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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。",[75,25,76,28,29,77,78,7,79,80,81],"壁画","雕刻","唐代风格","佛教造像","力士","彩绘塑像","石窟壁面","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbc80158f37563a16a6f8c77e26bbaf3e.jpg","未知","Xcm*Xcm",[],23,{"id":88,"slug":89,"title":70,"dynasty":71,"author":19,"museum":72,"description":73,"tags":90,"thumbUrl":93,"material":83,"size":84,"collection":39,"collections":94,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":44},226479,"ku-zhu-shi-xi-bi-yi-ming-226479",[75,25,28,29,76,61,91,92,35,7],"塑像","供养人","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F222cbcb3e7d0705ffbe14e097faa93da.jpg",[],8,{"id":97,"slug":98,"title":99,"dynasty":71,"author":19,"museum":72,"description":73,"tags":100,"thumbUrl":111,"material":83,"size":84,"collection":39,"collections":112,"showCount":95,"zanCount":11,"manualWeight":11,"mainColor":44},226400,"ku-zhu-shi-nan-bi-yi-ming-226400","窟主室南壁",[75,25,28,29,101,77,102,103,35,92,7,55,104,105,106,107,108,109,110],"白描","线描","传统壁画技法","宗教题材","人物画","壁画艺术","设色壁画","宗教人物","线描技法","唐代壁画风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F504e28daa20a77fcb3630a3df744a492.jpg",[],{"id":114,"slug":115,"title":99,"dynasty":71,"author":19,"museum":72,"description":73,"tags":116,"thumbUrl":118,"material":83,"size":84,"collection":39,"collections":119,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":44},226494,"ku-zhu-shi-nan-bi-yi-ming-226494",[75,25,28,29,102,117,7],"千佛","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F8963ddd5101e9beb4646baca13095589.jpg",[],6,{"id":122,"slug":123,"title":70,"dynasty":71,"author":19,"museum":72,"description":73,"tags":124,"thumbUrl":125,"material":83,"size":84,"collection":39,"collections":126,"showCount":120,"zanCount":11,"manualWeight":11,"mainColor":44},226319,"ku-zhu-shi-xi-bi-yi-ming-226319",[75,25,28,29,35,7],"https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Fbb3282fa06862df0ed038b3d759373a3.jpg",[],{"id":128,"slug":129,"title":130,"dynasty":131,"author":19,"museum":132,"description":133,"tags":134,"thumbUrl":146,"material":83,"size":84,"collection":39,"collections":147,"showCount":148,"zanCount":11,"manualWeight":11,"mainColor":149},238881,"qing-ren-shan-ba-la-wang-pu-sa-xiang-zhou-yi-ming-238881","清人善巴拉王菩萨像轴","清","藏地不详","主尊宝冠严饰，安坐须弥宝座，身着织锦华服，璎珞珠宝遍覆周身，右手擎摩尼宝珠，左手托举吐宝鼠，神态雍容祥和，尽显福泽充盈的尊荣气度。\n\n画面上方胁侍圣众安坐云端，下方眷属部众环绕簇拥，亭台瑞兽、灵花佳木点缀其间，构图饱满富丽。设色浓妍厚重，朱砂、石青、石黄撞色鲜明热烈，尽显藏地唐卡标志性的装饰美学。\n\n线条精细流畅，纹样繁密却不失章法，诸佛仪轨细节严谨完备，将宗教神性与求财纳福的世俗祈愿融于丹青，兼具庄严感与装饰性，尽显清代藏传造像唐卡的独特艺术风貌。",[135,26,25,28,27,29,56,7,136,137,138,139,140,141,142,143,144,145],"唐卡","眷属","亭台","瑞兽","灵花","佳木","摩尼宝珠","吐宝鼠","求财纳福","庄严","装饰性","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F9010ab7b96c96190790fdeceaba361d9.jpg",[],4,"BDBDBD",{"id":151,"slug":152,"title":153,"dynasty":154,"author":19,"museum":132,"description":155,"tags":156,"thumbUrl":161,"material":83,"size":84,"collection":39,"collections":162,"showCount":43,"zanCount":11,"manualWeight":11,"mainColor":44},255647,"tong-qian-fu-ban-yi-ming-255647","铜千佛版","五代十国","方形版面以主尊为圆心，千佛如星子般环布四周，古旧铜锈晕开时光的厚重。主尊结跏趺坐，面容圆融沉静，一派悲悯安然，左右胁侍恭立身形挺拔，神色肃穆虔敬。\n周遭千佛制式规整，虽造型简约却不失庄严法相，密密匝匝间铺展出信仰的恢宏气象。铜版表面的磨损痕迹，是岁月摩挲的印记，凝住了往昔的礼佛热忱，将虔诚之心浇筑于铜质肌理里，方寸间尽显信仰图景的浩荡，让观者触摸到跨越时光的沉静力量。",[157,76,158,25,29,117,159,7,160],"铜制","浮雕","主尊","五代十国风格","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7ac91e80a62dd0a9f1c8ebae925d0da1.jpg",[],{"id":164,"slug":165,"title":166,"dynasty":18,"author":19,"museum":132,"description":167,"tags":168,"thumbUrl":172,"material":83,"size":84,"collection":39,"collections":173,"showCount":11,"zanCount":11,"manualWeight":11,"mainColor":174},254863,"shi-fu-zuo-xiang-yi-ming-254863","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。",[76,169,25,34,29,170,7,171],"石质","坐像","元代","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002Ffd01b67f4c2eeda1d144641a856f36b7.jpg",[],"37474F",1777535733827]