本文從東亞地區文化交流的觀點出發，剖析琉球畫家殷元良（座間味庸昌，1718-1767）的幾件作品，追溯其參照的中國繪畫和學習的方式，探討其在琉球繪畫發展中具有的地位及意義。十七世紀後期開始，琉球出現了幾位以官派或個人身分親往中國學習、遊歷的宮廷畫家，如吳師虔（山口宗季，1672-1743）、弟子殷元良等人。和吳師虔留學福州地區不同，殷元良在1752-1754年間作為進貢使團的一員赴中，足跡從福州遠至北京。作者指出殷元良的作品主要沿襲了中國畫家孫億（1638-1712？）的畫風，更重要的是，在較為人熟知的琉球與福州地區繪畫之關係外，其作品尚透露出了和杭州地區繪畫之關聯性，為東亞地區文化交流之一例。

This paper examines the paintings of Ryukyuan court painter In Genryō (殷元良, Zamami Yōshō 座間味庸昌, 1718-1767) in the context of artistic and cultural exchanges within east Asia and analyzes the historical meaning of his paintings. In the late seventeenth century, several Ryukyuan court painters visited China, most prominently Go Shiken (吳師虔, Yamaguchi Sōki 山口宗季, 1672-1743) and his disciple In Genryō. Go Shiken resided in Fuzhou (福州) for four years (1704-1708), where he studied under Sun Yi (孫億, 1638-1712?), a painter almost unknown in China but famous in Ryukyu, while In Genryō went to China in the company of other royal envoys and traveled from Fuzhou to Beijing. This paper considers the closely related styles of Sun Yi and In Genryō, and the connection between the style of In Genryō and a painting style common in the Hangzhou (杭州) area.