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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。",[23,24,25,7,26,27,28,29,30,31,32,33,34,35,36],"壁画","宗教","设色","人物","装饰图案","几何纹样","花纹边框","传统纹样","连续造像","图案装饰","色彩装饰","宗教形象","造像群","纹样组合","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F6ac18271bb005bee4242c71c4670c0b0.jpg","未知","Xcm*Xcm","人物画精选",[40],223,"795548",{"id":45,"slug":46,"title":47,"dynasty":48,"author":49,"museum":50,"description":51,"tags":52,"thumbUrl":62,"material":63,"size":64,"collection":40,"collections":65,"showCount":67,"zanCount":68,"manualWeight":11,"mainColor":43},221217,"hua-fan-xiang-juan-zhang-sheng-wen-221217","画梵像卷","宋","张胜温","台北故宫博物院","《大理国梵像卷》是大理国（937－1254）（与五代和宋代同一时代）传世的唯一画卷，全卷设色贴金，绘製精谨，共分四段：第一段画大理国王利贞皇帝礼佛图，第二段绘佛、菩萨、佛母、天王和护法等数百位佛教人物，第三段为多心和护国宝幢，第四段是十六国王图。全卷内容丰富，素有「南天瑰宝」之誉。 内容大致为蛮王礼佛国、四金刚护法、八大龙王、十六观世音菩萨、五佛会图。 七佛图、维摩经变、四大菩萨、六佛母、十六罗汉、禅宗六祖、人大高僧、十二天神、宝塔经幢、十六国主众等组成。 《梵像卷》反映了佛教在南诏、大理国时期十分兴盛的历史， 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"天鹅绒白。清代除烧白瓷外，盛烧青花与彩绘瓷器。元代以来，德化窑瓷器输出海外，菲律宾、马来西亚出土有元代德化窑青白瓷，泰国及东非坦桑尼亚等国家也出土有清代德化窑青花瓷器。\n这种瓷器的制作工艺程序如下：他们从地下挖取一种泥土，将它垒成一个大堆，任凭风吹、雨打、日晒，从不翻动，历时三、四十年。泥土经过这种处理，质地变得更加纯化精炼，适合制造上述各种器皿，然后抹上认为颜色合宜的釉，再将瓷器放入窑内或炉里烧制而成。因此，人们挖泥堆土，目的是替自已的儿孙贮备制造瓷器的材料而已，大量的瓷器是在城中出售， 一个威尼斯银币能买到八个瓷杯“。马可波罗的介绍，引起了西方人的强烈兴趣。",[899,81,113,7,900,901],"陶瓷","白釉","莲座","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F5cd4e01b1143fb27c4013dae6e639106.jpg","瓷器精选",[903],{"id":906,"slug":907,"title":908,"dynasty":73,"author":19,"museum":74,"description":909,"tags":910,"thumbUrl":914,"material":38,"size":39,"collection":903,"collections":915,"showCount":884,"zanCount":11,"manualWeight":11,"mainColor":43},259148,"yao-bian-you-tie-jin-ru-lai-fo-yi-ming-259148","窑变釉贴金如来佛","烧造瓷器，凡在开窑后发现不是预期的形状或釉色，以至于传世瓷器有时发生特异的情况者，都可说是“窑变”。《稗史汇编》说：“瓷有同是一质，遂成异质，同是一色，遂成异色者，水土所合，非人力之巧所能加，是之谓窑变。”总而言之，窑变大致可分为变形、变色、变质等数种。\n窑变釉，顾名思义，是器物在烧成过程中出现了意想不到的釉色效果。由于窑中含有多种呈色元素，经氧化或还原作用，瓷器在出窑后可能呈现出意外的釉色效果。因由窑变釉出现出于偶然，形态特别，人们又不知其原理，只知于窑内焙烧过程变化而得，故称之为“窑变釉”，俗语有“窑变无双”，就是指窑变釉的变化莫测，独一无二。",[899,911,912,7,913,113,24],"贴金","窑变釉","如来佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb34b8a6d69727db2ce6f633ead5fd5fa.jpg",[903],{"id":917,"slug":918,"title":896,"dynasty":73,"author":19,"museum":74,"description":897,"tags":919,"thumbUrl":921,"material":38,"size":39,"collection":903,"collections":922,"showCount":884,"zanCount":11,"manualWeight":11,"mainColor":191},259035,"de-hua-yao-bai-you-fo-xiang-yi-ming-259035",[899,24,26,900,81,77,920,7],"德化窑","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F060010d0982e3b91cf04ef86dc2561c3.jpg",[903],{"id":924,"slug":925,"title":218,"dynasty":73,"author":19,"museum":74,"description":926,"tags":927,"thumbUrl":928,"material":38,"size":39,"collection":85,"collections":929,"showCount":884,"zanCount":11,"manualWeight":11,"mainColor":191},255491,"ni-su-jia-jin-fo-xiang-tou-yi-ming-255491","螺髻排布规整，面相圆润柔和，眉眼弯合，敛着沉静安然的笑意，仿佛正沉浸在无我的禅意之中。斑驳的胎体上残存着贴金痕迹，泥尘与金箔相融，是岁月摩挲留下的印记。\n\n虽有残损，却未消弭分毫神性气韵，质朴泥塑承载着庄重慈悲，残缺里晕开时光沉淀的肃穆美感，静静诉说着曾被信奉供养的过往，将信仰的温度封存在斑驳胎土之中。",[221,222,81,24,7,26],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F3ea92945438aa5718817b45213fcc619.jpg",[],{"id":931,"slug":932,"title":933,"dynasty":93,"author":19,"museum":74,"description":934,"tags":935,"thumbUrl":938,"material":38,"size":39,"collection":85,"collections":939,"showCount":884,"zanCount":11,"manualWeight":11,"mainColor":43},253970,"shi-fu-zuo-xiang-yi-ming-253970","石佛坐像","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。",[93,24,81,936,7,82,343,937],"石质","铭文","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0076b24717a1dae0757d3f45178d5aa1.jpg",[],{"id":941,"slug":942,"title":943,"dynasty":944,"author":19,"museum":74,"description":934,"tags":945,"thumbUrl":947,"material":38,"size":39,"collection":85,"collections":948,"showCount":884,"zanCount":11,"manualWeight":11,"mainColor":191},253270,"tong-fu-zuo-xiang-yi-ming-253270","铜佛坐像","隋",[946,79,81,24,7,82],"隋代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F95a12fcea74e494784096539a3f38ca0.jpg",[],{"id":950,"slug":951,"title":952,"dynasty":73,"author":19,"museum":74,"description":953,"tags":954,"thumbUrl":956,"material":38,"size":39,"collection":85,"collections":957,"showCount":884,"zanCount":11,"manualWeight":11,"mainColor":191},230323,"da-tang-xi-yu-ji-12-juan-tang-xuan-zang-zhu-di-yi-juan-yi-ming-230323","大唐西域记.12卷.唐.玄奘著（第一卷）","磁青为底，泥金饰形书文。右侧诸佛环坐莲台，线条圆融凝练，祥云托衬，宝相沉静端严，尽显西方净土的肃穆祥和。左侧经文笔锋挺秀匀净，金彩在靛蓝底色间熠熠生辉，点画法度谨严，规整雅致。二者相合，将宗教的庄严感与书画的审美意趣相融，古韵悠然，尽显写经造像的典雅华贵，是宗教艺术与传统工艺结合的精妙之作。",[24,26,57,25,955,321,377,616,7,58],"金粉","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fb03f9d3edf1905eae370c6360f1bcd5f.jpg",[],{"id":959,"slug":960,"title":961,"dynasty":18,"author":19,"museum":74,"description":962,"tags":963,"thumbUrl":964,"material":38,"size":39,"collection":85,"collections":965,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":43},287981,"fa-cang-quan-jing-p2168-fu-shuo-bo-re-bo-luo-mi-duo-xin-jing-bao-ta-xin-jing-shou-gao-yi-ming-287981","法藏全景 P2168-佛說般若波羅蜜多心經 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