近來學界對中國以外的漢詩文化圈的相關研究蓬勃發展，相較於以往漸漸受到更多學者的關注。透過重要作品的解讀和比較分析，瞭解各地區文學表現、思想性或是文化跨界等諸多問題，也已經累積了不少的研究成果。不過綜觀目前研究，不可否認的是仍以日本和朝鮮的漢學討論居多，琉球、越南和蒙古地區的探討相對有限。 位居中國和日本之間的琉球，自古在政治、文化、經濟和軍事上，在東亞世界有其重要的地位，其漢學的成立和發展過程，一方面受到日本五山禪林的影響，另一方面也與明清兩代的文化交流有著緊密的關連，長期以來致力於琉球漢學的文獻考掘、整理和研究分析的琉球大學名譽教授上里賢一先生已經累積許多優秀的成果。 本文擬在學界先進的琉球漢學研究基礎之上，從最早且舉足輕重的《中山詩文集》中歌詠琉球世子賜給本書編者程順則「鳳尾蕉」時，多位同僚詩人為紀其此殊榮時吟昧的十餘首作品，透過與中國詩中的「鐵樹」描寫，還有江戶後期漢詩的「鳳尾蕉」詩以及芭蕉等許多徘句詩人吟詠的「蘇鐵」之詩歌意象與創作手法進行比較分析，期能藉此釐清琉球漢詩在東亞漢詩史上之特色與該如何評價的問題之一端。

The recent studies on Han poetry in regions outside China thrive and thus receive a great deal of academic attention from scholars and investigators. It is the trend to interpret and compare the key works to know the issues on literature, ideology and cultural crossover in respective regions, which has exerted plentiful papers concerned. A holistic view into the present studies identifies research on Han studies in Japan and Korea as the mainstream and investigation on Han studies in Mongolia, Ryukyu (Okinawa) and Vietnam as minority. Since the ancient times, Ryukyu between China and Japan geographically used to play the key role in the East Asian region politically, culturally, economically and militarily. Clearly, the launching and history of Han studies in Ryukyu used to receive Gozan zenrin (Japanese monks) in Kyoto Japan and tie closely with Ming and Ching Dynasties as well. Uezato Kenichi, the honorary professor, Ryukyu University, has many papers concerning Han studies in Ryukyu due to his long-term dedication and engagement in literature archeology, compilation and investigation. With the previous papers, the author expects to clarify the qualities and evaluation of Han poetry in Ryukyu in the history of Han poetry in East Asia through comparing the image and approach concerning sago cited in more than ten poems of peer poets in honor of Chen Shun-tse (Tei Junsoku) the editor of Ryukyu Lyrics Anthology (the first work with the most significance) receiving sago from the Ryukyu prince and Sago cited in Chinese poetry, and sago poems in Han poetry in the late Edo period, and sago chanted by Matsuo Basho Haiku poet.