This paper is an exploration of the relation of text and image as seen through the travel poetry of the mid-Ming scholar Yang Shen (1488-1557), who was exiled to southwest China in 1524. Text is understood to refer to the overall work by which a 'meaning' or an interpretation can be produced. Imagery refers to the representation of the outside world as captured through words. The relationship of imagery and text is complex-sometimes imagery reinforces the 'meaning' of the text; at other times, imagery works against that meaning offering alternative readings of the work involved. Travel writing is under examination as it is a unique genre that allows scholars from a variety of disciplines to define it in very particularistic ways. Travel writing can range from extremely dry non literary accounts of voyages to highly imaginative created journeys. This allows for a flexibility of handling of the topic, particularly as noted above in the distinction between text and image. Chinese travel poetry, unlike its western cousin, is lyrical for the most part. This feature of Chinese poetry strengthens the importance of the image in relation to the text. Four of Yang's poems are under consideration here. In “Verses on Bamboo Branches,” is Yang’s pre-exilic experience of traveling through the Three Gorges on his way home to Xindu, Sichuan. He develops a familiarized world, which captures encyclopaedically the world through the imagery. “Song of Gratitude” is a lyrical masterpiece in two-hundred lines that recounts his journey into exile from Beijing to Yongchang, Yunnan in 1525. The first half of the poem deals with the familiar landscape of Eastern China which Yang traverses in the company of his wife. The second half of the poem follows his independent route through the lesser known roads to his place of exile. Yang records a journey that progressively displaces Han cultural norms with the wild freedom of the peoples who inhabit the mountainous stretches of the land. This poem is a tour de force and marks a place in the Chinese poetic tradition of a shift from centre to periphery. “Poem on Baojing” describes a journey to a mining outpost that straddles the Mian (Burmese) and Ming empires. Intended as a critique of court extravagance, Yang explores the distance between Han and indigenous cultures through images whose overtones may be characterized as orientalist in representation. This feature of the imagery is particularly at odds with the meaning of the poem. “Songs of Lake Dian,” is in a hybrid format that combines travel poetry with the gazetteer, a popular genre that the elite would create for the glory of the local place (prefecture, province, mountain, river, temple, etc). In it, the meaning of the text is conveyed overwhelmingly through the array of disparate images that project a Yunnan culture composed of Han military and officials, indigenous peoples and a Daoist natural indifference to meaning in the world. The journeys however are not presented front and centre in this work, but rather under gird the work.