The attaching of symbolic importance to the human skull is known as skull symbolism. The skull is most commonly used as a symbol of death, mortality, and the impossibility of attaining immortality.
Even when other bones appear to be shards of stone, humans can often recognize the buried bits of an only partially visible cranium. The human brain has a special region for identifying faces,[1] and it is so good at it that it can recognize faces in just a few dots, lines, or punctuation marks; the human brain can't tell the difference between the image of the human skull and the recognizable human face. As a result, both the death and the now-extinct existence of the skull are represented.
Furthermore, a human skull with its large eye sockets exhibits a degree of neoteny, which humans frequently find beautiful visually—yet a skull is obviously dead, and to some, the downward facing slope on the ends of the eye sockets might even appear mournful. Because of the exposed teeth, a skull with the lower jaw intact may appear to be grinning or laughing. As a result, human skulls frequently have a more appealing appearance than the other bones of the human skeleton, and they can both attract and repel people. Skulls are commonly associated with death and evil in today's society.
The skull that is frequently engraved or carved on the head of early New England tombstones may be only a symbol of mortality, but it is sometimes accompanied by an angelic pair of wings, which lift mortality above its own death.
In Shakespeare's Hamlet, the title character recognizes the skull of an old acquaintance, which is one of the most well-known examples of skull symbolism: "Regrettably, Yorick! Horatio, I knew him; he was a man of immense wit..." Hamlet is moved to deliver a scathing soliloquy of sorrow and sharp irony.
Compare Hamlet's "Here hung those lips that I have kissed I don't know how many times" with Talmudic sources: "...Rabi Ishmael [the High Priest]... laid [the severed skull of a martyr] on his lap... and cried: oh hallowed mouth!...who buried you in ashes...!" For Shakespeare's contemporaries, the skull was a symbol of sorrow.
Some Hindu gods are depicted using kull art. Lord Shiva is often shown with a skull in his hand. [4] Chamunda is said to be adorned with a garland of chopped heads or skulls (Mundamala). Some Hindu temples with skull sculptures and Goddess Chamunda include Kedareshwara Temple, Hoysaleswara Temple, Chennakeshava Temple, and Lakshminarayana Temple.
The goddess Kali grants life through the welter of blood, hence the goddess Kali's temple is covered in skulls.
The Death's-Head Skull, usually depicted without the lower jawbone, was associated with bawds, rakes, sexual adventurers, and prostitutes in Elizabethan England; the term Death's-Head was actually slang for these rakes, and most of them wore half-skull rings to advertise their station, whether professionally or otherwise. The first Rings were wide silver objects with a half-skull ornamentation that was not much wider than the rest of the band; this allowed the ring to be twisted around the finger to cover the skull in polite company and reposition it in the presence of possible conquests.
The Day of the Dead, a Mexican celebration, is symbolized by skulls and skeletons. Calaveras, or skull-shaped decorations, are popular throughout the celebrations.
Memento mori was a prominent motif among Venetian painters in the 16th century, who created moral allegories for their customers. Two paintings by Nicolas Poussin made famous the theme carried by an inscription on a rustic tomb, "Et in Arcadia ego"—"I too [am] in Arcadia," if Death is speaking—but the motto made its pictorial debut in Guercino's version, 1618-22 (in the Galleria Barberini, Rome): in it, two awestruck young shepherds come across an inscribed plinth, in which the inscription ET IN ARCADIA.
In a convention of Baroque painting[citation needed], the Skull stands next to Mary Magdalene's dressing-mirror and informs the audience that the Magdalene has become a symbol for repentance. An observer can see the change of C. Allan Gilbert's much-reproduced lithograph of a charming Gibson Girl seated at her elegant toilette into an alternate image. Behind this turn-of-the-century icon lurks a ghostly echo of the worldly Magdalene's repentance motif.
When a painted representation of a skull is used as a stand-in for the actual thing, the skull becomes an icon in its own right. In The Embarrassment of Riches, Simon Schama described the Dutch ambivalence toward their own worldly achievement during the Dutch Golden Age of the first half of the 17th century. Pieter Claesz avoided the potentially frivolous and just decorative aspect of the still life genre in his Vanitas (illustration, below right): "Lo, the wine of life runs out, the spirit is snuffed, oh Man, for all your learning, time still runs on: Vanity!" Skull, opened case-watch, overturned emptied wineglasses, snuffed candle, book: "Lo, the wine of life runs out, the spirit is snuffed, oh Man, for all your learning, time still runs on: Vanity!"
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