Three hares

Lore & Background

The earliest known depictions of the three hares motif appear in the zaojing paintings in the Mogao cave temples of Dunhuang, China, dated to the Sui dynasty (6th–7th centuries C.E.). The iconography, named Santu Gonger in Chinese (三兔共耳; lit. 'Three Hares Sharing Ears'), subsequently spread along the Silk Road. The motif appears in sixteen of the Mogao Caves and dates between the Sui dynasty and the Five Dynasties, always accompanied by lotus motifs reminiscent of the lianhua zaojing designs from the Northern Dynasties. Liu Haiyan of the Dunhuang Academy notes that the zaojing paintings historically had symbolic functions as protection against fire through water symbolism. During the Sui and Tang dynasties, both the lotus and the hare were linked to water—the lotus because it grows in water, and the hare because of its connection to the moon and the moon's effect on tides. The motif's popularity also coincided with rabbits being considered a xiangrui (祥瑞), an officially recognized auspicious omen. In the early Tang dynasty, white hares were downgraded to a third-level xiangrui, while blackish-red hares were classified as second-level. Notably, only blackish-red hares appear in early Tang Santu Gonger paintings, while later periods feature both white and blackish-red hares. Guan Youhui, a retired Dunhuang Academy researcher who studied Mogao decorative patterns for 50 years, has extensively documented these motifs. A notable modern appearance is in the replica of the Chodorow Synagogue at the Museum of the Jewish People (formerly the Museum of the Jewish Diaspora), where the three hares motif appears in the reconstructed ceiling—though it is important to note that this design was not present in the original historical synagogue, but was added as part of the modern reconstruction.

Reader's Guide

The three hares motif appears on a copper coin found in Iran dated to 1281, on an ancient Islamic-made reliquary from southern Russia, and on a 13th or early 14th century box made in Iran under Mongol rule, preserved in the treasury of the Cathedral of Trier in Germany. One theory pertaining to its spread is that it was transported from China across Asia and as far as the south west of England by merchants travelling the Silk Road, supported by the early date of surviving occurrences in China. However, the majority of representations in churches occur in England and northern Germany, supporting a contrary view that the three hares occurred independently as English or early German symbols. In Western Europe, the motif is used in medieval or more recent churches, particularly in France and Germany, and occurs with greatest frequency in the churches of Devon, United Kingdom, where it appears to be a recollection of earlier Insular Celtic design. In Christian churches, it is presumed to be a symbol of the Trinity, and in Judaism, the shafan has symbolic meaning, with rabbits carrying positive connotations. The motif's meaning is apparently not explained in contemporary written sources from any of the medieval cultures where it is found.

Did You Know?

• In Devon, England, the motif is known as the 'Tinners' Rabbits' and is associated with local tin miners.
• The three hares motif appears in synagogues, including a replica of the Chodorow Synagogue from Poland on display at the Museum of the Jewish Diaspora in Tel Aviv.