The three hares (or three rabbits) is a circular motif appearing in sacred sites from China, the Middle East and the churches and synagogues of Europe, in particular those of Devon, England (as the "Tinners' Rabbits"). It is used as an architectural ornament, a religious symbol, and in other modern works of art or a logo for adornment (including tattoos), jewelry, and a coat of arms on an escutcheon. It is viewed as a puzzle, a visual challenge, and has been rendered as sculpture, drawing, and painting. The symbol features three hares or rabbits chasing each other in a circle. Like the triskelion, the triquetra, and their antecedents (e.g., the triple spiral), the symbol of the three hares has a threefold rotational symmetry. Each of the ears is shared by two hares, so that only three ears are shown. Although its meaning is apparently not explained in contemporary written sources from any of the medieval cultures where it is found, it is thought to have a range of symbolic or mystical associations with fertility and the lunar cycle. When used in Christian churches, it is presumed to be a symbol of the Trinity. Its origins and original significance are uncertain, as are the reasons why it appears in such diverse locations.
In the Dunhuang Mogao Caves 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 Santu Gonger motif appears in sixteen of the Mogao Caves and dates between the Sui dynasty and the Five Dynasties. It is always accompanied by lotus motifs reminiscent of the lianhua zaojing (莲花藻井) 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. Both the lotus and the hare were associated with water during the Sui and Tang dynasties—the lotus through its aquatic nature, and the rabbit through its link to the moon and the moon's influence over tides. The popularity of the Santu Gonger motif also coincides with the status of rabbits as a xiangrui (Chinese: 祥瑞), an often officially designated auspicious omen. During the early Tang dynasty, white hares were demoted to a third-level xiangrui, while the blackish-red hares was classified as a second-level xiangrui. Coincidentally, only reddish-black hares appear in early Tang Santu Gonger paintings while other periods had more Santu Gonger designs and with hares in both white and blackish-red colors. Guan Youhui, a retired researcher from the Dunhuang Academy who spent 50 years studying the decorative patterns in the Mogao Caves, believes the three rabbits—"like many images in Chinese folk art that carry auspicious symbolism—represent peace and tranquility".
Diffusion on the Silk Road
The three hares appear on a copper coin, found in Iran, dated to 1281. Another appears on an ancient Islamic-made reliquary from southern Russia. Another 13th or early 14th century box, later used as a reliquary, was made in Iran under Mongol rule, and is preserved in the treasury of the Cathedral of Trier in Germany. On its base, the casket has Islamic designs, and originally featured two images of the three hares. One was lost through damage. One theory pertaining to the spread of the motif is that it was transported from China across Asia and as far as the south west of England by merchants travelling the Silk Road and that the motif was transported via designs found on expensive Oriental ceramics. This view is supported by the early date of the surviving occurrences in China. However, the majority of representations of the three hares in churches occur in England and northern Germany. This supports a contrary view that the three hares occurred independently as English or early German symbols. Some claim that the Devon name, Tinners' Rabbits, is related to local tin miners adopting it. The mines generated wealth in the region and funded the building and repair of many local churches, and thus the symbol may have been used as a sign of the miners' patronage. The architectural ornament of the three hares also occurs in churches that are unrelated to the miners of South West England. Other occurrences in England include floor tiles at Chester Cathedral, stained glass at Long Melford, Suffolk and a ceiling in Scarborough, Yorkshire.
In Western Europe
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