中日两国18世纪皆出现以图像手段对边疆民族进行人种学描述的艺术传统。文章结合中日两国历史文献来分析有关库页岛“蝦夷”的视觉呈现,力求还原图像生产的历史情境,在此基础上聚焦江户“蝦夷绘”的代表作《夷酋列像》及其成画背景,关注图像背后隐藏的清代东北边疆“贡貂赏乌林”制度,并探究这一制度所催生的跨国贸易与器物的授受关系如何借由图像的视觉符号来传达。 In the 18th century, both China and Japan appeared the artistic tradition of depicting ethnic ethnologies by means of images. This paper combines the historical documents of China and Japan to analyze the visual representation of Sakhalin Island and to try to restore the historical situation of image production. On the basis of this, it focuses on the representative works of Edo “And its background of painting, paying close attention to the hidden northeast border of the Qing Dynasty and the” Gong Lin Wu Lin "system hidden behind the image, and explores how the transnational trade and the relationship between the excuse and the grant of goods by the system come from the visual symbols of images convey.