Rabbits and hares (Leporidae) are common motifs in the visual arts, with variable mythological and artistic meanings in different cultures. The rabbit as well as the hare have been associated with moon deities and may signify rebirth or resurrection. [1] They may also be symbols of fertility or sensuality, and they appear in depictions of hunting and spring scenes in the Labours of the Months.
In Judaism, the rabbit is considered an unclean animal, because "though it chews the cud, does not have a divided hoof." [2] [note 1] This led to derogatory statements in the Christian art of the Middle Ages, and to an ambiguous interpretation of the rabbit's symbolism. The "shafan" in Hebrew has symbolic meaning. Although rabbits were a non-kosher animal in the Bible, positive symbolic connotations were sometimes noted, as for lions and eagles. 16th century German scholar Rabbi Yosef Hayim Yerushalmi, saw the rabbits as a symbol of the Diaspora. In any case, a three hares motif was a prominent part of many Synagogues. [1] [3]
In Classical Antiquity, the hare, because it was prized as a hunting quarry, was seen as the epitome of the hunted creature that could survive only by prolific breeding. Herodotus, [4] Aristotle, Pliny and Claudius Aelianus all described the rabbit as one of the most fertile of animals. It thus became a symbol of vitality, sexual desire and fertility. The hare served as an attribute of Aphrodite and as a gift between lovers. In late antiquity it was used as a symbol of good luck and in connection with ancient burial traditions.
In Early Christian art, hares appeared on reliefs, epitaphs, icons and oil lamps although their significance is not always clear.
The Physiologus , a resource for medieval artists, states that when in danger the rabbit seeks safety by climbing high up rocky cliffs, but when running back down, because of its short front legs, it is quickly caught by its predators. [5] Likewise, according to the teaching of St. Basil, men should seek his salvation in the rock of Christ, rather than descending to seek worldly things and falling into the hands of the devil. The negative view of the rabbit as an unclean animal, which derived from the Old Testament, always remained present for medieval artists and their patrons. Thus the rabbit can have a negative connotation of unbridled sexuality and lust or a positive meaning as a symbol of the steep path to salvation. Whether a representation of a hare in Medieval art represents man falling to his doom or striving for his eternal salvation is therefore open to interpretation, depending on context.
The Hasenfenster (hare windows) in Paderborn Cathedral and in the Muotathal Monastery in Switzerland, in which three hares are depicted with only three ears between them, forming a triangle, can be seen as a symbol of the Trinity, and probably go back to an old symbol for the passage of time. Though they have six ears, the three hares shown in Albrecht Dürer's woodcut, The Holy Family with Three Hares (1497), can also be seen as a symbol of the Trinity.[ citation needed ]
The idea of rabbits as a symbol of vitality, rebirth and resurrection derives from antiquity. This explains their role in connection with Easter, the resurrection of Christ. The unusual presentation in Christian iconography of a Madonna with the Christ Child playing with a white rabbit in Titian's Madonna of the Rabbit can thus be interpreted Christologically. Together with the basket of bread and wine, a symbol of the sacrificial death of Christ, the picture may be interpreted as the resurrection of Christ after death.
The phenomenon of superfetation, where embryos from different menstrual cycles are present in the uterus, results in hares and rabbits being able to give birth seemingly without having been impregnated, which caused them to be seen as symbols of virginity. [6] Rabbits also live underground, an echo of the tomb of Christ.
As a symbol of fertility, white rabbits appear on a wing of the high altar in Freiburg Minster. They are playing at the feet of two pregnant women, Mary and Elizabeth. Martin Schongauer's engraving Jesus after the Temptation (1470) shows nine (three times three) rabbits at the feet of Jesus Christ, which can be seen as a sign of extreme vitality. In contrast, the tiny squashed rabbits at the base of the columns in Jan van Eyck's Rolin Madonna symbolize "Lust", as part of a set of references in the painting to all the Seven Deadly Sins. [7]
Hunting scenes in the sacred context can be understood as the pursuit of good through evil. In the Romanesque sculpture (c. 1135) in the Königslutter imperial Cathedral, a hare pursued by a hunter symbolises the human soul seeking to escape persecution by the devil. Another painting, Hares Catch the Hunters, shows the triumph of good over evil. Alternatively, when an eagle pursues the hare, the eagle can be seen as symbolizing Christ and the hare, uncleanliness and the evil's terror in the face of the light.
In Christian iconography, the hare is an attribute of Saint Martin of Tours and Saint Alberto di Siena, because legend has it that both protected hares from persecution by dogs and hunters. They are also an attribute of the patron saint of Spanish hunters, Olegarius of Barcelona. White hares and rabbits were sometimes the symbols of chastity and purity. [8]
In non-religious art of the modern era, the rabbit appears in the same context as in antiquity: as prey for the hunter, or representing spring or autumn, as well as an attribute of Venus and a symbol of physical love. In cycles of the Labours of the Months, rabbits frequently appear in the spring months. In Francesco del Cossa's painting of April in the Palazzo Schifanoia in Ferrara, Italy, Venus' children, surrounded by a flock of white rabbits, symbolize love and fertility.
In Italian Renaissance and Baroque art, rabbits are depicted more often than hares. In an allegory on lust by Pisanello, a naked woman lies on a couch with a rabbit at her feet. Pinturicchio's scene of Susanna in the Bath is displayed in the Vatican's Borgia Apartment. Here, each of the two old men are accompanied by a pair of hares or rabbits, clearly indicating wanton lust. In Piero di Cosimo's painting of Venus and Mars, a cupid resting on Venus clings to a white rabbit for similar reasons.
Still lifes in Dutch Golden Age painting and their Flemish equivalents often included a moralizing element which was understood by their original viewers without assistance: fish and meat can allude to religious dietary precepts, fish indicating fasting while great piles of meat indicate voluptas carnis (lusts of the flesh), especially if lovers are also depicted. Rabbits and birds, perhaps in the company of carrots and other phallic symbols, were easily understood by contemporary viewers in the same sense.
As small animals with fur, hares and rabbits allowed the artist to showcase his ability in painting this difficult material. Dead hares appear in the works of the earliest painter of still life collections of foodstuffs in a kitchen setting, Frans Snyders, and remain a common feature, very often sprawling hung up by a rear leg, in the works of Jan Fyt, Adriaen van Utrecht and many other specialists in the genre. By the end of the 17th century, the grander subgenre of the hunting trophy still life appeared, now set outdoors, as though at the back door of a palace or hunting lodge. Hares (but rarely rabbits) continued to feature in the works of the Dutch and Flemish originators of the genre, and later French painters like Jean-Baptiste Oudry. [9]
From the Middle Ages until modern times, the right to hunt was a vigorously defended privilege of the ruling classes. Hunting Still lifes, often in combination with hunting equipment, adorn the rooms of baroque palaces, indicating the rank and prestige of their owners. Jan Weenix' painting shows a still life reminiscent of a trophy case with birds and small game, fine fruits, a pet dog and a pet monkey, arranged in front of a classicising garden sculpture with the figure of Hercules and an opulent palace in the background. The wealth and luxurious lifestyle of the patron or owner is clearly shown.
The children's tales of the English author Beatrix Potter, illustrated by herself, include several titles featuring the badly behaved Peter Rabbit and other rabbit characters, including her first and most successful book The Tale of Peter Rabbit (1902), followed by The Tale of Benjamin Bunny (1904), and The Tale of The Flopsy Bunnies (1909). Potter's anthropomorphic clothed rabbits are probably the most familiar artistic rabbits in the English-speaking world, no doubt influenced by illustrations by John Tenniel of the White Rabbit in Lewis Carroll's book Alice's Adventures in Wonderland .
Joseph Beuys, who always finds a place for a rabbit in his works, sees it as symbolizing resurrection. In the context of his action "How to Explain Pictures to a Dead Hare", he stated that the rabbit "...has a direct relationship to birth... For me, the rabbit is the symbol of incarnation. Because the rabbit shows in reality what man can only show in his thoughts. He buries himself, he buries himself in a depression. He incarnates himself in the earth, and that alone is important."
Masquerade (book) (1979), written and illustrated by the artist Kit Williams, is ostensibly a children's book, but contains elaborate clues to the location of a jewelled golden hare, also made by Williams, which he had buried at the location in England to which the clues in the book led. The hare was not found until 1982, in what later emerged as dubious circumstances.
The Welsh sculptor Barry Flanagan (1944-2009) was best known for his energetic bronzes of hares, which he produced throughout his career. Many have a comic element, and the length and thinness of the hare's body is often exaggerated.
Probably one of the most famous depictions of an animal in the history of European art is the painting Young Hare by Albrecht Dürer, completed in 1502 and now preserved in the Albertina in Vienna. Dürer's watercolor is seen in the context of his other nature studies, such as his almost equally famous Meadow or his Bird Wings. He chose to paint these in watercolor or gouache, striving for the highest possible precision and "realistic" representation.
The hare pictured by Dürer probably does not have a symbolic meaning, but it does have an exceptional reception history. Reproductions of Dürer's Hare have often been a permanent component of bourgeois living rooms in Germany. The image has been printed in textbooks; published in countless reproductions; embossed in copper, wood or stone; represented three-dimensionally in plastic or plaster; encased in plexiglas; painted on ostrich eggs; printed on plastic bags; surreally distorted in Hasengiraffe ("Haregiraffe") by Martin Missfeldt; [10] reproduced as a joke by Fluxus artists; [11] and cast in gold; or sold cheaply in galleries and at art fairs
Since early 2000, Ottmar Hörl has created several works based on Dürer's Hare, including a giant pink version. [12] Sigmar Polke has also engaged with the hare on paper or textiles, or as part of his installations, [13] and even in rubber band form. [14] Dieter Roth's Köttelkarnikel ("Turd Bunny") is a copy of Dürer's Hare made from rabbit droppings, [15] and Klaus Staeck enclosed one in a little wooden box, with a cutout hole, so that it could look out and breathe. Dürer's Hare has even inspired a depiction of the mythological Wolpertinger.
William Hogarth depicted Mary Toft giving birth to rabbits in 1726 in the etchings Cunicularii or The Wise Men of Godliman in Consultation (1726) and Credulity, Superstition, and Fanaticism (1762). [16] [17] [18] Mary Toft was a woman who convinced many medical professionals and the public at the time that she was birthing rabbits, when it was, in fact, a hoax. [19] Inspired by the work of William Hogarth, artist Amelia Biewald resurrected the story of Mary Toft into the gallery with The Curious Case of Mary Toft in 2020. [20] [21] [22]
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The Easter Bunny is a folkloric figure and symbol of Easter, depicted as a rabbit—sometimes dressed with clothes—bringing Easter eggs. Originating among German Lutherans, the "Easter Hare" originally played the role of a judge, evaluating whether children were good or disobedient in behavior at the start of the season of Eastertide, similar to the "naughty or nice" list made by Santa Claus. As part of the legend, the creature carries colored eggs in its basket, as well as candy, and sometimes toys, to the homes of children. As such, the Easter Bunny again shows similarities to Santa and Christmas by bringing gifts to children on the night before a holiday. The custom was first mentioned in Georg Franck von Franckenau's De ovis paschalibus in 1682, referring to a German tradition of an Easter Hare bringing eggs for the children.
Mary Toft, also spelled Tofts, was an English woman from Godalming, Surrey, who in 1726 became the subject of considerable controversy when she tricked doctors into believing that she had given birth to rabbits.
Dream Caused by the Flight of a Bee Around a Pomegranate a Second Before Awakening is a surrealist painting by Salvador Dalí. A shorter alternate title for the painting is Dream Caused by the Flight of a Bee. It was painted in 1944, and the woman in the painting, dreaming, is said to represent his wife, Gala. The painting is currently in the Thyssen-Bornemisza Museum, in Madrid.
The Garden of Earthly Delights is the modern title given to a triptych oil painting on oak panel painted by the Early Netherlandish master Hieronymus Bosch, between 1490 and 1510, when Bosch was between 40 and 60 years old. It has been housed in the Museo del Prado in Madrid, Spain since 1939.
The Portinari Altarpiece or Portinari Triptych is an oil-on-wood triptych painting by the Flemish painter Hugo van der Goes, commissioned by Tommaso Portinari, representing the Adoration of the Shepherds. It measures 253 x 304 cm, and is now in the Galleria degli Uffizi in Florence, Italy. This altarpiece is filled with figures and religious symbols. Of all the late-fifteenth-century Flemish artworks, this painting is said to be the most studied.
The three hares is a circular motif appearing in sacred sites from East Asia, the Middle East and to the churches of Devon, England, and historical synagogues in Europe. It is used as an architectural ornament, a religious symbol, and in other modern works of art or a logo for adornment, jewelry, and a coat of arms on an escutcheon. It is viewed as a puzzle, a topology problem or a visual challenge, and has been rendered as sculpture, drawing, and painting.
Christian symbolism is the use of symbols, including archetypes, acts, artwork or events, by Christianity. It invests objects or actions with an inner meaning expressing Christian ideas.
The Madonna of the Magnificat, is a painting of circular or tondo form by the Italian Renaissance painter Sandro Botticelli. It is also referred to as the Virgin and Child with Five Angels. In the tondo, we see the Virgin Mary writing the Magnificat with her right hand, with a pomegranate in her left, as two angels crown her with the Christ child on her lap. It is now in the galleries of the Uffizi, in Florence.
Fertility in art refers to any artistic work representing or portraying fertility, which usually refers to successful breeding among humans, although it may also mean successful agriculture and animal husbandry. It includes engravings, drawings, paintings, sculptures, figurines, portraits and even literary works. In Paleolithic art, fertility is usually associated with figurines with exaggerated parts of human anatomy.
The life of Christ as a narrative cycle in Christian art comprises a number of different subjects showing events from the life of Jesus on Earth. They are distinguished from the many other subjects in art showing the eternal life of Christ, such as Christ in Majesty, and also many types of portrait or devotional subjects without a narrative element.
The Hermitage of San Baudelio de Berlanga is an early 11th-century church at Caltojar in the province of Soria, Castile and León, Spain, 8 km south of Berlanga de Duero. It is an important example of Mozarabic architecture for its peculiarities, and was built in the 11th century, in what was then the frontier between Islamic and Christian lands. It is dedicated to Saint Baudilus or Baudel.
Adam and Eve is the title of two famous works in different media by Albrecht Dürer, a German artist of the Northern Renaissance: an engraving made in 1504, and a pair of oil-on-panel paintings completed in 1507.
Goddess I is the Taube's Schellhas-Zimmermann letter designation for one of the most important Maya deities: a youthful woman to whom considerable parts of the post-Classic codices are dedicated, and who equally figures in Classic Period scenes. Based on her representation in codical almanacs, she is considered to represent vital functions of the fertile woman, and to preside over eroticism, human procreation, and marriage. Her aged form is associated with weaving. Goddess I could, perhaps, be seen as a terrestrial counterpart to the Maya moon goddess. In important respects, she corresponds to Xochiquetzal among the Aztecs, a deity with no apparent connection to the moon.
Credulity, Superstition and Fanaticism is a satirical print by the English artist William Hogarth. It ridicules secular and religious credulity, and lampoons the exaggerated religious "enthusiasm" of the Methodist movement. The print was originally engraved in 1761, with the title Enthusiasm Delineated, but never published. The original print may have been a response to three essays published by Joshua Reynolds in The Idler in 1759, praising the sublime work of Italian Counter-Reformation artists. It certainly satirized both the English connoisseurs' enthusiasm for old masters and Roger de Piles's Balance de peintres, which was much discussed among art critics in the eighteenth century. However, Hogarth reworked the engraving before publishing it on 15 March 1762 as Credulity, Superstition and Fanaticism: A Medley, now laying more stress on Methodist fanaticism and echoing his earlier print, The Sleeping Congregation of 1736, in which an Anglican clergyman's boring sermon puts his congregation to sleep.
The Feast of the Rosary is a 1506 oil painting by Albrecht Dürer, now in the National Gallery, Prague, Czech Republic. According to Czechoslovakian art historian Jaroslav Pešina, it is "probably the most superb painting that a German master has ever created." The work also relates to a series of artworks commissioned by Maximilian I, his Burgundian subjects or figures close to his family to commemorate the Duchess Mary of Burgundy, Maximilian's first wife and to provide the focus for a cult-like phenomenon that associated her name-saint the Virgin Mary.
The Madonna of the Rabbit is an oil painting by Titian, dated to 1530 and now held in the Louvre in Paris. It is signed "Ticianus f." and is named after the white rabbit held in Mary's left hand. The rabbit is a symbol of fertility and – due to its whiteness – of Mary's purity and the mystery of the Incarnation, and is also a symbol of her virginity; female rabbits and hares can conceive a second litter of offspring while still pregnant with the first, resulting in them being able to give birth seemingly without having been impregnated.
The Holy Family with the Dragonfly, also known as The Holy Family with the Mayfly, The Holy Family with the Locust, and The Holy Family with the Butterfly is an engraving by the German artist Albrecht Dürer (1471–1528) from approximately 1495. It is quite small but full of intricate detail. A very popular image, copied by other printmakers within five years of creation, it is found in most major print room collections, including the Indianapolis Museum of Art and the UK Royal Collection.
St. Jerome in the Wilderness is a double-sided oil painting on panel by the German Renaissance artist Albrecht Dürer, executed around 1496, now in the National Gallery in London, where both sides are displayed.
Cultural depictions of dogs in art has become more elaborate as individual breeds evolved and the relationships between human and canine developed. Hunting scenes were popular in the Middle Ages and the Renaissance. Dogs were depicted to symbolize guidance, protection, loyalty, fidelity, faithfulness, alertness, and love.
The Incredulity of Saint Thomas is a tempera painting created by Greek painter Emmanuel Tzanes. Tzanes features a catalog of artwork numbering over one hundred works. He was one of the most prolific artists of the 1600s painting in Crete, Corfu, and Venice. His two brothers Marinos Tzanes and Konstantinos Tzanes were also famous painters but Marinos is more well known for his famous poem The Cretan War Ο Κρητικός Πόλεμος. All three artists were members of the Late Cretan School and early Heptanese School (painting) they were known for participating in the movement that integrated Flemish engravings into the Greek and Italian art world.
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