長久以來，明代嘉靖倭寇的圖像資料，一直仰賴藏於日本的「倭寇圖卷」，在過去的研究中對「倭寇圖卷」所繪之倭寇有很高的評價。然而因近年來藏於中國國家博物館的兩幅倭寇圖畫廣泛流傳，改變了舊有對「倭寇圖卷」的看法，這兩圖分別是「明人抗倭圖」與「太平抗倭圖」，其中所繪的倭寇與「倭寇圖卷」既有相似之處，更有許多值得討論的問題。本文對此三幅倭寇圖進行初步的比對，首先以「倭寇圖卷」與「明人抗倭圖」兩圖做一比較，討論兩圖的相關性與出現時間的前後順序，以及所繪倭寇的圖像，推測兩圖繪圖者的目的當與趙文華與胡宗憲的勦倭活動有關，代表了官方的圖像。最後將兩圖與「太平抗倭圖」做一比較，相對代表地方倭寇記憶的「太平抗倭圖」，其所繪的倭寇也許更能表現一時一地之中，當時人所記憶倭寇面貌。最後討論這個地方的記憶，是如何被統一為官方圖像。希望藉介紹此三圖的背後故事的機會，提高學界對此三圖的重視。

Past research on images of Jiajing-era Japanese pirates depended entirely upon the "Japanese Pirates" scroll painting (Wokou tujuan 倭寇圖卷). Two recently available scroll paintings, the "Famous Anti-Japanese Pirate Avengers" (Mingren kangwou tu 明人抗倭圖) and the "Taiping Anti-Japanese Pirate Avengers" (Taiping kangwou tu 太平抗倭圖), raise important issues in the study of images of Japanese pirates. This article introduces a new approach to compare these three scroll paintings. First, the article discusses the relationship between the temporal sequences in "Japanese Pirates" and the "Famous Anti-Japnaese Pirate Avengers." Next, the article compares the images of Japanese pirates in the three paintings, analyzing the painters' representations of Zhao Wenhua (趙文華) and Hu Zongxian (胡宗憲)'s attacks against Japanese pirates. The "Taiping Anti-Japanese Pirate Avengers" painting reflects the collective memories of the appearance of Japanese pirates.