This paper explores the iconographical connections between the Qin Palace Ruins in Shaanxi and the Dunhuang Mogao caves, with a particular focus on the origin of the three hares motif in Dunhuang. The iconographical traditions of the Qin dynasty and the Mogao caves have long been studied independently. However, a close examination reveals previously unnoticed parallels between the two. Some motifs within the Mogao caves, including the three hares motif popularized from the Sui dynasty, mirror patterns adorning the eave tiles unearthed from the Qin palace ruins in the Guanzhong region (關中地區). This discovery, absent from existing research, suggests a potential link between the iconographic traditions of these two regions that sheds light on the origin of the three hares motif.
Situated at a vibrant religious and cultural crossroad along the ancient Silk Road, the Mogao Caves are renowned for their Buddhist paintings and statues. The three capitals of the Qin dynasty - Yongcheng 雍城 (677-383 BCE) in present-day Fengxiang 鳳翔, Liyang 櫟陽 (383-350 BCE), and Xianyang 咸陽 (350-207 BCE) - were all located in the Guanzhong region. Excavations of Qin palaces in these capitals have yielded architectural designs with striking iconographic similarities to those in the Mogao caves. Despite this, the potential connection between Shaanxi and Dunhuang remains largely unexplored.
Regarding the origin of the three hares motif, three main perspectives have emerged: Western influences, Chinese traditional design, and a fusion of diverse cultures. These theories primarily focus on external influences or internal development within Dunhuang. No prior study has explored a link between the three hares motif and design elements found in the Qin Palaces in the Guanzhong region.
This study addresses this research gap and proposes a new perspective: the iconographical traditions of the Guanzhong region served as a primary source for the development of the three hares motif seen in Dunhuang. Specifically, the Shaanxi three-deer emerges as a likely direct source for the three hares motif later popularized in Dunhuang. This argument is based on a thorough examination and comparison of shared motifs in both regions, including the three deer/hares, sunflower patterns, and a cloud-leaf design. The earlier presence of these motifs in Shaanxi, particularly from the Qin and Han dynasties compared to their appearance in Dunhuang from the Northern Zhou to Tang dynasties, strengthens the argument for iconographical influence from the Guanzhong region.
This study identifies, for the first time, remarkable similarities between motifs in the Dunhuang caves and the Qin palace ruins. Through iconographical analysis and a fresh perspective on shared artistic elements, it sheds new light on the iconographical connections between the Guanzhong region and Dunhuang, providing a fresh understanding of the origin of the three hares motif in Dunhuang. It contributes to a new perspective based on the investigation of unexplored shared patterns between Shaanxi and Dunhuang. The coexistence of the syncretistic design of three hares and sunflower - a hybrid motif combined by the three hares and sunflower together – further exemplifies the artistic influence from the Qin palace to the Dunhuang region.