Image language and typology in Medieval Art : formation, interpretation and function of image text

图像文本构成视觉语言的文本空间的形成条件因其媒介而异，如手稿插图、手工艺术、纪念性雕塑或绘画、彩色玻璃等。为了考虑这个问题，我们研究了一个例子，在罗马式或哥特式教堂门户的背景下，用建筑提供的元素（中殿、拱门、门楣、门框、大写、柱子、底座等）构建图像文本。我们研究了法国圣福伊（Saint-Foy of Conques）和圣拉扎尔（Saint-Lazare of autumn）教堂入口中描绘“最后审判”的图像文本的构成和功能。我们还考虑了叙事内容中的时间问题，以及通过图像文本进行的叙述，并进一步考虑了图像文本的观众在其意识中形成故事的“阅读”行为。我们讨论的例子是维也纳创世纪的插图，描绘了一个旧约的主题，雅各和他的家人过河。在这个例子中，叙事性文本并不是像一条线那样将许多时刻排列成一排，而是像一个网络，在这个网络中，过去、现在和未来在某个时刻相互重叠。图像文本代表的是单一主体还是多个主体，关键问题在于图像文本内部或多个文本之间是如何形成网络的。

Conditions of a textual space in which an image text consist of visual language is to come into being vary with its media, such as manuscript illustration, artisanal art, monumental sculpture or painting, stained glass. To consider this question, we have examined an example of an image text constructed with elements supplied by a building (tympanum, archivolt, lintel, doorframe, capital, column, base, etc.) in the context of church portals of Romanesque or Gothic Style. We have considered the composition and function of an image text in the church portals depicting "The Last Judgment" at Saint-Foy of Conques and Cathedral Saint-Lazare of Autun in France. We have considered also the question of time in a narrative content and a narration through an image text, and further in the act of "reading" by which a viewer of an image text forms in his consciousness a story. The example we treated is an illustration of the Vienna Genesis that depicts an Ancient Testament subject, Jacob and his family going across a river. In this illustration, a narrative text is not formed as a line in which many moments are arranged in a homogeneous row, but as a network in which past, present and future overlap each other in a moment. Whether an image text represents single subject or plural subjects, the key question is how a network is formed in an image text or between plural texts.