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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。",[23,24,25,26,27,28,29,30,31,7,32,33,34,35],"壁画","南北朝风格","宗教题材","线条勾勒","设色","佛像","菩萨","飞天","供养人","背光","人物群像","宗教壁画技法","壁面绘制","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F71b3a62d2883cac04e8b299e670573b7.jpg","未知","Xcm*Xcm","",[],117,"795548",{"id":44,"slug":45,"title":46,"dynasty":47,"author":48,"museum":49,"description":50,"tags":51,"thumbUrl":59,"material":60,"size":61,"collection":39,"collections":62,"showCount":63,"zanCount":11,"manualWeight":11,"mainColor":64},220481,"li-ren-xing-fu-bao-shi-220481","丽人行","民国","傅抱石","中国现当代美术文献研究中心","泼墨晕染出如烟林木，虚实相生间铺展游春盛景。人物错落排布，文人儒雅、仕女娇妍，乐伎持乐相随，神态灵动鲜活，衣袂飘举尽显唐风古韵。色彩冷暖交织，石青、朱红的明艳衣袍，晕融在水墨氤氲的林野间，既有传统写意笔墨的空灵，又融入现代构图的章法韵律。将踏青的雍容闲适铺陈开来，古雅诗意漫溢林间，把人物雅集与山水意境融为一体，尽显华丽雅致的盛唐气象。",[52,53,27,54,55,56,57,58,7],"高清","国画","长卷","人物","树木","乐器","扇子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0a0bde7dd2c3b8917c7f9b70c3d499f9.jpg","纸本设色","纵61.7厘米，横219厘米",[],93,"BDBDBD",{"id":66,"slug":67,"title":68,"dynasty":69,"author":70,"museum":20,"description":71,"tags":72,"thumbUrl":82,"material":39,"size":39,"collection":39,"collections":83,"showCount":84,"zanCount":85,"manualWeight":11,"mainColor":42},226708,"wen-yuan-tu-juan-zhou-wen-ju-226708","文苑图卷","五代十国","周文矩","《文苑图》卷，五代，周文矩作，绢本，设色，纵37.4厘米，横58.5厘米。\n本幅无作者款印，根据图左宋徽宗“瘦金体”题字：“韓滉文苑圖，丁亥御劄”，下书“天下一人”押，遂定为唐代韩滉作。然从时代风格看，少唐画气息，最明显的是衣纹线条颤动曲折，极似五代周文矩所创的“战笔描”。另外人物头戴的“工脚上翘”的幞头形式，亦至五代才出现。同时，美国大都会博物馆藏有一本周文矩的《琉璃堂人物图》卷，后半段画面与此图完全一样，故可肯定《文苑图》作者是周文矩，所画内容为琉璃堂人物故事。至于两图孰为原本？抑或均属摹本？据考，美国的《琉璃堂人物图》卷水平较差，人物面相稍欠神采，衣纹用笔颇见柔弱，且图首宋徽宗题“周文矩琉璃堂人物圖，神品上妙也”和下钤“ 內府圖書之印”均伪，故此图当为宋以后摹本。而《文苑图》人物神采奕奕，笔墨功力深厚，本幅右下角又有南唐墨钤“集賢院御畫印”，证明此图不会晚于五代，极可能即周文矩原迹，惟前半段已佚，也许周文矩又重临了后半段，亦不排除为同时高手临仿本。总之《文苑图》属五代真迹名品，殊无疑义。\n作品所绘琉璃堂人物故事，据考即唐玄宗时著名诗人王昌龄任江宁县丞期间，在县衙旁琉璃堂与朋友宴集的故事，与会者可能有其诗友岑参兄弟、刘眘虚等人。《文苑图》绘四位文士围绕松树思索诗句，有倚壘石持笔觅句者，有靠松干构思者，有两人并坐展卷推敲改诗者，情态各异，形神俱备。所缺前半段从《琉璃堂人物图》中可以看到，是画四人围坐议论，其中有一位僧人，还有侍奉的童仆。从全卷场面可领略当时宴集之盛况。\n此图画法与《琉璃堂人物图》及周文矩另一幅《重屏会棋圈》卷(宋摹本)相比较，风格相似，都呈周氏典型面貌，但水平却有高下之分。本图人物衣纹所运“战笔描”细劲有力，曲折中见流畅，圆润中具轻重，树石勾染细致，富层次和立面感，人物情态尤富神采，个性各异。作为五代一幅真迹，确反映了该时代所达到的水平。\n此图见于《石渠宝笈·初编》和明·詹景凤《玄览编》著录，可能曾入南唐后主李煜《阁中集》，后又入北宋徽宗《宣和睿览集》。",[52,73,53,74,54,75,27,55,76,77,78,79,80,7,81],"名画","书画","工笔","松树","石桌","器物","印章","文人","题字","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4dcc12af75f41000fa86d14d7b6bf9fe.jpg",[],87,1,{"id":87,"slug":88,"title":89,"dynasty":90,"author":91,"museum":92,"description":93,"tags":94,"thumbUrl":106,"material":107,"size":108,"collection":109,"collections":110,"showCount":111,"zanCount":11,"manualWeight":11,"mainColor":42},218267,"qi-xian-tu-juan-liu-zhong-xian-218267","七贤图卷","明","刘仲贤","台北故宫博物院","素绢之上，赭黄底色晕染出古朴雅致的氛围。雅士们或踞坐鼓琴，指尖似凝弦上意；或对弈楸枰，棋局间藏尽机锋；或醉卧倾杯，醺然态尽显放达；或执笔临帖，墨痕若带纸间香。人物衣袂翩然，线条流畅婉转，神态鲜活灵动——鼓琴者专注，对弈者凝思，醉酒者憨态，执笔人沉静。简淡背景未加繁复修饰，却将文人雅集的闲适超脱烘托得淋漓尽致。笔墨间暗蕴魏晋风骨余韵，将古代文人的精神情致凝成永恒画面，尽显生活之趣与心灵之境。",[52,53,74,54,27,75,55,95,57,96,97,98,99,100,101,102,103,104,7,105],"文人雅集","棋具","酒器","笔墨纸砚","古琴","棋盘","书卷","抚琴","对弈","书写","案几","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff6e87f9ff8949e45d600c5bd0cd4deed.jpg","绢本,设色","31.4x128.5","人物画精选",[109],61,{"id":113,"slug":114,"title":115,"dynasty":116,"author":117,"museum":118,"description":119,"tags":120,"thumbUrl":133,"material":134,"size":135,"collection":39,"collections":136,"showCount":137,"zanCount":11,"manualWeight":11,"mainColor":64},223071,"hong-lou-meng-57-sun-wen-223071","红楼梦57","清","孙温","旅顺博物馆","纵览《清·孙温绘全本〈红楼梦〉》全图，笔法精细，设色浓丽，情节连贯且生动感人。作者以独特的视角，将各种人物活动情节置于特定的环境之中，以生动直观的艺术形式，勾画出一幅幅情景交融、富有诗意的画面，将一部洋洋大观、令人荡气回肠的古典名著《红楼梦》表现得耐人寻味、雅俗共赏。其情节之详尽、笔法之精细、篇幅之宏大，为清代同题材绘画作品所仅见。\n全图以石头记大观园全景为开篇，画面鸟瞰构图，将大观园诸多景致悉数入画，一览无余。从第二开画面开始，依次描绘出全本《红楼梦》的故事情节。每个章回情节所用画幅数量不尽相同。画面围绕原著的故事情节，将主要人物活动表现的细致入微，楚楚动人。\n有关专家介绍，这套图中绘有山水人物、花卉树木、楼台亭阁、珍禽走兽、舟车轿舆、鬼怪神仙及博古杂项等，几近包括全部画科内容。仅各种人物就多达3000余人，主要人物采用写真技法，注重面部肤色肌纹之渲染，形神兼备。年轻的女子，弯眉、细眼、樱桃小口，身材窈窕，长颈削肩，给人以纤瘦柔媚、弱不禁风的感觉。人物的衣褶裙带勾染并用，线条流畅飘逸",[52,53,75,27,54,55,121,122,56,123,124,125,7,126,127,128,76,129,130,131,132],"马","建筑","庭院","衣帽","场景画","户外场景","亭台","围墙","古典建筑","群像","鞍马","宅院","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fe7449b7a68c5da3b640620fef4f209e9.jpg","绢本","纵43.3厘米、横76.5厘米",[],45,{"id":139,"slug":140,"title":141,"dynasty":142,"author":143,"museum":144,"description":145,"tags":146,"thumbUrl":156,"material":157,"size":158,"collection":109,"collections":159,"showCount":161,"zanCount":162,"manualWeight":11,"mainColor":42},221712,"fu-zui-tu-juan-qian-xuan-221712","扶醉图卷","元","钱选","美国大都会艺术博物馆","描绘的是东晋著名隐士陶渊明喝酒的故事。画中共三人：酒后面露醉态的陶渊明，醉眼朦胧，坦胸露肚，一手倚扶于竹榻之上，一手作摆手送客状。右侧的客人对着陶渊明双手作揖，面容恭谨，作告辞状；白衣老仆欲引客人离去。一边的地面上陶制的酒罐、酒盆和瓷器的酒杯洒落一地，杯盘狼藉。",[52,53,74,54,27,75,147,55,148,124,149,150,134,7,151,152,153,154,155],"文人画","饮酒器","桌子","饮酒场景","酒具","人物互动","室内场景","线条细腻","设色典雅","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc7ccffb9f1d8c8a7d08362296a28da33.jpg","水墨设色","纵28厘米，横49.5厘米",[109,160],"设色画精选",40,2,{"id":164,"slug":165,"title":166,"dynasty":116,"author":167,"museum":20,"description":168,"tags":169,"thumbUrl":178,"material":37,"size":38,"collection":39,"collections":179,"showCount":180,"zanCount":11,"manualWeight":11,"mainColor":64},239338,"bai-yin-shi-cha-zhou-niu-shu-239338","柏荫试茶轴","钮枢","钮枢，清代女画家，字汉藩，吴县（今江苏苏州）人。工仕女，宗仇英。",[53,74,170,27,75,55,171,172,173,174,7,175,176,177],"立轴","柏树","器","长袍","胡须","茶具","木桌","树下互动","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff5176c4f5479c2f219143b741149cb5c.jpg",[],36,{"id":182,"slug":183,"title":184,"dynasty":116,"author":185,"museum":92,"description":186,"tags":187,"thumbUrl":197,"material":198,"size":199,"collection":160,"collections":200,"showCount":201,"zanCount":11,"manualWeight":11,"mainColor":64},219439,"zhang-zhi-tian-xian-zhou-jin-ting-biao-219439","长至添线轴","金廷标","三仕女或立或蹲，围聚一处，纤指捻线穿针，神态专注。古松虬枝盘结，怪石嶙峋错落，梅梢疏影横斜，几点红萼点缀其间，清寂中透着雅致。笔触细劲流畅，衣袂飘举若流云，设色温润淡雅，将冬至添线的闺阁雅事凝为静谧时光片段。山石苍朴与仕女柔婉相映，草木疏朗与神情专注相衬，尽显传统生活里的闲情与温情，似能闻得针线轻捻的细碎声响，漫溢出岁月的静好。",[53,170,27,75,55,188,189,190,7,191,192,193,194,195,196],"岩石","花草","梅枝","庭院景致","浅绛","细笔勾勒","设色淡雅","草木","山石","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ded8ec5791225f131ba582f53901274.jpg","设色,绢本","144.5x55.1",[160],34,{"id":203,"slug":204,"title":205,"dynasty":116,"author":206,"museum":207,"description":208,"tags":209,"thumbUrl":219,"material":60,"size":220,"collection":39,"collections":221,"showCount":222,"zanCount":11,"manualWeight":11,"mainColor":64},233677,"jiao-yin-pin-yan-tu-zhou-ren-yi-233677","蕉荫品砚图轴","任颐","北京故宫博物院","砚，“文房四宝”之一，是古代文人书桌必备之物。用料讲究，造型精美的砚台兼具实用性和赏鉴把玩的特性，因此热衷收藏品赏砚台的文人雅士也大有人在，比如宋代大文人苏轼就是“嗜砚成癖”。\n任颐此图画一文士双手捧砚，神态专注，旁边的童子还在整理一摞石砚。虽然没有明确写画的是谁，但是从人物装扮来看，很可能表现的就是苏轼品砚的故事。画风清爽，线条顿挫曲折，极富表现力，人物形象很是传神。\n任颐（1840—1896年），初名润，字小楼，后字伯年，浙江绍兴人，后寓上海。“海派”代表画家。以卖画为生，擅长人物、肖像、花鸟、山水。其人物师法陈洪绶、费丹旭、任熊等人，花鸟画取法陈洪绶、陈淳、徐渭、朱耷，笔墨简逸放纵，设色明净，形成兼工带写、明快清新的格调。他的绘画发轫于民间，又继承传统，融汇诸家之长，还吸收了西画速写、设色诸法，从而形成丰姿多彩、新颖生动的独特画风，具有雅俗共赏的艺术趣味和鲜明的时代气息。任颐与任熊、任熏、任预有着师承关系，画风一脉相承，并称为“海上四任”。",[53,170,27,55,210,211,80,173,212,213,214,215,7,216,217,218],"芭蕉","砚台","兼工带写","笔墨","服饰","蕉叶","品砚场景","设色人物","传统笔墨","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F071954fcb7937f196c6fc0f481688551.jpg","155.5cm×43.5cm",[],31,{"id":224,"slug":225,"title":226,"dynasty":90,"author":227,"museum":20,"description":228,"tags":229,"thumbUrl":233,"material":39,"size":39,"collection":109,"collections":234,"showCount":236,"zanCount":85,"manualWeight":11,"mainColor":42},236411,"er-xian-zhou-peng-shun-xiang-236411","二仙轴","彭舜乡","画面以淡赭铺底，枯木虬枝缀着寒蕊，晕开清寂幽远的林下氛围。\n\n长仙峨冠长髯，宽袍曳地，持拂尘垂眸含笑，神色悠然和煦，似在静听童子言语。赤足短褐的童子仰首抬望，憨态里满是敬慕，灵动身形衬出稚拙意趣。\n\n画作以顿挫写意的墨线勾勒衣纹，笔力苍劲洒脱，将布料垂坠褶皱尽显，人物神态刻画入微。仙风道骨与童真稚趣相映成趣，以简驭繁的水墨写意间，氤氲出飘然出尘的世外仙气，把高人隐士的闲适清雅铺陈开来，尽显传统人物画的写意神韵。",[53,74,170,230,27,55,231,7,56,196,232],"水墨","神仙","白描","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fcb06d168bc0594d94200701bd45eefb2.jpg",[109,235],"水墨画精选",24,{"id":238,"slug":239,"title":240,"dynasty":116,"author":117,"museum":118,"description":119,"tags":241,"thumbUrl":251,"material":134,"size":135,"collection":39,"collections":252,"showCount":236,"zanCount":11,"manualWeight":11,"mainColor":42},222903,"hong-lou-meng-28-sun-wen-222903","红楼梦28",[52,53,75,27,54,242,243,244,123,56,245,129,153,246,247,248,7,78,249,250],"界画","人物画","古典绘画","怪石","室外场景","人物活动","陈设","对联","山水纹饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffbf114af71bd44fc7209522477504afd.jpg",[],{"id":254,"slug":255,"title":256,"dynasty":90,"author":257,"museum":20,"description":258,"tags":259,"thumbUrl":265,"material":107,"size":39,"collection":39,"collections":266,"showCount":267,"zanCount":85,"manualWeight":11,"mainColor":42},216272,"er-shi-si-xiao-tu-20-chou-ying-216272","二十四孝图-20","仇英","二十四孝图是明朝时期著名的书画作品，由仇英创作。它描绘了中国传统文化中的二十四种孝道场景。二十四孝图的内容涵盖了人生各个阶段的孝道行为，从小学阶段的“孝悌忠信”到晚年的“慈孝双全”。这幅作品在明朝时期广受欢迎，并被视为一部重要的文化遗产。",[73,53,74,75,27,55,7,260,261,262,263,264,153,152],"室内建筑","孝主题","明代","传统服饰","建筑构件","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F24f72fe8f1633c28ef8d5e6987d97a2f.jpg",[],21,{"id":269,"slug":270,"title":271,"dynasty":116,"author":272,"museum":92,"description":273,"tags":274,"thumbUrl":277,"material":278,"size":39,"collection":39,"collections":279,"showCount":280,"zanCount":85,"manualWeight":11,"mainColor":64},217919,"tang-ming-huang-ji-ju-tu-4-ding-guan-peng-217919","唐明皇击鞠图-4","丁观鹏","丁观鹏是清朝时期的画家，他最著名的作品之一是《唐明皇击鞠图》。这幅画描绘了唐朝第一位皇帝唐太宗（又称唐明皇）打鞠的场景。\n\n唐太宗是唐朝的建立者，他在位时实行了许多改革措施，使唐朝成为中国历史上最繁荣的朝代之一。他非常喜欢鞠球运动，常常在宫中练习打鞠。丁观鹏的这幅画中，唐明皇正在向前跑步，身体做出打鞠的姿势，表现出他对这项运动的热爱。\n\n丁观鹏的《唐明皇击鞠图》是一幅工笔画，他细致地描绘了唐明皇的衣服和鞠球的细节，并使用了深浅不一的色彩来表现光线的变化。这幅画被认为是丁观鹏作品中最出色的一幅，也是清朝时期最著名的画作之一。它现在被收藏在北京故宫博物院的藏品之中。",[53,75,232,275,55,121,7,276,79],"临摹","击鞠","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4e2dd8e8bd09d280d7d745516810905e.jpg","纸本,水墨",[],20,{"id":282,"slug":283,"title":284,"dynasty":116,"author":117,"museum":118,"description":119,"tags":285,"thumbUrl":289,"material":134,"size":135,"collection":39,"collections":290,"showCount":291,"zanCount":11,"manualWeight":11,"mainColor":42},222955,"hong-lou-meng-80-sun-wen-222955","红楼梦80",[52,53,75,27,54,55,286,123,56,287,288,7],"楼阁","仪仗","红楼梦题材","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F2a188492cac0963873519f94f7eb5642.jpg",[],17,{"id":293,"slug":294,"title":295,"dynasty":116,"author":117,"museum":118,"description":119,"tags":296,"thumbUrl":302,"material":134,"size":135,"collection":39,"collections":303,"showCount":304,"zanCount":11,"manualWeight":11,"mainColor":64},222927,"hong-lou-meng-52-sun-wen-222927","红楼梦52",[52,53,75,27,54,242,55,286,123,297,298,56,196,299,7,300,248,301],"旗帜","人群","传统建筑","古典场景","工笔重彩","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fc56277159654d5b8ed21eea08f9f0c3a.jpg",[],16,{"id":306,"slug":307,"title":308,"dynasty":116,"author":309,"museum":207,"description":310,"tags":311,"thumbUrl":323,"material":324,"size":325,"collection":39,"collections":326,"showCount":327,"zanCount":11,"manualWeight":11,"mainColor":328},236134,"li-chao-xian-hou-gu-shi-tu-jiao-bing-zhen-236134","历朝贤后故事图","焦秉贞","历史故事是清代宫廷绘画中的重要题材之一。此套图册题材取自历代有良好德行的皇后、太后的故事，人物包括西周文王之母太任、西周武王之母太姒、东汉明帝明德马皇后、东汉和帝和熹邓皇后、北宋仁宗慈圣曹皇后、北宋英宗宣仁高皇后、明仁宗诚孝张皇后。她们在身为皇后或太后期间，有的勤俭仁厚、贤淑孝顺，有的不问政事、不佞外戚。画家绘此画册就是借她们的懿德来宣传封建的伦理纲常，给宫廷里的妃嫔们树立行为楷模。在12开的册页中，所绘仕女形象柔弱，设色浓艳，富有装饰性。图上建筑物的绘制采用欧洲焦点透视的方法，有别于中国的传统界画。每开对题是由梁诗正书写的弘历在皇子时期所作的诗句，记录了这些皇后、太后的事迹和对她们的评价。",[53,27,75,312,55,313,314,76,315,316,317,123,318,319,320,56,297,7,321,196,322],"册","美人","兽","假山","石阶","竹子","栏杆","衣饰","路径","庭院景观","绿植","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F20536eaae71a5f285010637b4ffe3142.jpg","绢本，设色","纵30.8厘米，横37.4厘米",[],15,"F48FB1",{"id":330,"slug":331,"title":332,"dynasty":333,"author":19,"museum":20,"description":334,"tags":335,"thumbUrl":344,"material":39,"size":39,"collection":39,"collections":345,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