A medieval church stands at the center of my small village in England’s West Country, and in that church is a strange little carving that has come to be known as the symbol of our town: three hares in a circle, their interlinked ears forming a perfect triangle. Known locally as the Tinner Rabbits, the design was widely believed to be based on an old alchemical symbol for tin, representing the historic importance of tin mining on Dartmoor nearby. Recently, however, a group of local artists and historians created the Three Hares Project to investigate the symbol’s history. To their surprise, they discovered that the design’s famous tin association is actually a dubious one, deriving from a misunderstanding of an alchemical illustration published in the early 17th century. In fact, the symbol is much older and farther ranging than early folklorists suspected. It is, the Three Hares Project reports, "an extraordinary and ancient archetype, stretching across diverse religions and cultures, many centuries and many thousands of miles. It is part of the shared medieval heritage of Europe and Asia (Buddhism, Islam, Christianity and Judaism) yet still inspires creative work among contemporary artists."
The earliest known examples of the design can be found in Buddhist cave temples in China (581-618 CE); from there it spread all along the Silk Road, through the Middle East, through Hungary and Poland to Germany, Switzerland, and the British Isles. Though now associated with the Holy Trinity in Christian iconography, the original, pre-Christian meaning of the Three Hares design has yet to be discovered. We can glimpse possible interpretations, however, by examing the wealth of world mythology and folklore involving rabbits and hares. In many mythic traditions, these animals were archetypal symbols of femininity, associated with the lunar cycle, fertility, longevity, and rebirth. But if we dig a little deeper into their stories we find that they are also contradictory, paradoxical creatures: symbols of both cleverness and foolishness, of femininity and androgyny, of cowardice and courage, of rampant sexuality and virginal purity. In some lands, Hare is the messenger of the Great Goddess, moving by moonlight between the human world and the realm of the gods; in other lands he is a god himself, wily deceiver and sacred world creator rolled into one.
The association of rabbits, hares, and the moon can be found in numerous cultures the world over — ranging from Japan to Mexico, from Indonesia to the British Isles. Whereas in Western folklore we refer to the "Man in the Moon," the "Hare (or Rabbit) in the Moon" is a more familiar symbol in other societies. In China, for example, the Hare in the Moon is depicted with a mortar and pestle in which he mixes the elixir of immortality; he is the messenger of a female moon deity and the guardian of all wild animals. In Chinese folklore, female hares conceive through the touch of the full moon's light (without the need of impregnation by the male), or by crossing water by moonlight, or licking moonlight from a male hare’s fur. Figures of hares or white rabbits are commonly found at Chinese Moon Festivals, where they represent longevity, fertility, and the feminine power of yin.
In one old Chinese legend, Buddha summoned the animals to him before he departed from the earth, but only twelve representatives of the animal kingdom came to bid him farewell. He rewarded these twelve by naming a year after each one, in repeating cycles through eternity. The animal ruling the year in which a child born is the animal "hiding in the heart," casting a strong influence on personality, spirit, and fate. Rabbit was the fourth animal to arrive, and thus rules over the calendar in the fourth year of every twelve. People born into the Year of the Rabbit are said to be intelligent, intuitive, gracious, kind, loyal, sensitive to beauty, diplomatic and peace-loving, but prone to moodiness and periods of melancholy.
In another Buddhist legend, from India this time, Lord Buddha was a hare in an early incarnation, traveling in the company of an ape and a fox. The god Indra, disguised as a hungry beggar, decided to test their hospitality. Each animal went in search of food, and only the hare returned empty handed. Determined to be hospitable, the hare built a fire and jumped into it himself, feeding Indra with his own flesh. The god rewarded this sacrifice by transforming him into the Hare in the Moon.
In Egyptian myth, hares were also closely associated with the cycles of the moon, which was viewed as masculine when waxing and feminine when waning. Hares were likewise believed to be androgynous, shifting back and forth between the genders—not only in ancient Egypt but also in European folklore right up to the 18th century. A hare-headed god and goddess can be seen on the Egyptian temple walls of Dendera, where the female is believed to be the goddess Unut (or Wenet), while the male is most likely a representation of Osiris (also called Wepuat or Un-nefer), who was sacrificed to the Nile annually in the form of a hare.
In Greco-Roman myth, the hare represented romantic love, lust, abundance, and fercundity. Pliny the Elder recommended the meat of the hare as a cure for sterility, and wrote that a meal of hare enhanced sexual attraction for a period of nine days. Hares were associated with the Artemis, goddess of wild places and the hunt, and newborn hares were not to be killed but left to her protection. Rabbits were sacred to Aphrodite, the goddess of love, beauty, and marriage—for rabbits had “the gift of Aphrodite” (fertility) in great abundance. In Greece, the gift of a rabbit was a common love token from a man to his male or female lover. In Rome, the gift of a rabbit was intended to help a barren wife conceive. Carvings of rabbits eating grapes and figs appear on both Greek and Roman tombs, where they symbolize the transformative cycle of life, death, and rebirth.
Additional Art: Moon Rabbit Netsuke, 19th century and "Hare" by Charles Robinson