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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。",[28,95,7,96,97,98,99],"佛教","佛窟","彩塑","佛教人物","石窟","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F829ca63ceee20b8aa27e0768563d6271.jpg","未知","Xcm*Xcm",[],164,1,"F48FB1",{"id":108,"slug":109,"title":110,"dynasty":55,"author":56,"museum":57,"description":111,"tags":112,"thumbUrl":115,"material":29,"size":34,"collection":64,"collections":116,"showCount":117,"zanCount":118,"manualWeight":11,"mainColor":67},217906,"guan-yin-jing-bian-tu-juan-yi-ming-217906","观音经变图卷","画面分栏叙事，线条如铁线银钩，遒劲中藏柔婉；设色古拙温润，晕染间沉淀着岁月的厚重。左侧人物仪态娴雅，衣纹流转似携清风；中间鬼怪造型夸张，狰狞里仍见动态生机；右侧场景描摹细致，骑乘的昂扬与受刑的肃穆形成对照，暗合经文中的因果寓意。图文相生，将抽象经义化作具象图景，既有宗教的神圣感，又融入世俗生活的烟火气。每一处细节皆显匠心，把经卷故事铺展得鲜活可感，尽显唐代经变画的叙事魅力与艺术高度。",[55,61,31,29,30,113,7,114],"书法","彩绘","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a302c97f60fce4016a6eb33371fd9c1.jpg",[64],146,2,{"id":120,"slug":121,"title":122,"dynasty":55,"author":56,"museum":123,"description":93,"tags":124,"thumbUrl":127,"material":101,"size":102,"collection":34,"collections":128,"showCount":129,"zanCount":11,"manualWeight":11,"mainColor":67},231004,"mo-gao-ku-329-yi-ming-231004","莫高窟329","藏地不详",[28,31,29,30,7,125,126,45],"唐代","树","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4418173c3cc1ad02ff65e163e5c89e84.jpg",[],140,{"id":131,"slug":132,"title":133,"dynasty":55,"author":134,"museum":135,"description":136,"tags":137,"thumbUrl":140,"material":141,"size":142,"collection":64,"collections":143,"showCount":144,"zanCount":118,"manualWeight":11,"mainColor":67},218614,"hu-guo-tian-wang-xiang-yu-chi-yi-seng-218614","护国天王像","尉迟乙僧","台北故宫博物院","本幅画手托宝塔的托塔天王，即世所谓之北方天王，为盛唐以后极受尊奉的佛像之一，其旁环侍之人物造型已为佛道相参之势。原谓尉僧乙僧所画，然细审其笔墨，应属明人风格。",[60,24,25,138,31,29,30,45,139,7,32],"立轴","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fefc1080a34fa72ca4f6198a683dc47ce.jpg","绢本,设色","109x39.2cm",[64],129,{"id":146,"slug":147,"title":148,"dynasty":18,"author":19,"museum":149,"description":150,"tags":151,"thumbUrl":157,"material":34,"size":34,"collection":34,"collections":158,"showCount":159,"zanCount":50,"manualWeight":11,"mainColor":38},220504,"mo-gao-ku-152-hao-tang-dai-zhu-guang-guan-yin-di-58-hao-lin-mo-ben-zhang-da-qian-220504","莫高窟152号唐代珠光观音第58号临摹本","國立故宮博物院","静穆安和的观音结跏趺坐莲台，垂敛双目，神容慈悲恬然。朱砂覆肩贴身，金线勾缠的璎珞臂钏层层叠叠，朱红宝色点缀其间，华贵不失清雅。头光晕染出青绿鎏金的柔和渐变，褪去窟壁千年斑驳，以明丽鲜亮的色彩复刻唐风遗韵。\n\n笔底既恪守古制风骨，又融个人意趣，将敦煌造像的庄严端凝晕化为绢上温润神采。敷色厚艳而不俗，线条匀净柔韧，把观音的圣洁与雍容揉合一处，观之令人心宁神定，尽显东方造像的静美禅意。",[60,24,25,30,31,29,45,27,7,152,153,154,155,156],"观音","莲台","禅意","圣洁","雍容","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F316b140450a1e3ec56ec1be1b10e6be1.jpg",[],107,{"id":161,"slug":162,"title":163,"dynasty":164,"author":56,"museum":7,"description":165,"tags":166,"thumbUrl":168,"material":101,"size":102,"collection":34,"collections":169,"showCount":170,"zanCount":105,"manualWeight":11,"mainColor":38},226513,"bi-hua-p-3954-fo-jiao-ren-wu-zhi-miao-tu-juan-yi-ming-226513","壁画P.3954佛教人物纸描图卷","不详","壁画，墙壁上的艺术，即人们直接画在墙面上的画。作为建筑物的附属部分，壁画的装饰和美化功能使它成为环境艺术的一个重要方面。壁画为人类历史上最早的绘画形式之一。\n早在汉朝就有在墙壁上作画的记载，多是在石窟、墓室或是寺观的墙壁，到了现在结合了现代工艺和文化气息，墙壁作画越来越多元、个性地发展，更多地被人们在装修时应用。",[61,167,31,30,28,7],"白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5a37865f3e6ca5288860305981bd0326.jpg",[],97,{"id":172,"slug":173,"title":174,"dynasty":55,"author":56,"museum":57,"description":175,"tags":176,"thumbUrl":182,"material":63,"size":34,"collection":34,"collections":183,"showCount":184,"zanCount":11,"manualWeight":11,"mainColor":67},217287,"jiang-mo-bian-dun-huang-tu-juan-3-yi-ming-217287","降魔变·敦煌图卷-3","树影婆娑间，故事徐徐铺展。墨线勾勒的衣袂翻飞里，左侧人群神色各异——或凝神静听，或交头接耳，衣袍的赭黄与青绿晕染出人间烟火气。\n\n帐幔轻垂，裹着一室虔诚：帐内人物或合十默祷，或低语交谈，虬髯者的粗犷与稚童的灵动相映成趣。旁侧大象纹饰古雅，背上的图案似藏玄机，卧于茵席间，添了几分神圣静谧。\n\n右侧僧众团坐，赭红衣袂与墨色僧袍交织，光头的圆润衬着肃穆神情，仿佛法音正缓缓流转。他们或指或听，姿态各异却皆凝向中心，将叙事的焦点引向那份庄严。\n\n淡彩晕染的纸页上，线条如行云流水，把宗教的神圣与人间的鲜活揉作一处。每一笔都藏着敦煌艺术的古朴韵致，让千年前的故事，在今日仍能触到那份温热的虔诚与生动。",[60,24,25,61,29,45,31,30,7,177,32,178,84,179,180,181],"大象","树木","帐篷","僧侣","龙","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe78417d9a75ae607f87c5184762deb39.jpg",[],91,{"id":186,"slug":187,"title":188,"dynasty":55,"author":56,"museum":7,"description":93,"tags":189,"thumbUrl":192,"material":101,"size":102,"collection":34,"c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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。",[23,24,29,30,31,447,84,7,28],"观世音菩萨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F59ffc18303f76af85f1db8efd606182d.jpg",[],13,{"id":452,"slug":453,"title":454,"dynasty":55,"author":56,"museum":57,"description":455,"tags":456,"thumbUrl":457,"material":63,"size":34,"collection":34,"collections":458,"showCount":450,"zanCount":11,"manualWeight":11,"mainColor":67},217281,"jiang-mo-bian-dun-huang-tu-juan-8-yi-ming-217281","降魔变·敦煌图卷-8","绢素虽已斑驳，却难掩线条的灵动——衣袂飘举如流风回雪，神魔对峙似惊雷欲落。褪色的晕染里藏着千年虔诚：每一道笔触都携西域风沙气息，每一处模糊轮廓都诉说洞窟晨昏。它是流动的经卷，是未散的梵音，凝盛唐气象与敦煌魂魄于缣帛之上。淡去的色彩非消失的美，而是时光赋予的厚重，让观者在残痕中触到佛教故事的张力，感受到敦煌艺术跨越时空的温度。那些斑驳痕迹，是岁月吻过的印记，将西域壮阔与慈悲信仰，封存在这卷缣帛里，引今人窥得盛唐脉搏，触摸敦煌艺术的魂魄。",[7,31,29,30,61],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F81b2a2a150e84c10823d928584410a75.jpg",[],{"id":460,"slug":461,"title":437,"dynasty":55,"author":56,"museum":7,"description":93,"tags":462,"thumbUrl":464,"material":101,"size":102,"collection":34,"collections":465,"showCount":466,"zanCount":11,"manualWeight":11,"mainColor":67},226493,"ku-zhu-shi-bei-pi-yi-ming-226493",[28,7,95,31,30,343,202,463],"群像","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F10719d10eae3525aced2fd54cdc7c866.jpg",[],11,{"id":468,"slug":469,"title":238,"dynasty":55,"author":56,"museum":7,"description":93,"tags":470,"thumbUrl":472,"material":101,"size":102,"collection":34,"collections":473,"showCount":466,"zanCount":11,"manualWeight":11,"mainColor":67},226442,"ku-zhu-shi-nan-bi-yi-ming-226442",[28,7,31,98,30,471],"市井场景","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F15733880288221d8109cd0d488d7bbaa.jpg",[],{"id":475,"slug":476,"title":437,"dynasty":55,"author":56,"museum":7,"description":93,"tags":477,"thumbUrl":478,"material":101,"size":102,"collection":34,"collections":479,"showCount":466,"zanCount":11,"manualWeight":11,"mainColor":67},226165,"ku-zhu-shi-bei-pi-yi-ming-226165",[28,7,95,405,191,31],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F53967d68d622fae9d5e0fcd24672e397.jpg",[],{"id":481,"slug":482,"title":483,"dynasty":55,"author":56,"museum":57,"description":484,"tags":485,"thumbUrl":486,"material":63,"size":34,"collection":34,"collections":487,"showCount":466,"zanCount":11,"manualWeight":11,"mainColor":67},217279,"jiang-mo-bian-dun-huang-tu-juan-9-yi-ming-217279","降魔变·敦煌图卷-9","泛黄的纸本晕染着时光的痕迹，墨迹古朴如唐风吹过。这里是降魔变的叙事现场：文字与线条交织，将舍利弗与六师斗法的紧张瞬间凝于卷上。质朴的笔触勾勒出鲜活神态——舍利弗沉静智慧，六师诡谲张扬，仿佛能听见当年变文讲唱的喧腾声息。\n\n作为敦煌变相图的缩影，它既是宗教故事的生动载体，也藏着唐代民间艺术的鲜活密码：世俗审美与宗教信仰在此交融，纸页间流淌着古人对善恶对决的朴素认知，更见证着敦煌艺术超越石窟的广阔表达。岁月沉淀下的不仅是墨迹，更是一段鲜活的文化记忆。",[60,24,25,61,31,167,29,30,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2b3cebf0ddb56113254c3a2e7b517cfc.jpg",[],{"id":489,"slug":490,"title":491,"dynasty":164,"author":56,"museum":123,"description":492,"tags":493,"thumbUrl":497,"material":101,"size":102,"collection":34,"collections":498,"showCount":499,"zanCount":11,"manualWeight":11,"mainColor":38},288485,"guan-shi-yin-pu-sa-li-xiang-shou-gao-yi-ming-288485","观世音菩萨立像手稿","菩萨仪容端雅慈悲，宝冠璎珞严饰其身。右手结印，左托净瓶，天衣飘带萦回舒展，线条劲挺又带着灵动柔韵。设色以朱红、石绿、石青晕染，虽历经岁月色泽淡褪，仍能窥见昔日元明丽和谐，晕染朴拙柔和，带着民间画工独特的意趣。\n\n下方侍从小像衣袂规整，垂首恭立，神情谦卑，与主尊形成鲜明的主次呼应。整幅笔意质朴满含虔诚，将观音的悲悯端严与世俗供养的恭敬情态相融，尽显民间佛教绘画的质朴美感。",[23,24,494,495,496,29,95,447,7],"手稿","人物画","宗教画","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa16ada56844ad087327d60b6db4f8b2e.jpg",[],10,{"id":501,"slug":502,"title":92,"dynasty":55,"author":56,"museum":123,"description":93,"tags":503,"thumbUrl":504,"material":101,"size":102,"collection":34,"collections":505,"showCount":499,"zanCount":11,"manualWeight":11,"mainColor":67},227090,"ku-zhu-shi-bei-bi-yi-ming-227090",[28,31,248,29,30,240,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fa0b9cb98c13b0c8aabce64c97cff9303.jpg",[],{"id":507,"slug":508,"title":509,"dynasty":55,"author":56,"museum":57,"description":510,"tags":511,"thumbUrl":512,"material":29,"size":34,"collection":34,"collections":513,"showCount":499,"zanCount":11,"manualWeight":11,"mainColor":67},217899,"guan-yin-jing-bian-tu-juan-7-yi-ming-217899","观音经变图卷-7","绢本之上，线条如行云流水，勾勒人物衣袂飘举与神情宛然。画面铺陈观音应化诸般场景：僧众合十礼敬，世俗男女侧耳聆听，老者侃侃而谈，动静间流转信仰温度。设色古朴淡雅，虽岁月晕染绢肌理，仍见唐代绘画雍容气度。人物排布疏密有致，横向叙事既循佛经逻辑，又藏视觉韵律——眉眼微蹙、手势起落，皆将抽象经文化作可感生活图景。这是宗教故事的视觉转译，更是唐代艺术与信仰交融的缩影，千年光阴沉淀绢丝间，观者可于笔墨中触摸时代精神脉动。",[60,24,25,61,31,29,30,7,45],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2c9222ca90ce69733f08dfd326524fa3.jpg",[],{"id":515,"slug":516,"title":517,"dynasty":55,"author":56,"museum":57,"description":518,"tags":519,"thumbUrl":520,"material":29,"size":34,"collection":34,"coll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