Abstract This article documents the relations between the verbal and visual elements found on the frames used in Portuguese tile decorations. Frames are a constant presence in the history of Portuguese azulejos, from the late fifteenth century to the present day. Their role is to integrate the decorations within the surrounding architecture and other artforms (mainly gilt woodwork, easel painting, polychrome marble inlays, ceiling painting, sculptures, and textiles), as well as to structure systems with a varying degree of complexity, usually subordinated to the idea of artistic totality. Throughout the centuries, changes in taste have influenced the different kinds of frames, often regarded as a minor part of the decoration, and therefore more open to the introduction of new artistic styles. In the light of all this, it is clear that frames are not mere finishing elements, but an important means of designing architectural spaces and structuring tile decorations. Moreover, frames are often the vehicle for a visual and textual discourse that is part of the iconographic programme they enclose. As such, they play a decisive role in the history of Portuguese azulejos, highly relevant for today’s international frame studies, and for the dialogue between images and words.

中文翻译：

---

阿苏莱霍镜框的肖像作用

摘要本文记录了葡萄牙瓷砖装饰框架上的言语和视觉元素之间的关系。从十五世纪后期到今天，相框一直是葡萄牙阿祖莱霍斯历史上的一员。他们的作用是将装饰与周围建筑和其他艺术形式（主要是镀金木制品，画架绘画，彩色大理石镶嵌，天花板绘画，雕塑和纺织品）整合在一起，以及将复杂程度不同的结构系统（通常从属于）艺术整体的想法。几个世纪以来，品味的变化影响了通常被视为装饰的一小部分的各种框架，因此更容易引入新的艺术风格。有鉴于此，显然，框架不仅仅是装饰元素，而是设计建筑空间和构造瓷砖装饰的重要手段。此外，框架通常是视觉和文字对话的载体，而视觉和文本对话是框架所包含的图像程序的一部分。因此，它们在葡萄牙阿祖莱霍斯的历史中起着决定性的作用，与当今的国际框架研究以及图像和文字之间的对话高度相关。