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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。",[23,24,25,26,27,28,29,30,7,31,32],"唐代","壁画","彩绘","工笔","宗教题材","人物造像","莲花","华盖","线条勾勒","设色","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ff901bcf5ae28da34781422e6ef84b2cb.jpg","未知","Xcm*Xcm","",[],101,"BDBDBD",{"id":41,"slug":42,"title":43,"dynasty":44,"author":19,"museum":45,"description":46,"tags":47,"thumbUrl":64,"material":34,"size":35,"collection":36,"collections":65,"showCount":66,"zanCount":67,"manualWeight":11,"mainColor":68},230526,"shi-yi-mian-guan-yin-xiang-yi-ming-230526","十一面观音像","不详","藏地不详","整作设色古雅沉厚，主尊十一面分层布列，正容慈悲端严，余面涵摄喜怒诸相，尽显化度十方的悲悯威德。造像璎珞环身，宝饰华繁却毫无冗杂之感，衣纹敷色晕染细腻，朱金青绿交叠，旧绢底色衬得画面古穆堂皇。莲台与须弥座纹饰精丽，上方悬垂珠络宝幡，似有清灵梵风萦动。构图饱满庄重，线条劲挺兼具柔婉，融密教造像仪轨与工致绘法于一体，岁时虽磨却色泽，却愈发沉淀出静穆圣洁的宗教氛围感，尽显大乘造像慈悲庄严的神性之美。",[48,49,32,26,50,51,29,52,53,54,55,7,56,57,58,59,60,61,62,63],"高清","国画","宗教","人物","立轴","璎珞","装饰纹样","传统服饰","细腻线条","服饰花纹","莲花座","珠宝饰品","竖幅构图","古典绘画","宗教造像","人物服饰","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8c3894b15baaa4a686e7c43be3c1aecf.jpg",[],35,1,"795548",{"id":70,"slug":71,"title":72,"dynasty":73,"author":19,"museum":45,"description":74,"tags":75,"thumbUrl":84,"material":34,"size":35,"collection":36,"collections":85,"showCount":86,"zanCount":11,"manualWeight":11,"mainColor":68},234461,"ha-li-ha-li-luo-shi-zi-zai-guan-shi-yin-pu-sa-tang-ka-yi-ming-234461","哈里哈里罗世自在观世音菩萨唐卡","清","唐卡（Thang-ga）也叫唐嘎，唐喀，系藏文音译，指用彩缎装裱后悬挂供奉的宗教卷轴画。唐卡是藏族文化中一种独具特色的绘画艺术形式，题材内容涉及藏族的历史、政治、文化和社会生活等诸多领域，传世唐卡大都是藏传佛教和本教作品。\n唐卡是藏族文化中一种独具特色的绘画艺术形式。具有鲜明的民族特点、浓郁的宗教色彩和独特的艺术风格，用明亮的色彩描绘出神圣的佛的世界；颜料传统上是全部采用金、银、珍珠、玛瑙、珊瑚、松石、孔雀石、朱砂等珍贵的矿物宝石和藏红花、大黄、蓝靛等植物为颜料以示其神圣。这些天然原料保证了所绘制的唐卡色泽鲜艳，璀璨夺目，虽经几百年的岁月，仍是色泽艳丽明亮。因此被誉为中国民族绘画艺术的珍品，被称为藏族的”百科全书”也是中华民族民间艺术中弥足珍贵的非物质文化遗产。\n传统唐卡的绘制要求严苛、程序极为复杂，必须按照经书中的仪轨及上师的要求进行，包括绘前仪式、制作画布、构图起稿、着色染色、勾线定型、铺金描银、开眼、缝裱开光等一整套工艺程序。制作一幅唐卡用时较长，短则半年完成，长则需要十余年。",[76,50,77,78,79,80,32,25,7,81,82,83],"唐卡","佛教","藏传佛教","观世音菩萨","佛教人物","神兽","祥云","山水","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fd214886f4dd3333450cfb9c3af23c559.jpg",[],11,{"id":88,"slug":89,"title":90,"dynasty":73,"author":19,"museum":45,"description":74,"tags":91,"thumbUrl":95,"material":34,"size":35,"collection":36,"collections":96,"showCount":97,"zanCount":11,"manualWeight":11,"mainColor":68},234460,"ha-luo-ha-luo-guan-shi-yin-pu-sa-tang-ka-yi-ming-234460","哈罗哈罗观世音菩萨唐卡",[76,50,32,92,51,93,29,81,82,94,54,7],"重彩","菩萨","法器","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F4439643b6415ddf95186388108fce184.jpg",[],9,{"id":99,"slug":100,"title":101,"dynasty":73,"author":19,"museum":45,"description":74,"tags":102,"thumbUrl":10,"material":34,"size":35,"collection":36,"collections":113,"showCount":114,"zanCount":11,"manualWeight":11,"mainColor":68},234454,"si-bi-guan-shi-yin-pu-sa-tang-ka-yi-ming-234454","四臂观世音菩萨唐卡",[50,26,32,51,82,29,103,104,54,52,55,7,105,106,107,108,109,110,111,112],"护法神","宝瓶","吉祥图案","神佛形象","对称构图","浓彩重绘","织物装裱","宗教符号","植物纹饰","神兽形象",[],7,{"id":116,"slug":117,"title":118,"dynasty":73,"author":19,"museum":45,"description":119,"tags":120,"thumbUrl":130,"material":34,"size":35,"collection":36,"collections":131,"showCount":132,"zanCount":11,"manualWeight":11,"mainColor":68},238877,"qing-ren-shan-ba-la-wang-pu-sa-xiang-zhou-yi-ming-238877","清人善巴拉王菩萨像轴","此作为典型藏地宗教绘画，主尊身形魁梧威严，蹙眉圆目，忿怒相尽显护法之威。身着织金彩绸，缀满珠宝璎珞，纹样精细入微，华贵尽显。左手托法轮、右手持宝杖，安坐莲台宝座，周身祥云缭绕、花木簇拥。以朱砂、石青、石绿等矿物颜料晕染，色彩浓烈厚重且层次分明。\n\n画面上下排布胁侍祖师，呼应主尊，构图饱满规整，兼具对称美感与叙事性。整体用笔工细精妙，融宗教神性与绘画审美于一体，既传递出藏传佛教的庄严肃穆，也尽显传统唐卡的工艺匠心。",[76,52,121,78,122,93,123,26,32,7,124,82,125,126,127,128,129],"宗教绘画","人物画","祖师","莲台","花木","法轮","宝杖","威严","庄重","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F1ac0e4e9e8991419e8ff6583b0395423.jpg",[],3,{"id":134,"slug":135,"title":118,"dynasty":73,"author":19,"museum":45,"description":136,"tags":137,"thumbUrl":145,"material":34,"size":35,"collection":36,"collections":146,"showCount":147,"zanCount":11,"manualWeight":11,"mainColor":39},238880,"qing-ren-shan-ba-la-wang-pu-sa-xiang-zhou-yi-ming-238880","这幅唐卡以饱满构图铺陈神性图景，主尊面生虬髯、怒目圆睁，身着错彩缕金的宝衣法饰，坐于夜叉身上，尽显威赫富足的气度。上方天界祥云缭绕，护法与祖师分置左右，呼应出世净土意涵；下方衬以青绿山水、梵宇花木，烟火意趣与神域庄严相融。画师以天然矿物颜料施色，朱红、石青、石绿浓艳厚重，金线勾饰衣纹宝相纹样，细节处分毫毕现，既恪守藏地造像仪轨，又以鲜活的色彩层次，将招财纳福的祈愿凝于画面，宗教肃穆与审美意趣浑然一体。",[76,50,32,7,138,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