《敦煌172 》放映+映后交流 Auld Lang Syne Dunhuang 172 Screening with Filmmakers in Attendance
敦煌172 片长：166分钟
莫高窟第172窟是中国盛唐时期佛教艺术遗留在世的代表作。时光流逝，壁画剥落变色、形象漫漶，窟内塑像历经后世损毁、改塑，亦难寻原作踪迹。如今人们习惯了它青黑色的影调，却不知古人初绘之时，第172窟是什么模样？盛唐人心中的佛国是怎样的光辉色彩？ 敦煌研究院下属的美术研究所自1944年成立以来，一直从事敦煌艺术的临摹和研究工作。2017年，美术研究所决定对第172窟进行史上首次整窟复原临摹，推理填补壁画中残缺破损之处，重塑窟内塑像，恢复洞窟应有的绚烂色彩与完整面貌。 如今，数字化技术能以超高精度记录莫高窟几乎所有的物质信息，甚至将其还原于虚拟世界中，但想要复原唐代壁画与塑像的线条、色彩与气韵，却无法依赖所谓的数据与算法。在科技难以抵达的领域，一切需要由人的眼和手完成。而这群人就在敦煌的沙漠深处，日复一日揣摩古人的心境，以身、以心，执笔溯寻。
Auld Lang Syne Dunhuang 172 Duration: 166min
Cave 172 of Mogao Grottoes is a representative work of Buddhist art from Tang Dynasty in China. As time passed, the murals peeled and colors changed, and the statues were reshaped in later generations. Today, people are accustomed to its bluish-black tones, but don't know what Cave 172 looked like when it was first created by the ancients. What kind of radiant colors did the people of the Tang Dynasty hold in their hearts for the Pure Land?
Since its establishment in 1944, the Institute of Fine Arts under the Dunhuang Academy has been engaged in the facsimile and research of Dunhuang art. In 2017, the Institute of Fine Arts decided to carry out the first-ever full-cave restored facsimile of Cave 172, to restore the cave to its original splendor and complete appearance.
Today, digital technology can record almost all the material information of the Mogao Grottoes, even restore it in the virtual world. However, restoring the lines, colors, and spirit of Tang Dynasty murals and sculptures cannot rely on data and algorithms. In areas where technology is difficult to reach, everything must be done by human eyes and hands.
Q&A嘉宾
导演金逸堃，摄影指导刘张铂泷
金逸堃，纪录片导演，本科及硕士毕业于清华大学新闻与传播学院影视传播方向。 担任《敦煌172》、《我守敦煌日月长》总导演，参与制作《但是还有书籍》、《向设计提问》、《十三邀》、《我的青铜时代》等人文纪录片节目，执导独立作品《明天更漫长》。
刘张铂泷，纪录片导演、摄影师。作品曾在泰康空间、中间美术馆、何香凝美术馆、三影堂摄影艺术中心等机构展出。参与拍摄的纪录片作品包括，院线纪录电影《风起前的蒲公英》（2025），《大学》（2021），《大河唱》（2019），系列纪录片《但是还有书籍》第三季（2025），《我在故宫六百年》（2020）等。
Jin Yikun is a documentary director and cinematographer with both a bachelor’s and a master’s degree in School of Journalism and Communication from Tsinghua University. Her latest feature, Dunhuang 172 (2025), filmed over eighteen months, documents the first full-scale replication of Mogao Cave 172, reflecting the Dunhuang Academy’s eighty years of dedication to preservation and creativity. She also directed Guarding Dunhuang Through Sun and Moon (CCTV, 2024) and There Is Still a Book (bilibili, 2022 & 2025). Her films have been featured on major platforms including CCTV, Tencent News, and bilibili, and selected for the Guangzhou International Documentary Film Festival.
Zhangbolong Liu is an artist and cinematographer with a focus on interdisciplinary practices related to the production of scientific knowledge and the production of urban space. His works have been exhibited in Taikang Space, Inside-Out Art Museum, He Xiangning Art Museum, Three Shadows Photography Art Center and other institutions.He has also participated in documentary film productions, such as Bitter Sweet Ballad (2025), The Great Learning (2021) and The River in Me (2019).