This article analyzes the painting "Skeleton Puppet Show" using theories of iconology, intertextuality, and transtextuality. Puppets and skeletons in literature and art represent both tragic and joyous aspects of human life. The painting conveys reflections on the significance of life through allusions to puppet symbolism in Chinese culture as well as a famous passage from the Zhuangzi featuring a conversation between Zhuang Zhou and a skull. Buddhist and Daoist traditions involving skeletons and skulls were also influences, expressing the idea of gaining new life through contemplating death.
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53. Skeleton Puppet Show: The Consciousness of Life in
Chinese Literature and Iconography
I Lo-fen
Using the painting “Skeleton Puppet Show” (attributed to Li Song [fl. 1190-
1230]) as an example, this article analyzes how artists conveyed their reflections on
and understanding of the significance of life.
In terms of iconology and theories of intertextuality or transtextuality, “puppet”
and “skeleton” embody distinct iconographic features. I trace these in literary, cultural
and iconographical representations to establish the contexts in which I interpret the
“Skeleton Puppet Show.”
Puppets and puppet shows embody two contradictory ideas: the “tragic” and the
“joyous.” Puppets resemble human beings in appearance, enabling them to serve as
effigies for sacrificial rituals, and also as children’s toys. Puppet shows are, on the one
hand, funeral rituals to remove impending ill fortune, and, on the other hand,
entertaining performances on joyous occasions. This synthesis of the tragic and the
joyous represents human life in miniature. Furthermore, the puppet, as depicted in
literature and religion, presents the issue of one’s independence and ways to avoid
control by others.
The conversation between Zhuang Zhou and the skull in the chapter “Ultimate
Joy” in the Zhuangzi presents a model for using the skull and skeleton to comment on
life and death, joy and sorrow—a model that had lasting influence on Chinese
literature. In Buddhist and Daoist traditions, the rituals of “skeleton laments,” the
practices of “skull meditation,” and the depiction of skeletons and skulls in paintings,
as ways to reach spiritual enlightenment, all express the idea of “regaining a new life
after being exposed to death.”
If life is like a puppet show, we are constantly switching our roles among
“audience,” “performers” and “puppets,” in keeping with the spirit of the occasion.
The skeletons in “Skeleton Puppet Show” go on playing even in death, a performance
that never ends.
Keywords: skeleton puppet show Li Song consciousness of life
puppet iconology intertextuality
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