Using the painting "Skeleton Puppet Show Skeleton Puppet Show: The Consciousness of Life in Chinese Literature and Iconography Using the painting "Skeleton Puppet Show" (attributed to Li Song [ƒl. 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.