In the early Edo period, the Tokugawa shogunate propagated the study Zhu Zi. Two examples representing this propagation are Confucian images which garnered a new political status, as well as The Images of Sages and The Successive Sages and Garand Confucian Scholars. When Kano Sansetsu (1590-1651) was painting The Images of Sages, he adopted the Ming woodcut prints as pictorial sources and referenced the opinions of Confucian scholars. Hyashi Lazan（1583-1657）commissioned Kano Sansetsu to paint The Successive Sages and Garand Confucian Scholars for the Sinobugaoka private school in Edo city. In this set of paintings, the image of Confucius is unique because it is a product of two roles being rolled into one: the Minister of Justice and the King of Wenxuan. Some scholars previously regarded this set of paintings as pictorial sacrificial rites to Confucius, however this reading is problematic. This paper examines the pictorial origin and ritualistic space of this set of paintings to suggest that they are Confucian orthodoxy paintings. Hayashi Lazan commissioned the paintings, probably to publicize his private institute’s inheritance of Zhu Zi’s philosophy while also establishing his own political and academic authority.