本篇文章在論述荒謬文學裡（即Edward Lear和Lewis Carroll）圖像的重要性及這些圖像如何造成荒謬的效果。如果我們要在不同的媒介中判斷荒謬，該用什麼樣的標準，本篇文章主旨就在於發展一種新的方法學，以便能理解荒謬文學中的圖像。以文學中的荒謬定義為起點，本文審視在一些可適用的視覺媒介中，荒謬是以何為塞礎，在文字與圖畫所組成的圖像中，有許多荒謬圖像文學出現，本篇文章的重點主要集中在五個方面：（一）利用文字與圖片間的矛盾（在有意義與無意義間的緊張製造荒謬）（二）雙關語（三）超小說（四）混亂、顛倒的狀態（五）冷眼旁觀等五類製造荒謬的效果，以上單一因素皆無法造成荒謬的效果，而是五類因素間的交互使用，才會有荒謬的效果。

This article discusses the significance of illustrations in nonsense literature (e.g. Edward Lear and Lewis Carroll) and how illustrations could be nonsensical as such, i.e. what kind of criteria would be valid if we want to recognise nonsense in different media. The aim of this article is to develop new tools for better understanding the illustrations of nonsense literature. Taking the definitions of literary nonsense as a starting point, the article proceeds by examining how the basic nonsense criteria would be applicable in visual media. There are numerous parallels between verbal and pictorial representation in illustrated nonsense literature, but this article focuses on five central aspects: 1) contradiction between word and picture (tension between meaning and absence of meaning), 2) words and language taken literally, 3) metafiction, 4) topsy-turvydom, and 5) lack of emotional involvement. None of these necessarily make a picture or a text-picture combination nonsense, but rather the nonsensicality of a picture or a text-picture combination is generated by a mutual interaction of all or some of these features.