This paper seeks to examine the image and text relationship in TANG Yin＇s scroll of poetry and painting from three aspects： The first aspect focuses upon the schema type of its image and text relationship in physica...This paper seeks to examine the image and text relationship in TANG Yin＇s scroll of poetry and painting from three aspects： The first aspect focuses upon the schema type of its image and text relationship in physical form; the second aspect, explores the text＇s/poetry＇s functions of anchorage and relay while appreciating those images/paintings; the third aspect, traces the semiosis process of image, exploring how image and text as cultural products in the epistemological world mediates with the phenomenological world展开更多
Zongza Lhagyicannot forgetDecember 3,1999,When hereceived the entry certifi-cate from me London-based Guinness Book ofWorld Records while hewas in Shanghai.It reads:China Tibetan Cultural ArtColor Painting, the longes...Zongza Lhagyicannot forgetDecember 3,1999,When hereceived the entry certifi-cate from me London-based Guinness Book ofWorld Records while hewas in Shanghai.It reads:China Tibetan Cultural ArtColor Painting, the longest.measures 618 meters longand 2.3 meters wide.展开更多
文摘This paper seeks to examine the image and text relationship in TANG Yin＇s scroll of poetry and painting from three aspects： The first aspect focuses upon the schema type of its image and text relationship in physical form; the second aspect, explores the text＇s/poetry＇s functions of anchorage and relay while appreciating those images/paintings; the third aspect, traces the semiosis process of image, exploring how image and text as cultural products in the epistemological world mediates with the phenomenological world
文摘Zongza Lhagyicannot forgetDecember 3,1999,When hereceived the entry certifi-cate from me London-based Guinness Book ofWorld Records while hewas in Shanghai.It reads:China Tibetan Cultural ArtColor Painting, the longest.measures 618 meters longand 2.3 meters wide.
