Funerary art in the context of "Roxelana"

Memento mori (Latin for "remember (that you have) to die") is an artistic symbol or trope acting as a reminder of the inevitability of death. The concept has its roots in the philosophers of classical antiquity and Christianity, and appeared in funerary art and architecture from the medieval period onwards.

The most common motif is a skull, often accompanied by bones. Often, this alone is enough to evoke the trope, but other motifs include a coffin, hourglass, or wilting flowers to signify the impermanence of life. Often, these would accompany a different central subject within a wider work, such as portraiture; however, the concept includes standalone genres such as the vanitas and Danse Macabre in visual art and cadaver monuments in sculpture.

Psychopomps (from the Greek word ψυχοπομπός, psychopompós, literally meaning the 'guide of souls') are creatures, spirits, angels, demons, or deities in many religions whose responsibility is to escort newly deceased souls from Earth to the afterlife.

Their role is not to judge the deceased, but simply to guide them. Appearing frequently on funerary art, psychopomps have been depicted at different times and in different cultures as anthropomorphic entities, horses, deer, dogs, whip-poor-wills, ravens, crows, vultures, owls, sparrows, and cuckoos. In the case of birds, these are often seen in huge masses, waiting outside the home of the dying.

A necklace is an article of jewellery that is worn around the neck. Necklaces may have been one of the earliest types of adornment worn by humans. They often serve ceremonial, religious, magical, or funerary purposes and are also used as symbols of wealth and status, given that they are commonly made of precious metals and stones.

The main component of a necklace is the band, chain, or cord that wraps around the neck. These are most often rendered in precious metals such as gold, silver, and platinum. Necklaces often have additional attachments suspended or inset into the necklace itself. These attachments typically include pendants, lockets, amulets, crosses, and precious and semiprecious materials such as diamond, pearls, rubies, emeralds, garnets, and sapphires. They are made with many different type of materials and are used for many things and sometimes classified as clothing.

The term monumental sculpture is often used in art history and criticism, but not always consistently. It combines two concepts, one of function, and one of size, and may include an element of a third more subjective concept. It is often used for all sculptures that are large. Human figures that are perhaps half life-size or above would usually be considered monumental in this sense by art historians, although in contemporary art a rather larger overall scale is implied. Monumental sculpture is therefore distinguished from small portable figurines, small metal or ivory reliefs, diptychs and the like.

The term is also used to describe sculpture that is architectural in function, especially if used to create or form part of a monument of some sort, and therefore capitals and reliefs attached to buildings will be included, even if small in size. Typical functions of monuments are as grave markers, tomb monuments or memorials, and expressions of the power of a ruler or community, to which churches and so religious statues are added by convention, although in some contexts monumental sculpture may specifically mean just funerary sculpture for church monuments.

The Terracotta Army is a collection of terracotta sculptures depicting the armies of Qin Shi Huang, the first emperor of China. It is a form of funerary art buried with the emperor in 210–209 BCE with the purpose of protecting him in his afterlife.

The figures, dating from approximately the late 200s BCE, were discovered in 1974 by local farmers in Lintong County, outside Xi'an, Shaanxi, China. The figures vary in height according to their rank, the tallest being the generals. The figures include warriors, chariots and horses. Estimates from 2007 were that the three pits containing the Terracotta Army hold more than 8,000 soldiers, 130 chariots with 520 horses, and 150 cavalry horses, the majority of which remain in situ in the pits near Qin Shi Huang's mausoleum. Other, non-military terracotta figures have since been found in other pits, including those of officials, acrobats, strongmen, and musicians.

A cadaver monument or transi is a type of funerary monument to a deceased person, featuring a sculpted tomb effigy of a skeleton, or of an emaciated or decomposing dead body, with closed eyes. It was particularly characteristic of the Late Middle Ages when they were designed as a memento mori to remind viewers of the transience and vanity of mortal life compared to the eternity and desirability of the Christian after-life. The format is in stark contrast to gisants, which are always recumbent, in full dress, with open eyes and hands clasped and raised in prayer.

Cadaver monuments first appeared in the 1380s and remained a popular form of funerary art for 200 subsequent years. In a still widely debated theory popularized by the historians Helen M. Roe and John Aberth, cadaver monuments are often interpreted as a form of memento mori or adaption of the motif of "The Three Living and the Three Dead". They show the human body's "transition" from life to decomposition, highlighting the contrast between worldly riches and elegance and the degradation of death.

Grave goods, in archaeology and anthropology, are items buried along with a body.

They are usually personal possessions, supplies to smooth the deceased's journey into an afterlife, or offerings to gods. Grave goods may be classed by researchers as a type of votive deposit. Most grave goods recovered by archaeologists consist of inorganic objects such as pottery and stone and metal tools, but organic objects that have since decayed were also placed in ancient tombs. If grave goods were to be useful to the deceased in the afterlife, then favorite foods or everyday objects were supplied. Oftentimes, social status played a role in what was left and how often it was left. Funerary art is a broad term but generally means artworks made specifically to decorate a burial place, such as miniature models of possessions - including slaves or servants - for "use" in an afterlife. (Ancient Egypt sometimes saw the burial of real servants with the deceased. Similar cases of human sacrifice of slaves, retainers and wives feature in graves in (for example) the Americas, ancient Germania, and ancient Mesopotamia. Compare suttee.)

Chinese guardian lions, or imperial guardian lions, are a traditional Chinese architectural ornament. Typically made of stone, they are also known as stone lions or shishi (石獅; shíshī). They are known in colloquial English as lion dogs, foo dogs, or fu dogs. The concept, which originated and became popular in Chinese Buddhism, features a pair of Asiatic lions — often one male with a ball that represents the material elements and one female with a cub that represents the element of spirit — that were thought to protect the building from harmful spiritual influences and harmful people that might be a threat. Used in imperial Chinese palaces and tombs, the lions subsequently spread to other parts of Asia including Japan (see komainu), Korea, Mongolia, the Philippines, Tibet, Thailand, Myanmar, Vietnam, Sri Lanka, India, Nepal, Cambodia, Laos, Singapore, and Malaysia.

A tomb effigy (French: gisant ("lying")) is a sculpted effigy of a deceased person usually shown lying recumbent on a rectangular slab, presented in full ceremonial dress or wrapped in a shroud, and shown either dying or shortly after death. Such funerary and commemorative reliefs were first developed in Ancient Egyptian and Etruscan cultures, and appear most frequently in Western European tombs from the late 11th century, in a style that continued in use through the Renaissance and early modern period, and is still sometimes used. They typically represent the deceased in a state of "eternal repose", with hands folded in prayer, lying on a pillow, awaiting resurrection. A husband and wife may be depicted lying side by side.

Medieval life-size recumbent effigies were first used for tombs of royalty and senior clerics, before spreading to the nobility. A particular type of late medieval effigy was the transi, or cadaver monument, in which the effigy is in the macabre form of a decomposing corpse, or such a figure lies on a lower level, beneath a more conventional effigy. Mourning or weeping figures, known as pleurants were added to important tombs below the effigy. Non-recumbent types of effigy became popular during the Renaissance. By the early Modern period, European effigies were often shown as alive, either kneeling or in a more active pose, especially for military figures. Variations show the deceased lying on their side as if reading, kneeling in prayer, or even standing. The recumbent effigy had something of a revival during the 19th-century Gothic revival, especially for bishops and other clerics.