五代宋敦煌石窟回鶻裝女供養像與曹氏歸義軍的民族特性=Female Donors in Uighur Costumes in the Dunhuang Caves of the Five Dynasties and the Song Dynasty & the Ethnic Characteristics of Cao Family’s Administration over the Return-to-Allegiance Army Regime
Female donors in Uighur costumes frequently appeared in the caves of Cao family’s administration over the Return-to-Allegiance Army regime in the Five Dynasties and the Song dynasty;among them,Cao Yijin’s Uighur wife,the Heavenly Princess,was representative.The Heavenly Princess and Cao Yijin’s daughters,who were married to Khotan and Ganzhou Uighurs,as well as their granddaughters in Khotan and Ganzhou were included.The Return-to-Allegiance Army regime ruled by the Cao family was loyal to the central government,and the Han Chinese remained dominant at Dunhuang;therefore,the Han culture was dominant too,as seen in the caves,where donors and portraits in murals of Buddhist illustration were mostly in Han-style costumes.However,the Uighur costumes appeared as a non-traditional element in the caves.The portrait of the Heavenly Princess in Uighur costumes emphasized the cultural psychology and ethnic identity of the Cao family as descendants of the Sogdians.On the other hand,the studies of Uighur female donors in the caves can help deepen our understanding of the Uighur features of the Cao family’s administration over the Return-to-Allegiance Army regime.This phenomenon had appeared in the early reign of the Cao family,which was consistent with the establishment of its domination and its relationship with the Ganzhou Uighur.
