Most of the paintings by‘Wupai’painters in Suzhou were topographical paintings. Why? It was connected with the tension between Ming court and Suzhou literati. The heavy taxation imposed on Suzhou by Zhu Yuanzhang\'s government, Zhu\'s mistrust in Suzhou Elites, the limited quota given to Jiangnan elites, and the conflict with eunuchs made Suzhou elites realize relational group identity. It was embodied in‘Our Suzhou.’ Topographical painting was the artistic manifestation of‘Our Suzhou,’a sort of self-consciousness of Suzhou elites. The reason why many prominent elites of Suzhou patronized literati painters was that they believed through it could share and continue the relational group identity of Suzhou. Li Dongyang\'s writing and Shen Zhou\'s album paintings on the Eastern Estate of Wu Kuan were the acting of inscribing by literati. The tradition of inscribing came from‘Yü\'s Tribute’in which Yü made a tour through the world under heaven, classified the myriad things according to correlative thinking, and finally named these. Many ancient Chinese believed that the Book of Mountains and Sea were the text that inscribed“Yü\'s Tribute.”We can understand the two literati\'s inscribing in the context. It was a cultural act by literati manifesting the‘difference’with other groups, especially with that of eunuchs. 主題語: 實景圖, 蘇州, 精英, 集團正體性, 銘刻, ‘吾蘇’ topographical painting, Suzhou, elite, relational group identity, inscription, ‘Our Suzhou.’