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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。",[62,25,26,24,7,27,63],"敦煌","印章","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3401f31f99de253733bc90ab9ad92368.jpg",[],1,"795548",{"id":69,"slug":70,"title":71,"dynasty":18,"author":19,"museum":20,"description":72,"tags":73,"thumbUrl":75,"material":32,"size":33,"collection":34,"collections":76,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":67},287994,"da-cheng-kai-xin-xian-xing-dun-wu-zhen-zong-lun-yi-ming-287994","大乘開心顯性頓悟眞宗論","此卷纸面泛黄斑驳，遍布岁月侵蚀的痕迹，多处磨损残损，墨色淡褪模糊。行笔简劲流畅，带着写经特有的质朴笔意，依稀可见抄经手的娴熟功底。\n\n残卷虽难窥全貌，却依旧承载着顿悟义理的法脉流传，带着古旧厚重的历史质感，静静诉说千年来的时光变迁，尽显写卷独有的沧桑古韵与宗教文献的厚重价值。",[25,26,7,24,29,74],"经文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fae05ae5c982d99d876a44b4143cde0c2.jpg",[],{"id":78,"slug":79,"title":80,"dynasty":18,"author":19,"museum":20,"description":81,"tags":82,"thumbUrl":83,"material":32,"size":33,"collection":34,"collections":84,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":37},287820,"si-fen-lv-shan-fan-bu-que-xing-shi-chao-juan-di-san-da-cheng-qi-xin-lun-zhu-yi-ming-287820","四分律刪繁補闕行事鈔卷第三大乘起信論注-","这卷小楷长卷气脉贯通，通篇行距字距匀整秀雅，尽显写经的典型风貌。行笔温润内敛，点画精劲妥帖，字字安稳端凝，不见一丝懈怠涣散，足见抄经人功底扎实，更将肃穆恭敬的心境融于笔端。朱笔圈点批注错落行间，墨朱相映，既是读经时的思索留痕，更为素净卷面添了灵动层次，让整卷作品兼具书法审美意趣与文献价值，静静诉说着抄经时沉潜专注的岁月质感。",[24,25,26,27,7,74,29],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F64b47632c05274ab6dddd6b4dfa1b460.jpg",[],{"id":86,"slug":87,"title":88,"dynasty":18,"author":19,"museum":20,"description":89,"tags":90,"thumbUrl":10,"material":32,"size":33,"collection":34,"collections":95,"showCount":66,"zanCount":11,"manualWeight":11,"mainColor":67},287320,"si-bu-lv-bing-lun-yao-yong-chao-juan-shang-shou-gao-yi-ming-287320","四部律幷論要用抄卷上手稿","此卷以小楷钞录，间带行书笔意，行笔秀逸舒展，结体端稳匀整，墨色沉静古雅，朱笔校注错落其间，留存钞写时的校雠痕迹。通篇排布茂密齐整，笔墨间尽显抄经者的恭谨心境，带着宗教书写特有的安和肃穆气息。\n\n它兼具书法审美与宗教文献价值，既展现出写经书法的质朴美感，也还原了中古佛典钞纂的真实样貌，承载着佛教律典传承的珍贵信息，尽显中古写本文化的厚重质感。",[26,25,24,44,7,91,27,92,93,94],"墨书","抄本","宗教书法","古文献",[],{"id":97,"slug":98,"title":99,"dynasty":18,"author":19,"museum":20,"description":60,"tags":100,"thumbUrl":101,"material":32,"size":33,"collection":34,"collections":102,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":37},289599,"dun-huang-yi-shu-252-yi-ming-289599","敦煌遗书252",[62,26,25,27,24,29,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7896cfa0cb1a3c1a2ce7c6318849867b.jpg",[],1777535740621]