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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。",[62,64,29,35,167,168,169,170,171,172,173,7,63,174,175,176],"飞天","建筑","线描","唐代风格","佛教题材","群像","装饰图案","神佛形象","天宫楼阁","伎乐天","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe37b4066fc77d0166c89a0da9e2e1fd.jpg",[],14,{"id":181,"slug":182,"title":183,"dynasty":84,"author":184,"museum":86,"description":185,"tags":186,"thumbUrl":193,"material":77,"size":77,"collection":77,"collections":194,"showCount":195,"zanCount":11,"manualWeight":11,"mainColor":103},235647,"shan-shui-tu-ce-wu-li-235647","山水图册","吴历","近岸枯木虬枝遒劲，疏朗错落，坡石茅舍隐于一隅，野趣盎然。淡墨晕染远山，浑茫温润，点点飞鸟掠过长天，衬出江天寥廓空寂。右上角题诗寄怀，笔意萧散，与画面意境相融无间。\n\n整幅笔墨秀雅苍润，干笔皴擦尽显山石质感，淡墨铺陈晕染出深秋清寒气韵。以极简布景勾勒荒寒山居之境，将萧瑟秋意与静穆禅意揉合尺幅，尽显文人写意风神，淡远悠长，余韵袅袅。",[24,26,187,112,28,188,189,190,191,192,7],"册","亭","飞鸟","老树","孤石","水墨山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6dbd83ad502c2b79feb48c37b8ae49fc.jpg",[],11,{"id":197,"slug":198,"title":199,"dynasty":57,"author":58,"museum":86,"description":200,"tags":201,"thumbUrl":211,"material":77,"size":77,"collection":77,"collections":212,"showCount":213,"zanCount":11,"manualWeight":11,"mainColor":103},225336,"fu-shi-hui-89-yi-ming-225336","浮世绘89","这幅绘卷以清隽色调铺展乡野闲景，靛蓝晕染出澄澈天色与幽深水色，苔绿晕覆缓坡茂林，暖棕勾勒屋舍行人，层次柔和分明。盘山小径上，行旅之人步履匆匆，似奔赴前路；右侧瀑流奔涌入水，撞碎一汪清潭。前景屋舍错落，石砌护坡衬着覆茸缓坡，浓荫垂落晕染出夏日幽谧。\n\n线条工细流畅，既勾勒山石屋宇的硬朗轮廓，又晕出松枝流泉的灵动生机。将江户郊野的行旅日常，揉入山水景致间，恬淡悠然，尽显浮世市井里的乡野意趣。",[202,203,29,35,31,204,205,206,207,208,209,40,118,7,210],"浮世绘","木刻","房屋","流水","石砌","劳作","河岸","蓝绿色调","市井生活","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4b4cf62aebb4c5452ad32b795d10ad77.jpg",[],7,{"id":215,"slug":216,"title":217,"dynasty":84,"author":58,"museum":86,"description":218,"tags":219,"thumbUrl":225,"material":75,"size":76,"collection":77,"collections":226,"showCount":227,"zanCount":11,"manualWeight":11,"mainColor":228},241935,"dian-cui-chuan-zhu-hua-yi-ming-241935","点翠穿珠花","幽蓝点翠似揉碎深夜长空，晕染出莹润透亮的叶片，银胎錾刻的脉络清晰灵动，将草木舒展的姿态凝于发簪之上。穿缀的珠花小巧娇憨，米白珠粒配朱色点缀，宛若带露初绽的碎花簇在枝梢，把春日枝桠的鲜活定格。\n\n匠人以细工慢活将自然意趣藏于鬓间，把东方审美里的温柔雅致融于方寸，静立间便晕开旧时光里的清隽闺韵，尽显旧时首饰工艺的精巧灵秀。",[89,220,221,137,222,223,7,224],"点翠","穿珠","饰品","金属工艺","装饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffe455c0a72b76cb534d57869e4af0c7c.jpg",[],5,"37474F",{"id":230,"slug":231,"title":232,"dynasty":84,"author":233,"museum":86,"description":234,"tags":235,"thumbUrl":240,"material":77,"size":77,"collection":77,"collections":241,"showCount":227,"zanCount":11,"manualWeight":11,"mainColor":103},238216,"fang-wang-hui-shan-shui-ce-cao-kui-yin-238216","仿王翬山水册","曹夔音","此作为仿古佳制，右幅绘溪林静境，苍松虬劲成荫，溪桥隐于林下，远山以淡墨晕染留白，晕开空濛烟岚，尽显林泉幽寂的隐逸之趣。笔触温婉秀润，循古法而出新意，将淡远清和的山水风神尽显无余。\n左幅题咏琳琅，诗画合璧，以文衬景，把寄情丘壑的雅怀诉诸笔端，笔墨间浸透了传统文人澄怀观道的林下襟怀，整幅册页清雅隽永，尽显师古能化的笔墨功力。",[24,26,25,236,112,29,43,32,31,134,116,205,237,7,238,239],"山水画","云雾","仿古风格","文人画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F763a5f1073179bed6806c33f9105b513.jpg",[],{"id":243,"slug":244,"title":245,"dynasty":108,"author":246,"museum":86,"description":247,"tags":248,"thumbUrl":257,"material":75,"size":76,"collection":77,"collections":258,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":103},237504,"shan-shui-hua-hui-ce-jiang-shou-cheng-237504","山水花卉册","蒋守成","蒋守成明代画家。字继之,号晓山。丹阳人。善画山水,师法宋元画家赵千里,赵子昂、吴仲圭。亦作花鸟、竹石,都很出色,可惜中年患有眼疾,传世作品甚少。",[24,26,187,249,29,28,33,31,36,250,251,112,252,253,7,32,37,254,255,256],"行书","岸边","淡彩","书法","自然景物","水域","远山","近景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F151fceff1d559bd393e5906365f0c727.jpg",[],4,{"id":261,"slug":262,"title":263,"dynasty":108,"author":264,"museum":86,"description":265,"tags":266,"thumbUrl":278,"material":77,"size":77,"collection":77,"collections":279,"showCount":259,"zanCount":11,"manualWeight":11,"mainColor":103},235628,"fang-gu-shan-shui-ce-shen-hao-235628","仿古山水册","沈颢","此作写就晚秋江村之境。近岸危石棱峭，枯木疏枝缀着残叶，一椽茅舍静立滩头，野水浅横，汀洲错落如星。隔江岩岫错落，村舍隐在寒林之间，远景峰峦晕染如黛，归雁掠过长空，将秋意拉得清寂辽远。\n\n笔触简劲枯淡，干笔皴擦山石见苍润意趣，淡墨晕开烟岚，以寥寥笔墨铺展出幽远空寂的林下之境，题款清隽与画面相映，尽现萧散淡远的文人襟怀，清寂里藏着悠然林下闲情。",[24,26,187,112,43,267,268,28,32,31,189,188,191,269,270,7,271,272,273,36,274,275,276,277,168],"临摹","印章","仿古","山水景物","文人画风格","写意","淡墨渲染","岩壁","荒草","远峰","小径","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa33e6aa0cdae181fda2df10d0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