雪无痕之功夫也。\n乃轻身功夫之一种，为 内壮 。\n为 的一种,能凭借柔软之物在水上等场所前进。\n相传达摩在南方传道已毕，返回时路遇一江无船可渡，折江边芦苇，抛入江中，踏苇过江。\n故后以此命名此功。\n少林七十二绝技之一,又名一线穿,一苇渡江、又名水上 ，俗名踩软绳，即说部中 所谓蹬萍渡水、踏雪无痕之功夫也。\n乃轻身功夫之一种，为软功内壮 。\n为轻功的一种,能凭借柔软之物在水上等场所前进。\n之一，又名 、 、又名水上飞行术，俗名踩软绳，即说部中所谓蹬萍渡水、 之功夫也。\n乃轻身功夫之一种，为软功内壮 。\n为轻功的一种,能凭借柔软之物在水上等场所前进。\n相传 在南方 已毕，返回时 一江无船可渡，折江边芦苇，抛入江中，踏苇过江。\n故后以此命名此功。\n凭借此功可借竹苇等在水面横行自如，属上乘轻功，非十年苦功不可得。\n其练法殊 非易易，然苟能坚心意志练习，不难成功。\n其法分数步， 入手之初，与飞行功、轻身术相同。\n即先带铅砂，在平地上练习飞驰 ，然后在山路上练习跳跃，更放石块于簸箩中，在其边上行走，逐渐 取去石块，至能在空簸箩边上行走后，即走沙道。\n以上各法，已详见 飞行功、轻身术练法中。\n惟两腿所束之铅砂，亦须按前法以猪血浸炼 ，使成死铅，始可应用。\n带铅以每腿四两起，至五斤为度，平时宜以 药水洗腿，以防损害。\n沙道走过之后，则走棉纸，用厚约三四寸之棉 纸，铺于沙道之中，人行其上，至足印不下陷时，此第一步功夫成。\n然后更以细长之木，系其两端，悬空际，约高二三尺，人即于木上往 来飞行。\n初时木心因承重之故，宕动不已，直要练得人行其上，丝毫 不动为上，至此更易木为巨绳，其法竖竹架，以巨绳横扣于架之两端 ，人于绳上行走，即如现在江湖卖解场中，即俗所谓跑马戏者，所常 见之走绳索是也。\n绳质较软，一着足必向下陷，尤易左右摇摆，不如 木之来往荡动，故练此步功夫亦较为难，直练至人行绳上，绳能不荡 不摇，则第二步功夫成。\n从此将逐渐减细，至粗不盈指之绳，亦能任 意往来于绳上，亦不荡不摇，则第三步功夫成。\n然后以最细之连绳行 之，亦能行走自如者；再将其绳两端系于河之两岸，将绳横拦于河之 水面上，仍按前法行之，能行走自如，则全功成矣。\n功成之后，可在 水面飞行，所谓水面飞行者，亦须略有假借，须用一质地轻浮之物， 如竹片木杆芦苇等物，掷于水面，人即可身立其上，推之前进也。\n余 如浮萍薄草密集之处，菱角荷叶丛生之所，亦可在上行走。\n昔日达摩老祖，传道已毕，只身西去，即以一苇渡江，即系此种功夫。\n然习此种功夫，非十余年苦功，则无以成，且须静心虚气以习之。\n洗腿药水，即以地骨皮、食盐各等量入，煎水乘汤热洗之，则血气融和，皮肤舒畅，上下交感体气究实矣。\n达摩－中国禅宗初祖。\n南天竺婆罗门人，原名菩提多罗，是南天竺香玉王的第三子，禅宗二十七至祖般若多罗到该国传法，菩提多罗从他学法，很得般若多罗的赏识，就给他改名为达摩，意译为道法，是达摩已通达到法的意思。\n梁武帝普通年到达广州，梁武帝闻其名，迎入金陵，但观念不相契合，达摩悄然北上。\n途经北江，没有渡江的工具，遂将一束苇草置于江面，踏蹑而渡。\n「达摩一苇渡江，栾巴噀酒灭火。\n」后至北魏，所到之处，以禅法教人。\n达摩的事迹，随着禅宗的发展，渐趋神异，并成为中国画家、瓷艺家所爱的题材。\n“一苇渡江”明清德化窑达摩瓷塑上常常以此为题材。\n此图为明 的“达摩渡江图”，现藏宁波“天一阁”。\n这件“达摩渡江图”正是道释人物，画的很细腻，宗梁楷“细笔”一类画风。\n人物回首顾盼，两目突出，神采毕现。\n衣纹线条虽简，但非常概括，转折有力。\n此画虽是细写，却有意笔效果。\n孙克弘（15－1611）一作克宏，字允执，号雪居， 人。\n父为进士承恩。\n孙克弘以父荫入仕，官至汉阳太守。\n孙克弘生性巧慧，声音洪亮，状貌疏野，在居处四壁上画苍松老柏。\n善书法，画上常题隶书。\n绘画擅花鸟、人物，有资料说写道释人物则学梁楷。",[23,24,48,49,115,26,25,27,97,265,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc49e44cbbf6c2d7b966e9e401cadc7c7.jpg",[],11,{"id":343,"slug":344,"title":345,"dynasty":346,"author":347,"museum":67,"description":348,"tags":349,"thumbUrl":353,"material":123,"size":124,"collection":75,"collections":354,"showCount":355,"zanCount":11,"manualWeight":11,"mainColor":40},231730,"da-zheng-nian-chao-zhi-juan-jin-cun-zi-hong-231730","大正年 朝之卷","不详","今村紫红","今村四光（Shiko Imamura，1880年（明治13年）12月16日－1916年12月16日（大正5年）2月28日）是横滨神奈川县人，出生于日本画家。他的真名是十三郎。他虽然享年35岁（按年算37岁），但他大胆而原创的作品给画家带来了新鲜的刺激，对后辈画家也产生了很大的影响。主要作品如“近江八景”系列（1912年，东京国立博物馆，重要文化财产），“笃之卷”（1914年，东京国立博物馆，重要文化财产）。",[23,24,48,71,25,26,29,301,7,350,351,352,89,27],"岛屿","棕榈树","山丘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F90e5f661c7377d7282ed7dd3a7183f6c.jpg",[],10,{"id":357,"slug":358,"title":359,"dynasty":18,"author":320,"museum":227,"description":360,"tags":361,"thumbUrl":364,"material":365,"size":366,"collection":75,"collections":367,"showCount":39,"zanCount":11,"manualWeight":11,"mainColor":40},223094,"hua-di-qi-ga-na-ga-ba-sa-zun-zhe-zhou-yao-wen-han-223094","画第七嘎纳嘎巴萨尊者轴","姚文瀚（公元18世纪）清代画家。号濯亭，顺天（今北京）人，生卒年不详。乾隆时供奉内廷，工道释、人物、山水、界画。传世作品有《四序图》卷。",[23,24,25,26,115,49,27,326,325,151,362,7,363,97],"流水","果盘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fba3e29af9ff3dfe7f92ff487a79712a8.jpg","轴 纸本 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使用了特殊的技巧来创造出立体感。焦秉贞的推背图册在当时被认为是一件杰出的艺术品，并且至今仍然备受赞赏。",[23,24,25,26,28,7,323,27],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F146936db95c19c71f5f440bec3a9a86d.jpg",[],{"id":451,"slug":452,"title":453,"dynasty":18,"author":19,"museum":67,"description":454,"tags":455,"thumbUrl":461,"material":123,"size":124,"collection":75,"collections":462,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":60},247131,"qian-long-kuan-ti-hong-xian-ren-cheng-cha-tu-tuo-yuan-he-yi-ming-247131","乾隆款剔红仙人乘槎图椭圆盒","清代文物。旧时用于存放食物或饰品之用,根据材质价值不同。清宫旧藏",[456,457,458,27,459,460,7],"漆器","雕刻","剔红","仙人","木筏","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefd06e599e6dab608d26db5f64904ca6.jpg",[],{"id":464,"slug":465,"title":466,"dynasty":346,"author":19,"museum":67,"description":467,"tags":468,"thumbUrl":470,"material":123,"size":124,"collection":75,"collections":471,"showCount":127,"zanCount":11,"manualWeight":11,"mainColor":60},231715,"jiang-hu-shi-qi-shu-hua-he-juan-yi-ming-231715","江户时期 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