The paper is devoted to analysis of geographical images from the viewpoint of the theory of metaphor. The cultural landscape is a process and a result of semiosis, and it is interesting to find a place in it to such semiotic concept as a metaphor. In a metaphor the meaning is important; in a symbol the form is important. The cultural landscape is a place for both of them, because in culture genetically related to the landscape actual geographical objects having some visual, quantitative and qualitative characteristics (height of mountains, river length, the breadth of the plains) act as symbols. Accordig the cognitive theory of metaphor the cultural landscape is as a complex concept to which metaphors open up «epistemological access», and vice versa, the landscape – as a concept, organizing a series of abstract frames (Gestalts) in the mentality of culture. In the study of cultural landscape a metaphor is used as a tool for learning, giving birth to new meanings. Interrelationship of culture and space is metaphorical in nature. For example, the metaphor «life – a river» might well be corresponded with the metaphor «water – this is life». Both metaphors mentioned referred to well-defined landscape connotations, which implicitly arise in the minds of the media culture either during the utterance of this metaphor, or when one looks at the landscape from the high bank of a river. From this point of view a metaphor, which includes names of the places can be considered. The most striking visual metaphors transfer related place names in the category of iconic signs. For example, a sustainable culture-geographical metaphor «the gold-domed Moscow» creates out of two images a new semantically extended mental construct. The first one is a visual appearance of the city, its architectural feature – an abundance of gold-domed churches. The second one is a latent image of the mythological giant with the golden head, symbolizing the state power. The second metaphor is hidden away under the pressure of the first, but it is impossible to deny its existence. Spatial metaphors have similar landscape imagery. (For example, the metaphors, structuring the concepts «up – down» and specific landscape connotations entering into the very flesh of the language – «Soar to the clouds», «to be on top of Happiness», «lay low»). Each concrete landscape appears as a metaphor, depending on the nature and type: a mountain landscape – as a metaphor for the ontological vertical, a flat steppe landscape – as a metaphor for the limitlessness and infinity, a river landscape – as a metaphor for life and ways and so on – all sorts of variations. All these metaphors are iconic, and the brightness of the image, constructed in language, is replaced by visualization of the image, observed or represented as a landscape in this case.