The Practice of Illustration on the Theme of Death and Life Education
- Xiyu Hu
- Apr 17
- 25 min read
Xiyu Hu
Abstract: Death is one of the most profound existential dilemmas encountered in human development. The cognitive understanding of mortality and the artistic expression of emotions related to life and death constitute a critical subject that contemporary society cannot overlook. Based on the philosophical theories of life, this article applies the form of illustration in art education to propose innovative methods and strategies for life-and-death education. By integrating diverse artistic forms—such as commemorative sculptures expressing grief for departed loved ones, abstract sculptures envisioning the essence of the soul, a metaphorical art installation framing death as the closing stage of life’s theatrical play, a painting reflecting ancient cultural cosmologies of life and death, and interactive card game designs encouraging individuals to confront mortality—this research constructs a framework for illustrative design practices and artistic exhibitions centered on life-and-death education. Illustration-based art exhibitions focusing on life and death can guide individuals across all age groups to confront mortality, reflect on the significance of life and death, and ultimately establish a constructive perspective on life and existence. This exhibition aims to provide an innovative paradigm for illustration and other forms of art and design to engage in life-and-death education and to broaden the conceptual boundaries of illustration through practical experimentation.
Keywords: life education; death education; illustration design practice; art exhibition
1. Introduction
Death constitutes an inevitable phase in the life cycle of all living beings and remains one of the most profound problems encountered throughout the human life process. Influenced by cultural norms, some societies exhibit taboos surrounding discussion on mortality, while life-and-death education remains underdeveloped in many countries. Artistic expressions can serve as a bridge for people to understand life and death, subtly influencing individuals to engage with existential questions. Consequently, amidst escalating societal challenges, an artistic approach to life-and-death education has become indispensable. This project focuses on the theme of death within life education, examining the significance and validity of illustration as a visual medium in this pedagogical framework. It investigates how illustration design can conduct life-and-death education to diverse audiences, including children, while balancing the appropriate communication of death with the aesthetic demands of contemporary society, thereby seeking an accessible and effective approach for implementing life education in the modern era. The study highlights the unique perspective and value of illustration in art exhibitions addressing life and death—such exhibitions enable audiences to comprehend mortality, reflect on life's essence, and achieve personal growth through multifaceted perspectives and innovative artistic forms. As education is a lifelong journey, this article aims to raise awareness of existential themes across generations, providing individuals with philosophical enlightenment and establishing healthy psychological foundations for confronting mortality.
1.1 The Current State of Development in Life and Death Education
Death education first emerged in the United States in the 1920s and has since evolved into a mature pedagogical system (Zhang and Wang, 2015). In European countries such as the United Kingdom, life education is integrated into disciplines such as history, geography, and art. This interdisciplinary approach allows students to internalize the essence of life education through subtle immersion, fostering multidimensional understanding and critical reflection by juxtaposing perspectives across disciplines (Xu, 2006). In China, life education gained traction in the mid-to-late 1990s, initially confined to academic research and theoretical explorations. Governmental recognition of its importance began in 2004, culminating in the Ministry of Education’s formal introduction of the “life education” concept in 2010, with pilot courses implemented in primary and secondary schools in cities like Beijing and Shanghai (Feng, 2020).
In recent years, life education curricula have expanded globally in scope, incorporating not only school-based programs but also diverse educational resources such as novels, children’s picture books, films, and other audiovisual materials. For instance, the Pixar animated film Coco (2017) addresses the culturally sensitive themes of life and death through the lens of Mexico’s Día de los Muertos (Day of the Dead). By employing a warm color palette and reconstructing death-related imagery as a grand visual celebration, the film transforms the narrative of death into a creative exploration of memory and familial bonds. It conceptualizes death as a dual process of “physical demise” and “erasure from memory”, aligning with traditional Mexican beliefs that view death as an extension of life, fostering cross-cultural dialogue on mortality across audiences (Naqui & Sushmita, 2020). Similarly, the classic picture book My Grandpa Became a Ghost by Kim Fupz Aakeson employs a soft illustration style and a gentle, humorous narrative to depict a child’s experience of losing a loved one. Through tender interactions between a grandfather and grandson, the story reinforces emotional bonds, conveying that “love persists beyond death”. The grandfather’s eventual disappearance after a heartfelt farewell underscores death’s inevitability as a natural process, while the conclusion emphasizes resilience through the affirmation that “grandpa lives on in memory”. By visualizing death figuratively and concretely, conveying emotional resonance, and applying appropriate humor, the picture book acknowledges death’s irreversibility while affirming the permanence of love and memory. Educators may utilize such works to facilitate children’s emotional expression on existential themes. These works provide great references for applying illustration design in life-and-death education. They demonstrate how artistic forms can be applied to introduce concepts of death through open and accessible dialogues, inviting audiences of all ages to reflect on the meanings of life and death.
However, due to traditions that regard discussions of life and death as taboo, most parents still refrain from addressing this topic with their children, thereby constraining the integration of life education into both public education and family contexts (Wu, 2010). Parents often believe that avoiding discussions about death can protect their children from its harshness, and yet such avoidance risks leaving children unprepared to cope with sudden encounters with death, potentially exacerbating emotional distress and trauma in the absence of parental guidance (Longbottom & Slaughter, 2018). Compounding this issue, some adults themselves grapple with existential anxieties about death, further hindering their capacity to articulate its meaning appropriately to younger audiences. Additionally, within the curricular frameworks of some educational institutions in China, life-and-death education remains marginalized, lacking pedagogical resources and curricular design (Tang, 2023). In contemporary China, life education faces challenges of fragmented content and uniform methodologies, with existing curricula disproportionately emphasizing suicide prevention and resilience-building while neglecting systematic discourse on the meanings of life and death (Feng, 2004). Current scholarly research in China predominantly remains confined to theoretical explorations; critical aspects such as educational objectives, content, and pedagogical approaches still require comprehensive research integrating both theoretical and practical dimensions (Tang, 2023).
1.2 The Purpose and Significance of Death-Themed Artistic Expression
Death is an inevitable facet of life, yet its profound mystery often remains unspoken due to cultural taboos that limit open discussion and comprehensive life-and-death education. Artistic expression, however, bridges this gap by engaging audiences of all ages—especially children—through subtle, visual, and narrative means. By challenging taboos, visualizing abstract ideas, and fostering cross-cultural dialogue, death-themed art redefines conventional understandings of mortality, promotes psychological healing, enriches educational practices, and transforms philosophical reflections into practical insights. In today’s complex society, such art is indispensable for addressing and interpreting the challenges of existence.
Art that explores themes of death enables emotional expression and recovery through diverse approaches like visual therapy, storytelling, and immersive spatial experiences. These methods deepen public understanding of mortality and celebrate life’s intrinsic value. Philosophically, death-themed artworks encourage acceptance of mortality, effective grief navigation, and resilience, as highlighted by Cathy Malchiodi (2019), who notes that art helps individuals confront emotional struggles and alleviate sorrow. Moreover, for children—especially those with psychological challenges—visual communication offers a more intuitive method of grasping abstract concepts than verbal explanations alone.
Exhibitions based on illustrative art forms demonstrate significant educational potential by integrating artistic and philosophical narratives to explore existence and mortality. The visual language of illustration transforms abstract notions into accessible imagery, creating a contemplative space that invites viewers to engage with existential themes in a relaxed setting. For young audiences, these exhibitions not only enhance aesthetic sensibilities and emotional intelligence but also stimulate critical discourse and broaden cultural perspectives, thereby nurturing intellectual growth, curiosity, and creativity.
2. Theoretical Basis
Rich theories of life philosophy underpin the methods of illustration explored in this paper, enhancing cognitive understanding of life and death while fostering the expression of existential emotions. Traditional Chinese life philosophy, western existentialism, art philosophy, and the vitality theory of art offer comprehensive frameworks and resources for the artistic communication of life and death.
2.1 Traditional Chinese Philosophy of Life
The essence of traditional Chinese philosophy lies in its philosophy of life, which can be traced back to Yijing (易经, The Book of Changes). The phrase "The supreme virtue of heaven and earth is to generate life" (天地之大德曰生) epitomizes the deep reverence for life in Chinese culture, while the principle of "constant renewal signifies flourishing virtue, and ceaseless generation defines change" (日新之谓盛德，生生之谓易) reveals the dynamic, ever-evolving nature of life (Tang, 2023).
Classical Confucianism acknowledges the inevitability of both life and death. While death delineates human finitude, "life" (生) embodies human agency and vitality that transcend the passivity of mortality. Through experiencing and reflecting on life, individuals come to understand death (Lu, 2010).
Daoist philosophy posits an isomorphic relationship between life processes and the cosmic order. By engaging with the mysteries of nature, one may align with the universe to achieve "harmony between heaven and humanity" (天人合一). Chapter 25 of the Daodejing (道德经) states, "Humans model Earth, Earth models Heaven, Heaven follows Dao, and Dao follows nature," while the Zhuangzi (庄子) asserts “Heaven, earth, and I coexist as one” (天地与我并生，万物与我为一), illustrating the primordial unity of life and the universe. This perspective advocates a return to a primordial state of nature, where aligning with natural rhythms enables the transcendence of mortal constraints and worldly desires, ultimately endowing finite life with infinite significance through the "communion with the spirit of heaven and earth" (独与天地精神往来) (Tang, 2023).
2.2 Western Existential Philosophy
Early existentialists such as Nietzsche and Kierkegaard underscored the centrality of human existence. Nietzsche celebrated life’s creativity and autonomy, interpreting death not as an end but as a transformative opportunity for fulfillment. Kierkegaard, in The Sickness Unto Death, maintained that death is the ultimate manifestation of individuality, compelling a confrontation with finitude and provoking the existential inquiry, “How should I exist?” In Stages on the Way of Life, he further asserted that “death is life’s teacher,” guiding us toward a deeper understanding of how to live. Extending this discourse, Heidegger’s Being and Time introduced the notion of “Dasein,” positing that human existence is defined by a fundamental orientation toward death (Being-towards-death); authentic meaning, he argued, emerges only through deliberate engagement with the finitude and choosing an authentic mode of existence that transcend the obscurity of mundane life (Hubert L, 1990). Thus, death paradoxically underpins life’s continuity by prompting an optimistic acceptance of mortality (Ren, 2013).
From an existentialist perspective, meaning is constructed through human subjectivity—marked by openness, creativity, and the capacity for transcendence. Education, therefore, should cultivate self-awareness and a pluralistic view of truth, fostering the infinite development of finite lives and re-centering pedagogy on the transcendental dimensions of existence. Life-oriented education draws on the inherent vitality of scientific inquiry, humanistic scholarship, and the lived experiences of both educators and learners, while artistic expression facilitates the dynamic interplay among these dimensions (Tang, 2023). In The Origin of the Work of Art, Heidegger’s analysis of Van Gogh’s A Pair of Shoes reveals how art discloses existential truth: the worn texture of the shoes embodies the labor, suffering, and aspirations of the peasant woman, offering a tactile engagement with life’s essence. Consequently, art education serves as a vital medium for awakening authenticity, enabling individuals to transmute the fear and pain of mortality into creative energy that reconfigures existential meaning (McMullin, 2013).
2.3 Art Philosophy and Theories of Artistic Vitality
Art is not merely a physical object but a medium imbued with intrinsic life—Western theories of artistic vitality views art as inherently meaningful, while the classical Chinese art philosophy regards it as animated by a dynamic, vital rhythm (气韵生动，qiyun shengdong) (Bao, 2022). Despite originating in distinct cultural contexts, these frameworks converge on the recognition of art’s inherent vitality.
Susanne K. Langer emphasized art as an expression and projection of human emotion, describing artistic forms as “living forms,” that constitute the emergence of “artistic vitality” through the creative process (Langer, 1967). Langer contended that linguistic symbols, constrained by logic and reason, are often inadequate for conveying the nuanced complexities of human emotional experiences. Instead, art serves as the essential medium through which ineffable emotions are externalized and rendered perceptible (Langer, 1967). Accordingly, the theory of artistic vitality posits that both the creative process and the act of appreciation involve a mutual transformation: artists translate intangible human emotions into perceptible material forms, while viewers, in interpreting these forms, infuse them with new life as the vitality of art opens itself to the viewer’s lived experience (Bao, 2022). This reciprocal interaction establishes a dynamic dialogue between the artist and the audience, whereby art continually reaffirms its role as an embodiment of human emotional experience.
3. Illustration-Based Strategies for Life and Death Education
This paper introduces innovative methods employing illustration design to convey themes of life and death education. Grounded in the foundational role of illustration, the study examines its integration with sculpture, installation, and other artistic forms to create a cohesive and immersive exhibition. These multidisciplinary presentations articulate artistic interpretations of mortality while encouraging engagement with death-related discourse, cross-cultural existential perspectives, and reflective insights on life. The proposed strategies aim to expand the conceptual boundaries of illustration by redefining its role through diverse integrated formats that facilitate multidimensional explorations of life and death (Figure 1).
As shown in Figure 1, this study incorporates five approaches to illustrative practices addressing the themes of life and death:
The integration of illustration and sculpture employs abstract and representational visual elements to explore bereavement experiences and ontological reflections on spiritual essence.
Installation art incorporating thanatological metaphors to explore culturally specific interpretations of funerary rituals and mortality within socio-historical contexts.
Installation art that juxtaposes ancient cosmological perspectives of life and death with contemporary discourses to facilitate cultural transmission.
Interactive game design embedded in illustrated narratives to enable participatory engagement and encourage audiences to confront death and process negative emotional experiences.
Curatorial synthesis of multimodal expressions to construct an immersive experience.
By merging the traditional form of illustration with spatial and tactile mediums, this methodological framework fosters an accessible dialogue on life and death within contemporary art practice.
3.1 Death Exploration Through the Integration of Illustration and Sculpture
Illustration can effectively convey life-and-death concepts by employing both concrete and abstract visual symbols, establishing direct communication and emotional resonance with audience. When integrated with sculpture, these visual elements translate complex philosophical perspectives on death into tangible forms through multidimensional expression, enhancing philosophical contemplation of mortality. In sculptural works addressing the theme of death, illustrative elements manifest as embedded imageries, specific color schemes, and symbolic shapes within allegorical sculptural forms. For example, as shown in (Figure 2), applying figurative illustrations to metaphorically shaped sculpture amplifies semantic depth while bridging the gap between the artwork and viewers' lived experiences, thus enhancing emotional engagement with the audience. Additionally, the strategic material selection for the sculpture reinforces the visual narrative and intensifies emotional transmission regarding existential themes. In this method, the complementary integration of two-dimensional illustration and three-dimensional sculpture creates layered emotional expressions about mortality.
Another approach embeds abstract symbolic designs within sculptural forms, materializing intangible concepts such as the soul’s ephemerality into tactile forms to provoke inquiry. Such works establish space for open interpretation and discussion, encouraging audiences to engage with fundamental questions about spiritual essence (Figure 2). Both methodologies demonstrate how the interplay between planar illustration and three-dimensional sculpture can transform philosophical abstractions into tactile visual discourse, stimulating profound reflection on death themes through synergistic multisensory dialogue.
3.2 Socio-Cultural Connotations of Death Conveyed Through the Integration of Illustration and Installation
Beyond traditional sculpture, illustrations can be effectively incorporated into installation designs. The diverse forms of installation, combined with closely associated illustrative elements, collectively articulate socio-cultural metaphors surrounding death. Through metaphorical representations and symbolic imagery, art expresses the concept of death indirectly through metaphor and symbolism, thereby constructing a safe emotional buffer zone that enables viewers to lower psychological defenses. Lakoff and Johnson (1980) posited that metaphor is a fundamental cognitive mechanism of all human beings that presents in our daily life, language and thinking, enabling humans to interpret abstract concepts through concrete experiences. Their conceptual metaphor theory argues that metaphors structure our understanding of complex ideas by linking them to familiar experiences. Moreover, Malinovski contended that cultural heritage significantly shapes metaphor interpretation, as individuals’ external experiences are deeply embedded in their national cultural contexts (Wu, 2024).
Drawing upon the metaphorical approach that facilitates comprehension of abstract concepts through culturally-specific associations, illustration combined with installation design can employ cross-cultural metaphors to convey abstract notions such as death. For example, the metaphor “life is like a play" associates life with theatrical performance, wherein death corresponds to the final act of the drama. By adopting a death-related metaphor as the central theme, designers can transform imagery—such as a “theatrical stage”—into an art installation, adapting its presentation to conform with specific cultural practices. Moreover, integrating illustration elements that align with the theme onto the installation maximizes creativity in visual expression and enhances emotional resonance impact on the audience, as demonstrated by the three-dimensional illustrative approach shown in Figure 3. This synthetic approach of metaphorical representation not only reflects socio-cultural perspectives but also deepens the audience’s understanding of death and the meaning of life.
Figure 3. Socio-Cultural Connotations of Death Conveyed Through Illustrated Installations
Furthermore, the integration of illustration and installation can represent historical artifacts while conveying the ancient cosmological views on life and death, as exemplified by the artifact-inspired illustration installation shown in Figure 3. Ancient mythologies and early artistic expressions often recount narratives of divine and supernatural beings, offering profound cultural insights and stimulating human imagination. Cultural heritage has long served both to educate society and to inspire artistic creation. Narratives of death, imbued with fantastical elements, continue to influence modern thought. By integrating ancient cosmologies and perspectives on life and death, illustration revives historical narratives in a visually engaging format that bridges temporal and spatial divides. In particular, ancient Chinese visions of the afterlife offer a poetic dimension to human experience through accessible storytelling, which aligns with our goal as illustrators to foster public appreciation for the interplay between life and death in a comfortable and creative way. Moreover, embedding cultural narratives within illustration design provides an innovative avenue for educating the public about cultural heritage and its contemporary relevance. For example, the T-shaped painted silk garment from the Mawangdui Tombs can serve as a structural foundation for contemporary installation artwork, with surface illustrations conveying both the historical and modern interpretations of the afterlife (see Figure 3). This mediated approach encourages thoughtful engagement with death-related themes through culturally embedded visual metaphors.
3.3 Experiencing Death Through the Interactive Application of Illustration
Interactive game design serves as a bridge between audiences, illustrations, and the theme of death. This approach transforms audiences from passive recipients into active participants who assume roles within the game, engaging in dialogues with other players and reflecting upon themselves within the illustrated scenarios. As shown in Figure 4, an illustration-based card game can incorporate creative character design, detailed backgrounds, decorative elements, and textual descriptions, thereby immersing the audience in its visually and narratively cohesive thematic world. Within this framework, players can choose from various death scenarios and ways of coping with death, engaging in activities such as answering questions to deepen their experiential understanding of death through proactive engagement. Moreover, the entertainment value of the game and its relaxed atmosphere encourage players to confront death and its associated negative emotions through reflecting on personal experiences, thereby gradually alleviating fear and traumatic memories. Ultimately, this approach of illustration-based game design enhances the efficacy of interaction by enabling audiences to directly engage with the artwork, transforming art appreciation from a static cognitive process into a dynamic, embodied experience that integrates both physical and cognitive engagement.
Figure 4. Experiencing death through the interactive application of illustration
3.4 Immersive Experience through the Integration of Illustration and Exhibition
Solitary modes of appreciating illustrations—such as scrolling through isolated images on a mobile device—may constrain conceptual exploration and emotional engagement when addressing profound themes like death, thereby diminishing both experiential engagement and the comprehension of multifaceted emotions. In contrast, incorporating illustration into thematic exhibition spaces—as well as into derivative product designs that align with the exhibition’s theme, audiences can immerse themselves in an open and engaging atmosphere. As shown in Figure 5, this approach establishes a formally curated art appreciation environment, fostering deeper contemplation of life and death through immersive viewing experience and interpersonal exchange. Accordingly, this project endeavors to organically synergize the previous four illustration design strategies with an art exhibition within the context of life-and-death education. The resulting exhibition incorporates sculptures, installations, and textual narratives, constructing a multimodal framework for interpreting death. Compared to textual communication alone, the integration of images, installations, and spatial elements more directly captures the audience's attention while establishing narrative relationships between diverse visual components. Such multimodal engagement stimulates imagination and critical discourse, thereby deepening the understanding of both philosophical and cultural ideologies which has a significant educational value in particular for younger audiences.
Moreover, art derivatives related to the exhibition theme are displayed alongside the primary exhibits. These products—reflecting the artist’s personal style and derived from the original artworks—reinforce viewers’ impressions and enhance the overall viewing experience. Designated spaces for these print-based items, which include bookmarks, cards, and an introductory booklet featuring the artist’s reflections, facilitate active participation and extend the exhibition’s impact beyond its duration. Additionally, integrating illustrative elements into derivative product design links artistic creation to the market, generating additional philanthropic support for the charitable organizations supported by the exhibition.
Figure 5. Immersive experience through the integration of illustration and exhibition
4. The Practice of Illustration Design in Death-Themed Art Exhibitions
Death is a universal and deeply personal experience that often elicits fear and anxiety—especially regarding the loss of loved ones or one's own mortality. This project investigates the multifaceted nature of death, aiming not only to attenuate fear but also to expand the understanding of diverse cultural perspectives and foster open dialogue across age groups.
The exhibition employs a diverse range of media and innovative illustrative techniques to consolidate varied artistic methodologies into a coherent and dynamic presentation. It explores multiple dimensions of death—including the relationship between the soul and the body, afterlife beliefs, traditional customs, commemorative mementos, and personal reflections on mortality—through sculptures, installations, and an interactive card game. By utilizing creative visual narratives and reflective prompts, the exhibition invites audiences to engage with these complex topics and to reconceptualize their perceptions of death within an accessible and open framework. Moreover, the proceeds from this initiative contribute to charitable organizations, including Caledonia Funeral Aid and Richmond’s Hope, thereby linking artistic exploration with community support.
4.1 Sculptures Incorporating Figurative and Abstract Visual Symbols
We present a sculpture (Figure 6) that symbolizes the enduring connection between individuals and their deceased loved ones, emphasizing the role of mementos in the grieving process—a practice with a documented history spanning over 2,000 years. The sculpture’s form is inspired by the sacred bronze vessels of ancient Chinese sacrificial rituals and incorporates visual representations of personal mementos (e.g., urns, jewelry, voicemail recordings). These elements illuminate the intimate methods by which individuals preserve memories of the deceased, suggesting that loved ones persist within our recollections in transformed modalities.
The sculpture was fabricated using paper clay to emulate a traditional vessel. A flower emerging from its opening signifies perpetual love and longing for the departed. The illustrations were painted with ink on a white surface, making the images simple and clear to read. They were also printed through lino-cut and made into an anthology alongside the vessel. Drawn with a comforting retro style, the contents of the illustrations are easy to grasp for audiences of all age groups. Even through a limited color palette, we can feel a peaceful atmosphere with a sense of hope and positivity, which is due to the warmth and low saturation of the overall color tone.
Figure 6. Mementos, 2024, Ink on paper clay, Lino print
Compared to the Mementos sculpture, we also explored the abstract side of visual communication. Our series of abstract sculptures (Figure 7) explores the nature of the soul and the connection between soul and body. Souls are always mysterious and intangible—could it be that souls escape from the body, embracing a brand-new afterlife after death? Could ghosts—another form of soul, be among the liberated souls that haunt our world? Inspired by these intriguing conjectures that many people may have encountered, this body of work encourages reflection on the concept of the soul: Is it “trapped” in the body or only achieving freedom upon its release? According to our research, both philosophical and religious views on the soul-body relationship have suggested that the soul is made of different parts, each with a role, and the body could be seen as a container of the soul.
The cracks on the sculptures’ surface symbolize the soul’s “escape” from physical constraints, and the fragmental pieces represent that souls have different parts and roles. By creating a peaceful and calm atmosphere, these abstract and intriguing forms encourage open dialogues and invite viewers to think about the nature of the soul.
Figure 7. The Soul and the Body, 2024, clay, UV adhesive
4.2 A Three-Dimensional Illustration of Death Metaphor
We created a paper theater to reimagine a funeral scene, inspired by the traditional Chinese concept of “life is a play (人生如戏)” where an individual’s life plays like a film before their eyes at the moment of death. In the conceptual metaphor "life is a play", life is a relatively abstract entity that cannot be understood through our perceptions, while play is a familiar concept to us. Using the metaphor of life as a theatrical performance, the funeral can be seen as the closing ceremony of the “play” of life.
Inspired by the traditional Chinese “spirit house”, a finely paper-crafted miniature house burned during ancient funeral rites to honor the deceased and accompany them to the afterlife, this “paper theater” was crafted to look like a tombstone externally but contains a stage within, as shown in Figure 8. To enhance the metaphor of life and death, illustration was applied to the 3D paper sculpture as decorative elements of the stage. Even though it is painful to say goodbye to the dead, death may be a well-earned break to those who have completed their “play” after a lifetime of effort.
Figure 8. Life is a Theater, 2024, Ink on paper
4.3 Installation Conveying Ancient Cosmological Perspectives on Life and Death
Another installation artwork draws inspiration from the T‐shaped painted silk garment found in Tomb No. 1 at Mawangdui, Changsha, Hunan Province. Dating from the 2nd century BCE, the tomb contained the remains and possessions of the Marquise of Dai (d. after 168 BCE) (Wang, 2009). Known as the “fei‐garment,” the character “fei” may be interpreted as “flying,” “screening,” “long,” or “proxy,” each suggesting a distinct function (Wang, 2009). Early Chinese texts associate the garment with a funerary “soul‐summoning” ritual, implying that it served as a medium through which the deceased’s soul could be recalled. However, its intricate design indicates a role extending beyond that of a mere ritual prop (Wang, 2009).
The artwork appears to invoke the revitalization of the deceased, culminating in a celestial state wherein the Marquise of Dai’s spirit ascends to merge with ancestral entities. Her spirit resurrects from the underworld and soars up into the heavens like the flow of dragons. Notable motifs—including intertwined dragons, the Jin Wu bird, and a jade disc—reinforce this symbolism. In ancient Chinese cosmology, the dragon represents life or “qi (气, vital breath)” ascending toward the heavens, thus encapsulating the belief that death marks not an end but a transformative rebirth (Wang, 2009). The cosmologies of ancient China, along with their narratives on life and death, are imbued with poetic romanticism that affirmatively directs toward life's cyclical renewal. The T-shaped painted silk garment from the Mawangdui Tombs, originally intended as a ritual medium for the tomb occupant’s celestial ascension, assumes dual significance today. As an artistic artifact, it visually expresses ancient notions of transcendence and posthumous ideals, offering modern viewers new perspectives on life and death, fostering existential enlightenment and psychological solace.
Modern quantum mechanics conceptualizes consciousness as quantum energy, paralleling ancient Chinese beliefs in an afterlife. Lanza and Berman (2010) argue that life gives rise to the universe and that consciousness precedes its physical existence. Within this framework, consciousness consists of energy particles that, while residing in the brain during life, undergo quantum entanglement upon death to transition into another realm. This installation bridges traditional views on life and death with modern scientific theory by positing that the soul may persist as “quantum messages” within the universe, highlighting the enduring significance of life beyond death and its potential for renewal.
As shown in Figure 9, We created a T-shaped installation that was hung against a black background at the exhibition. The after-death scene was painted on sulfuric paper to make the entire piece feel light-weighted since the original robe was made to facilitate the soul’s ascension to the heavenly realm. The slightly wrinkled texture corresponds to the age and weathered look of the relic, while tissue paper was decorated around the ‘garment’ to suggest the look of sartorial tapestry. The vibrant and richly chromatic brushstrokes serve as an imaginative representation of cosmic consciousness or quantum messages that perpetually traverse the cosmos. Simultaneously, the ethereal color palette functions as a modern reinterpretation of the romanticized afterlife envisions of the ancient civilization, inviting contemporary viewers to engage in a dialogue that transcends spatial and temporal boundaries.
Figure 9. Returning to the Universe, 2024, acrylic and ink on sulfuric paper, tissue paper
4.4 An Interactive Game about Death
We also designed a card game to facilitate interactions and discussions about death in a relaxing space, as shown in Figure10-11. By encouraging players to confront death, explore cultural beliefs, and relate the topic to their own experiences, this interactive approach transforms the subject into a playful yet profound exploration of concepts, values, and emotions, fostering creativity and openness.
Some people’s fear about death may be more about the process of dying and the unknowns leading up to it. The various circumstances surrounding death in the game help players to confront them more openly and encourages them to face feelings of confusion, sorrow, fear, or even guilt arising from the different experiences of death. Additionally, the game encourages players to reflect and relate back to themselves in order to earn points and thrive. Rather than just perceiving the experiences of others they will have to engage in meaningful conversations, making the topic penetrate past their defenses and helping them build a healthier and more open relationship with death.
Figure 10. Death Departments (card game), 2024, digital print
Figure 11. Death Departments (card game), 2024, digital
4.5 Exhibition
Ultimately, the artworks were consolidated into an exhibition titled Transcendence. The inaugural presentation, hosted in a showroom at the Edinburgh College of Art (ECA), was accessible to the entire university community. Each piece of artwork was displayed with an accompanying textual description, enabling visitors to navigate freely and engage with reflective prompts (see Figure 12). The spatial arrangement of artworks reinforced the exhibition's thematic coherence. A designated area featured a table and chairs, inviting visitors to engage comfortably with the card game, thereby immersing themselves in profound existential themes in an approachable way without feeling overwhelmed. Moreover, visitors engaged in discussions among themselves and with the artists, fostering an interactive dialogue about the works. A sales table offering exhibition-derived prints successfully encouraged audiences to select a tangible memento of the experience (see Figures 13–15). Notably, the collaboratively designed publication—which introduced the works and articulated the artists’ reflections on life and death—emerged as the most popular item (see Figures 16–17). Additionally, partner charity organizations participated by setting up tables for promotional materials and donations. The exhibition was later re-staged in the main sculpture court during the annual Winter Fair at the Edinburgh College of Art, further demonstrating the adaptability and flexibility of the exhibition model as an educational medium on themes of life and death for the wider public.
Figure 12. Photos taken at the exhibitions
Figure 13. Prints and publications for sale, photo taken at the exhibition
Figure 14. Prints and publications for sale, photo taken at the exhibition
Figure 15. Poster and prints design for the artwork Returning to the Universe
Figure 16. Interior page designs for group publication
Figure 17. Printed version of group publication, photos taken at the exhibition
Figure 18. The charities’ space for donation, photo taken at the exhibition
4.6 Promotional Activities
Leveraging the rapid dissemination, immediate feedback, interactivity, and extensive reach of social media, we promoted the death-themed exhibition through an integrated online campaign. This approach enhanced the exhibition's visibility and facilitated broader public engagement with life-and-death education through the impact of illustration. The campaign included the creation of a project logo and the establishment of an Instagram account featuring regular posts that introduced each artist and showcased exhibition-related content—ranging from digital posters to work-in-progress images. In addition, printed posters were displayed on campus to complement the online promotion. A pre-exhibition campus bake sale further supported these efforts by serving as both a promotional activity and a charity fundraiser, with all proceeds donated to our partner organizations.
Figure 19. Exhibition logo design
Figure 20. Pre-exhibition bake sale poster design and Exhibition poster design
5. Conclusions
In recent years, the global promotion and improvements of life and death education have achieved substantial progress compared to previous eras. With the elevation of public living standards, cultural literacy, and artistic pursuits, art exhibitions have emerged as instrumental platforms for facilitating public education on life and death. Within this context, contemporary illustration design has proven to be an effective medium for conveying complex existential narratives, allowing diverse audiences to engage with themes of mortality in a multidimensional manner. This integration not only stimulates reflective contemplation but also promotes psychological healing and personal growth.
Our project’s incorporation of illustration design into a death-themed art exhibition exemplifies a novel method for exploring the intricate interplay between life and death. Yet, considerable potential remains for further development. Future exhibitions could benefit from grounding their creative practices in theories of life philosophy, life education, and art philosophy while critically engaging with historical and cultural ideologies that resonate with contemporary society. Moreover, employing multimedia approaches—such as digital imagery, soundscapes, and video installations—can enhance interactivity and help actualize the value of audience agency during aesthetic appreciation, thereby enabling artworks to build their artistic vitality through active viewer engagement.
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