The astonishing story of how the dead live on in memorials and traditions across the globe, from Ethiopia and Nepal to Cambodia and Rwanda, told through arresting images and captivating narration

Death is universal, but the human response to death varies widely. In Western society, death is usually medicalized and taboo, and kept apart from the world of the living, while in much of the rest of the world, and for much of human history, death has commonly been far more integrated into peoples' daily existence, and human remains are as much a reminder of life, memento vitae, as of death, memento mori.

Through photos taken at more than 250 sites in thirty countries over a decade, Paul Koudounaris has captured death around the world. From Bolivia's "festival of the little pug-nosed ones," where skulls are festooned with flowers and given cigarettes to smoke and beanie hats to protect them from the weather to Indonesian families who dress mummies and include them in their household routines; from naturally preserved Buddhist monks and memorials to genocide in Rwanda and Cambodia to the dramatic climax of Europe's great ossuaries, Memento Mori defies taboo to demonstrate how the dead continue to be present in the lives of people everywhere.

从埃塞俄比亚、尼泊尔到柬埔寨和卢旺达，通过精彩的图片和迷人的叙述，讲述了死者如何在全球各地的纪念馆和传统中生存的惊人故事。

死亡是普遍的，但人类对死亡的反应却有很大的不同。在西方社会，死亡通常被医学化和禁忌化，并与活人的世界分开，而在世界其他大部分地区，以及在人类历史的大部分时间里，死亡通常更多地融入人们的日常生活中，人类遗体既是对生命的提醒，也是对死亡的提醒，即勿忘人终有一死。

通过十年来在30个国家的250多个地点拍摄的照片，保罗·库杜纳里斯（Paul Koudounaris）记录了世界各地的死亡艺术。从玻利维亚的“骷髅节”，玻利维亚人在逝世亲人的头骨上挂满鲜花，给他们抽香烟，戴上毛线帽免受天气影响；到印度尼西亚人给木乃伊穿衣服，把他们放在家中一起生活；从自然保存的佛教僧侣和卢旺达和柬埔寨的种族屠杀纪念馆，到欧洲的人骨教堂，《死亡艺术》藐视禁忌，展示死者如何继续存在于世界各地人们的生活中。