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to boldly proceed ...that lines and shapes can be used by artists to convey ideas and emotions. For example, asquare is a symbol of reliability and stability; as a result, the frame of Image 1, structured bystraight lines, either vertical or horizontal, expresses a stable feeling.Image 1 a man a hat on the headImage 2 the man the hat on the head a pipe in the mouth a stone benchImage 3 the man the hat on the head the pipe by the handImage 4Image 5 the man the hat by the handImage 6Image 7 the manImage 8 the man the hat on the bedpostImage 9 the man the hat on the head the stone benchFigure 1: Visual Chain in FHW3.2 Visual Taxonomic Relations: Visual StringThe taxonomic relations in the illustrated fairytale of FHW can be classified into threecategories: Co-extending, Symbolic and Intertextual (see Figure 2). The different womenalong the “woman” string across the pictures present a Co-extending relation. Each woman isdepicted to have a different life condition and a different social status also. The “bench”string, the “smoke” string, the “candle” string and the “clothes” string present a Co-extendingrelation. Co-extending conveys explicit ideational meaning. Symbolic and Intertextualindicate more implicit ideational meaning. The “flower” string is rich in the Symbolicrelations, and linked up by the Symbolic “flowers on the carpet” and a “garland” in Image 3and Image 5 and the Co-extending “a chrysanthemum flower” and “cup-shaped flowers” inImage1 and Image 2. The participants of “a chrysanthemum flower” and “cup-shapedflowers” show the tranquil life, but the “flowers on the carpet” and a “garland” imply theillusion of vain life. The “fish” string, consisting of all the three types of taxonomic relations,is special for the Intertextual relation. It is presented by the “mermaid” on the tapestry inImage 3 which is associated with the little sea maid in one of Andersen’s fairytales 33 . TheIntertextual indicates that what the couple pursued may be a vain attempt and all the splendorthey obtained disappeared like beautiful and transient bubbles. In addition, the Symbolic “afish on the stool” in Image 3 and “fish pattern” in Image 8 along the fish string forecasted thereturn of the fishing life in the end.The pictures are connected through the collaboration of the visual relations. In FHW,they work together to demonstrate that the enchanted fish intended to satisfy the fishermanand his wife with only one wish, instead of several wishes, from the very beginning.Everything seemed to be controlled by the fish.There are four pieces of evidence showing that the life as depicted in Image 2 is what thefish intended to grant the couple. Firstly, the Symbolic Carrier “the flower pattern” on thecarpet in Image 3 implies the start of the illusion. Secondly, the little sea maid on the tapestryin Image 3 intertextually forecasts the illusion of their pursuit. Thirdly, the Co-extendingrelation between the wood bench in Image 1 and the stone bench in Image 2 presents thechange from the fishing life to the farming life. However, the fisherman and his wife’sbulging desire drove them to hunt for more. They did not recognize that they were destinedfor having only one wish to be satisfied. They would have had a better life like the one inImage 2, but they lost it because of their greed. The Visual Chain between the stone benches33 The little sea maid. In The Complete Illustrated Stories of Hans Christian Andersen (pp. 543-559), translatedby H. W. Dulcken, PH.D.. 1983. London: Chancellor Press.168
Papers from the 39th ISFCin Image 2 and Image 9 once again reveals the intention of the enchanted fish. After it wasenraged by the couple’s greed, it let them go back to their vinegar jug in Image 9. But the factthat the stone bench in Image 9 is linked to the stone bench in Image 2 instead of the woodbench in Image 1 exhibits the fish’s intention of reminding the couple of something. Finally,the Framing Chain also shows no return of the original life of the couple. They are depictedwithin the shape of the jug, which seems to indicate they lost something that they originallyowned. The nine pictures in FHW are linked up through different types of visual relations toconstrue visual narratives.Image1Image2Image3a woman wearinga dress with shortsleeves, an apronand a spoonc 34a woman with acommon dress,an apronca woman withrococo style ofdressingcImage a woman with a4 cloak, a necklace,shoes with jewelscImage a woman with a5 longer cloak anda necklaceImage6 cImage a woman with a7 cloakImage8Image9ca woman with abed gown and anightcapca woman with acommon dressawoodbenchca stonebenchFigure 2: Visual String in FHW4 Conclusiona fishing robca fishing netsyma fish on a stool onthe wall paintinginterthe mermaid onthe tapestrykitchensmoke from ajugckitchensmoke from ahutachrysanthemumflowerccup-shapedflowerssymthe flowers onthe carpetsymc a candle a garlanda fish in the watersymfish patterns on thebedsteadccandlesshabbyclothescpatchedclothesThe study extends Lim’s (2007) visual systems on the discourse semantic stratum byincluding Co-extending, Symbolic, and Intertextual relations within the system of VISUALTAXONOMY, and by distinguishing Long-, Medium-, Short-distance Visual Chains within thesystem of VISUAL REFERENCE. These newly proposed concepts provide better metalanguageto describe the visual items in a sequence of pictures. The analysis of FHW showsthat they help us obtain a better understanding of illustrated fairytales. Furthermore, the twoextended visual discourse semantics systems lay foundation for the exploration of image-textrelations on the discourse stratum.34 C, sym and inter are short for Co-extending, Symbolic, and Intertextual relations respectively.169
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