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内容摘要： 回鹘装女供养像频繁出现在五代宋曹氏归义军石窟中，其中以曹议金回鹘夫人天公主为代表人物。另有天公主与曹议金分嫁到于阗和甘州回鹘的几个女儿、以及他们在甘州和于阗的外孙女（后来嫁给曹延禄），亦着回鹘装呈现。曹氏归义军政权奉中原王朝为正朔，敦煌的主体民族仍然为汉族，在汉文化为主导的社会中。石窟中的供养人及经变画中的人物画均以汉装为主流。回鹘装作为一种反传统的现象，回鹘天公主供养像在汉文化圈中坚持本民族的服饰出现在洞窟中，集中反映着曹氏作为粟特人后裔的文化心理和民族认同。 Abstract: 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. 关键词：曹氏归义军;回鹘装;供养人画像;粟特人;回鹘化; 中图分类号：K879.2;K289 (责任编辑：admin) |