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The portraits serve as a valuable resource for understanding royal ceremonial garb of the time. They appear to show that royal robes (''[[hibenfuku]]'') grew more elaborate and opulent over time.<ref>''Okinawa bijutsu zenshû'' 5, 318.</ref>
The portraits serve as a valuable resource for understanding royal ceremonial garb of the time. They appear to show that royal robes (''[[hibenfuku]]'') grew more elaborate and opulent over time.<ref>''Okinawa bijutsu zenshû'' 5, 318.</ref>
The ''Ogo-e'' portraits reflect close interconnections and notable distinctions between Ryukyuan painting traditions and those of other East Asian courts. Whereas Japanese portraits typically depict figures seated at a roughly 3/4 angle, facing off to the left or right, Ryukyuan royalty and aristocracy face front in their official portraits. They are also depicted with a group of followers or attendants, and with standing screens, bookshelves, and other accouterments in the background, like Korean kings; Chinese and Japanese portraits, by contrast, typically have minimal or no background, and no secondary figures depicted.<ref>Hirakawa Nobuyuki, "Ryûkyû kaiga no rekishi," talk given at Okinawan Art in its Regional Context: Historical Overview and Contemporary Practice symposium, University of East Anglia, Norwich, 10 Oct 2019.</ref>
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