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Three Friends of Winter
Three Friends of Winter
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Three Friends of Winter
The Three Friends of Winter by the painter Zhao Mengjian, Song dynasty
Chinese name
Traditional Chinese歲寒三友
Simplified Chinese岁寒三友
Transcriptions
Standard Mandarin
Hanyu Pinyinsuìhán sānyǒu
Vietnamese name
Vietnamese alphabetTuế hàn tam hữu
Chữ Hán歲寒三友
Korean name
Hangul세한삼우
Hanja歲寒三友
Transcriptions
Revised Romanizationsehansamu
McCune–Reischauersehansamu
Japanese name
Kanji歳寒三友
Hiraganaさいかんさんゆう
Transcriptions
RomanizationSaikan san'yū

The Three Friends of Winter is an art motif that comprises the pine, bamboo, and plum.[1] The Chinese celebrated the pine (松), bamboo (竹) and Chinese flowering plum (梅) together, for they observed that unlike many other plants these plants do not wither as the cold days deepen into the winter season.[2] Known by the Chinese as the Three Friends of Winter, they later entered the conventions of Korean, Japanese, and Vietnamese culture.[3][4][5][6] Together they symbolize steadfastness, perseverance, and resilience.[7] They are highly regarded in Confucianism as representing its scholar-gentleman ideal.[1][8]

History

[edit]
Three Friends and a Hundred Birds by Bian Wenjin, Ming dynasty

The Three Friends of Winter are common in works of art from Chinese culture[9] and those cultures influenced by it. The three are first recorded as appearing together in a ninth-century poem by the poet Zhu Qingyu (朱慶餘) of the Tang dynasty.[8] Artists such as Zhao Mengjian (趙孟堅, c. 1199–1264) of the Southern Song dynasty and other contemporaries later made this grouping popular in painting.[8]

The earliest literary reference to the term "[Three] Friends of Winter" can be traced back to the Record of the Five-cloud Plum Cottage (五雲梅舍記) from The Clear Mountain Collection (霽山集) by the writer Lin Jingxi (林景熙, 1242–1310) of the Song dynasty:[2][10]

For his residence, earth was piled to form a hill and a hundred plum trees, which along with lofty pines and tall bamboo comprise the friends of winter, were planted.[2]

即其居累土為山，種梅百本，與喬松，脩篁為歲寒友。[10]

Outside China

[edit]
Kadomatsu (門松) decorative pillars for Japanese New Year, featuring branches of pine, bamboo and plum

The Three Friends are known as shōchikubai (松竹梅; lit. 'pine-bamboo-plum') in Japan.[11] They are particularly associated with the start of the Lunar New Year, appearing on greeting cards and as a design stamped into seasonal sweets.[12] They are sometimes also used as a three-tier ranking system; in this context, the pine (松, matsu) is usually the highest rank, followed by the bamboo (竹, take) as the middle rank, and the plum (梅, ume) as the lowest.[13][14]

In a Korean poem by Kim Yugi [ko] (숙종; 肅宗; 1580–1658), the three friends are brought together in order to underline the paradoxical contrast:

Peach and plum of springtime, don't flaunt your pretty blossoms;
Consider rather the old pine and green bamboo at year's end.
What can change these noble stems and their flourishing evergreen?[15]

In Vietnam, the three along with chrysanthemum create a combination of four trees and flowers usually seen in pictures and decorative items. The four also appear in works but mostly separately with the same symbolic significance. They are known as Tuế hàn tam hữu in Vietnamese.[16]

See also

[edit]

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Three Friends of Winter

View on Grokipedia
from Grokipedia
The Three Friends of Winter (歲寒三友, suì hán sān yǒu), also known as the , , and plum blossom, are a trio of plants in that remain resilient and vibrant amid the harsh conditions of winter, symbolizing endurance, perseverance, and moral integrity. These elements— (sōng 松) for its steadfastness, (zhú 竹) for its flexible integrity, and plum blossom (méi 梅) for its early blooming as a harbinger of renewal—have been celebrated since ancient times as models of virtue, particularly for Confucian scholars facing adversity. The pine tree embodies longevity and unyielding strength, as it retains its green needles throughout the coldest months without faltering. represents flexibility and upright honesty, bending with the wind but never breaking, qualities admired in human character during trials. The plum blossom, which flowers amid snow and frost, signifies purity, perseverance, and the of spring's renewal, often evoking and renewal in the face of hardship. Together, these plants form a cohesive motif that underscores Confucian ideals of steadfastness in ethical conduct. This symbolism emerged in from the onward, with the trio motif solidifying during the , but became a widespread decorative and artistic theme across , including in Japanese culture where they are called shōchikubai (松竹梅). The motif appears frequently in paintings, ceramics, , and poetry, serving as a visual and literary shorthand for resilience—such as on scroll weights or Qing porcelain vases that depict the trio against winter landscapes. In broader cultural contexts, the Three Friends of Winter inspire festivals, gardens, and even modern designs, reinforcing their role as timeless emblems of human fortitude.

Overview and Symbolism

Definition

The Three Friends of Winter (Chinese: 岁寒三友, suì hán sān yǒu) is a traditional motif in and culture comprising (sōng, 松), (zhú, 竹), and plum blossom (méi, 梅). These elements are unified as symbols of and , as they remain resilient—either evergreen or blooming—amid the harsh conditions of winter. This specific trio was selected for their collective ability to withstand cold weather, embodying perseverance in adversity within Chinese . The motif's etymology originates in Tang dynasty (618–907 CE) literature, with the earliest recorded grouping of the three plants appearing in the 9th-century poem "Early Plum Blossoms" by Zhu Qingyu, establishing its foundational use around that era.

Cultural Significance

The Three Friends of Winter—pine, bamboo, and —hold profound philosophical and moral significance in , embodying virtues essential to enduring adversity and maintaining ethical integrity. Together, they represent resilience, perseverance, and , illustrating how natural elements can mirror human ideals of steadfastness in the face of hardship. This motif underscores a collective emphasis on balance and mutual support among the three, fostering a sense of unity that transcends individual traits. Deeply intertwined with Confucian ideals, the trio symbolizes key virtues: pine for longevity and steadfastness, for flexibility and uprightness, and for perseverance and renewal. These attributes align with Neo-Confucian principles of "bi-de" (emulating through ), promoting moral cultivation and ethical fortitude during challenging times, as emphasized in Song-Ming philosophies. The of the three reinforces Confucian harmony (he), encouraging individuals to cultivate inner strength while adapting to external pressures without compromising principles. In representing the virtues of the scholar-gentleman (), the motif highlights integrity in adversity, purity of character, and , serving as a moral exemplar for the educated . Pine's enduring greenness evokes unyielding , bamboo's bend-but-not-break resilience signifies adaptable , and plum's winter bloom illustrates noble perseverance amid isolation—qualities prized in Confucian . This symbolism extends to broader societal roles, inspiring purity and moral resilience as hallmarks of refined conduct. The Three Friends appear prominently in seasonal celebrations, particularly decorations, where motifs of pine, bamboo, and plum symbolize good fortune, endurance against hardship, and the promise of renewal. These elements adorn homes and public spaces to invoke blessings of and , aligning with cultural rituals that emphasize hope and continuity through winter's trials. Plum blossoms, in particular, herald spring's arrival, reinforcing themes of perseverance leading to rejuvenation. Within literati culture, the motif profoundly influences the ideal of the "gentleman's ," where planting , , and creates a space for scholarly reflection and edification. Literati artists and scholars incorporated these symbols to express spiritual values and personal , viewing the trio as embodiments of noble detachment and aesthetic essential to the cultivated . This integration into design and philosophical discourse elevated the motif as a cornerstone of , promoting virtues through everyday environmental interaction.

The Three Elements

Pine

The pine tree (Pinus spp.), particularly species like the Chinese red pine (Pinus tabuliformis), is an distinguished by its long, needle-like leaves arranged in bundles of two to five, which provide year-round vitality even in harsh conditions. Its rugged, scaly bark, often reddish-brown and thickening with age, offers protection against environmental stresses such as wind and cold, underscoring its role as a of stability within the Three Friends of Winter motif. This enduring botanical resilience positions the pine as the "father" figure in the trio, embodying unshakeable support. Symbolically, the pine represents , with some species capable of living up to 1,000 years, evoking and steadfastness in Chinese tradition. Its unyielding strength against snow and wind further symbolizes constancy and nobility, as it maintains its green foliage when other plants wither, reflecting moral integrity amid adversity. This attribute draws from classical texts, such as the of (9:27), which states that "only after it turns winter are we aware of the survival of the and ," a paraphrased as "age does not wither the " to highlight enduring virtue. In cultural contexts, the pine features prominently in proverbs emphasizing resilience, such as those praising its refusal to fade in harsh times, serving as a metaphor for noble character. It holds a revered place in imperial gardens, like the Forbidden City's Yuhuayuan, where ancient specimens such as the 400-year-old Consort Pine symbolize harmony and longevity, often planted to evoke stability for rulers.

Bamboo

Bamboo (Bambusoideae), a subfamily of the grass family , features distinctive botanical traits that contribute to its prominence in the Three Friends of Winter motif. Its culms, or stems, are characteristically hollow, providing a yet structurally strong form that supports rapid vertical growth, with some species capable of extending up to 91 cm (36 inches) in a single day under optimal conditions. This fast growth enables bamboo to quickly regenerate after disturbances, while its evergreen leaves persist through winter, bending resiliently in harsh winds without breaking, thus ensuring survival in cold climates down to -20°C. In symbolic terms, bamboo's hollow interior evokes and , contrasting with its straight, unyielding posture that signifies uprightness and moral integrity, qualities idealized in traditional Chinese thought. This duality aligns with Confucian virtues, where the plant's flexibility—allowing it to sway in storms yet remain unbroken—represents resilience and adaptability without the rigidity that leads to fracture, embodying the ideal of the , or exemplary gentleman, who navigates adversity with principled endurance. Bamboo's cultural resonance extends to scholarly life, where it served as a foundational material for writing brushes, whose shafts were crafted from its durable culms, facilitating the practice of and ink painting as paths to and moral reflection. Idioms drawing on , such as those praising its "hollow yet straight" nature, underscore themes of , as seen in literary traditions where the plant metaphorically "reports" unadorned truth, much like a dutiful presenting facts without embellishment.

Plum Blossom

The plum blossom, scientifically known as , is a native to , characterized by its early blooming fragrant flowers that appear in late winter, typically from to , on bare branches before the emergence of leaves. These flowers, which can be single- or double-petaled and range in color from white to deep pink, exhibit remarkable endurance against frost and cold, thriving in harsh winter conditions that would inhibit most other plants. This precocious flowering cycle positions the plum blossom as a herald of spring's renewal amid the desolation of winter. In the context of the Three Friends of Winter motif, the plum blossom embodies purity of character and courage in the face of adversity, with its delicate yet resilient blooms symbolizing the unyielding spirit of the scholar-gentleman who perseveres through hardship. It further represents hope and the rebirth of vitality, as the first flowers to defy winter's grip evoke the promise of seasonal rejuvenation and moral steadfastness. These attributes align with Confucian ideals of and , portraying the as a for inner strength that blooms in isolation and adversity. Notable cultural associations include the renowned plum groves of Nanjing's Meihua Hill (Plum Blossom Hill), a historic site in the Ming Xiaoling Scenic Area at the foot of Purple Mountain, where over 30,000 plum trees have been cultivated for more than 1,500 years, dating back to the Three Kingdoms period under Emperor Sun Quan. This location, celebrated for its majestic winter blossoms, draws admirers for its scenic beauty and enduring legacy as a plum appreciation venue since the Ming Dynasty. Additionally, the Song Dynasty poet Lin Bu (967–1028), a renowned recluse, immortalized the plum in his poem "Plum Blossom in a Mountain Garden" (Shān yuán xiǎo méi), using imagery of "subtle fragrance" and "scattered shadows" to evoke its ethereal purity and the virtues of seclusion and resilience.

Historical Development

Origins in Literature

The motif of the Three Friends of Winter—pine, bamboo, and plum—emerged in as a symbol of resilience and amid seasonal adversity, drawing from observations of these plants' endurance through cold weather. Earliest literary references to the combined trio appear in (618–907 CE) poetry, where individual praises of the plants began coalescing into a unified theme. The three plants are first recorded together in a ninth-century poem by the Tang poet Zhu Qingyu (朱慶餘), titled "Early Plum Blossoms," which evokes placing and alongside the plum in an ideal setting, laying groundwork for their association as steadfast companions. For instance, Liu Yanshi's poem "Plum Blossoms in Bamboo" describes the plum and sharing branches in harmony. These works, preserved in anthologies like the Complete Tang Poems (Quan Tang Shi), highlight the plants' virtues of perseverance without yet fully formalizing the trio. During the (960–1279 CE), the motif gained prominence in poetry, establishing it as a literary canon for moral and seasonal resilience. Poets such as (1037–1101) incorporated references to the into verses during his exiles, using them to encourage personal fortitude, as in lines praising their harmony in wind and spring. The concept was further formalized in texts such as Lin Jingxi's (1241–1310) Record of the Five-Cloud Plum Cottage from the Clear Mountain Collection, which describes planting a hundred trees alongside lofty pines and tall as "friends of winter" (suihan you), marking the first explicit use of the term. Other Song works, including Ge Cuan's Man Ting Fang and Zhang Yuangan's verses on the "three friends at the age of cold," reinforced this during the era (1131–1162 CE). Earlier anthologies, such as the Complete Poems of the (Quan Song Shi), compiled these references, solidifying the Three Friends as emblems of Confucian virtues like fidelity and perseverance against hardship.

Evolution in Art and Culture

Following its establishment as a poetic in literature, the Three Friends of Winter motif expanded into diverse cultural and artistic domains during the Ming and Qing dynasties, embodying auspicious ideals of perseverance and . In the (1368–1644), the trio of , , and became a staple in ceramics production, particularly on where it symbolized Confucian virtues of endurance, modesty, and fortitude as an auspicious emblem for prosperity and moral strength. This integration extended to decorative objects, enhancing their role in everyday and ceremonial life. By the (1644–1912), the motif permeated garden design and furniture craftsmanship, with plantings and carvings of the three elements arranged to evoke natural harmony and ethical resilience, often in scholarly retreats and imperial estates to promote contemplative ideals. Within literati culture, the Three Friends evolved from a literary device into a powerful of personal and opposition to , especially during the turbulent Ming-Qing transition, as scholars invoked the motif's unyielding qualities to bureaucratic decay and affirm ethical steadfastness amid political upheaval. The motif's cultural relevance has endured into modern times, appearing in traditionalist paintings and designs.

Representations in Art and Literature

Visual Arts

The motif of the Three Friends of Winter—pine, , and plum blossom—has been a central subject in Chinese , especially within the tradition of wenrenhua, or literati , which emphasized scholarly expression and amateur ideals from the (960–1279) through the (1644–1912). These works often integrated the "Three Perfections" of , , and , using sparse ink monochrome to convey moral resilience and harmony with nature. A foundational example is Zhao Mengjian's (ca. 1199–1264) album leaf Three Friends of Winter from the , rendered in ink on paper with the baimiao (fine outline) technique and a "broken branch" composition that intertwines the three plants in a refined, tranquil manner. This approach, characterized by powerful yet elegant brushwork, exemplifies early literati styles that prioritized conceptual depth over realism, influencing subsequent generations of scholar-artists. In later periods, such as the Yuan (1279–1368) and Ming (1368–1644) dynasties, the motif appeared in triadic arrangements on hanging scrolls and folding screens, where the plants were positioned to balance vertical pine trunks, arching stalks, and blooming branches against expansive backgrounds, symbolizing steadfast friendship amid adversity. These compositions extended to , notably blue-and-white porcelain from the Ming era, including Jiajing period (1522–1566) dishes from kilns, where the trio was painted in under transparent glaze to evoke endurance in a courtly yet symbolic style. Symbolic techniques in these visual representations frequently relied on to depict winter's barren landscape, leaving vast areas of unpainted paper or to underscore the ' isolation and vitality through minimalistic application and subtle tonal variations. This use of heightened the motif's theme of resilience and invited viewer of transience and purity.

Literary and Poetic Traditions

The motif of the Three Friends of Winter—pine, bamboo, and plum blossom—permeates Chinese literary traditions, serving as a powerful symbol of resilience, , and amid adversity. In , these elements often embody Confucian virtues. Early references appear in verse, where the trio is praised collectively for their endurance. For instance, Zhu Qingyu's "Early Plum Blossoms" lauds the pine's firmness, bamboo's flexibility, and plum's defiant bloom, integrating them as emblems of unyielding spirit during harsh seasons. During the Song dynasty, the theme gained prominence in ci poetry, evoking the harmonious interplay of the three plants against winter's chill. Ge Cuan's "Man Ting Fang - Urging Plum Blossoms" explicitly invokes the "three friends of winter," portraying their vitality as a metaphor for enduring friendship and moral fortitude. Similarly, Zhang Yuangan's "Three Friends at the Age of Cold Figure" describes their compositional balance, blending natural imagery with philosophical reflection on perseverance. These works highlight the motif's textual depth, distinct from visual depictions, by emphasizing rhythmic harmony and emotional resonance in lyric form. Calligraphy further enriches the literary expression of the Three Friends, often through couplets and inscriptions that fuse poetic text with symbolic motifs. Song dynasty master (1051–1107), renowned for his eccentric yet fluid style, contributed to this tradition by inscribing verses on paintings and scrolls, blending calligraphic elegance with themes of resilience. His works exemplify the "three perfections" of poetry, painting, and , where inscriptions on motifs like branches or trunks articulate virtues such as loyalty and endurance, enhancing the performative aspect of literary appreciation.

Global Influence

Adoption in Japan

The motif of the Three Friends of Winter was transmitted to Japan via Zen Buddhism in the 12th and 13th centuries, as monks studied under Chinese Song dynasty masters and brought back artistic and philosophical influences, including monochrome ink painting traditions. Known in Japanese as Shōchikubai—with shō denoting , chiku bamboo, and bai —the trio quickly gained popularity during the (1185–1333) and Muromachi (1333–1573) periods, evolving into enduring symbols of resilience and renewal for celebrations. In Japanese cultural practices, Shōchikubai features prominently in , where traditional arrangements combine the three plants to evoke harmony, good fortune, and the transition from winter to spring, often as displays. The motif also appears in prints capturing seasonal motifs and auspicious themes, as well as in decorations for cuisine during tea ceremonies, where tableware and elements like bowls bear Shōchikubai designs to complement the meal's Zen-inspired simplicity. Under influence, Japanese interpretations of Shōchikubai emphasized aesthetics, celebrating the impermanence, humility, and understated beauty of nature's endurance amid winter's harshness, aligning with broader principles of transience and mindful simplicity in art and daily life.

Spread to Korea and Vietnam

The motif of the Three Friends of Winter—, , and —spread to Korea and primarily through Confucian scholarly networks and the relations with (1368–1644), where it embodied ideals of moral integrity and endurance admired by East Asian elites. Confucian texts and artistic conventions transmitted via diplomatic exchanges and scholarly migrations during the Ming era facilitated its adoption, as Korean and Vietnamese literati adapted the symbol to reinforce neo-Confucian values in their courts and academies. In Korea, during the dynasty (1392–1910), the motif, known as songjukmae (송죽매), became a staple in (scholar-official) culture, symbolizing virtues such as perseverance and scholarly rectitude central to the ruling class's ethical framework. It appeared prominently in royal folding screens and literati paintings, where the trio often adorned white and decorative panels to evoke resilience amid adversity, aligning with Joseon's emphasis on Confucian . For instance, underglaze blue vases from the featured songjukmae motifs, reflecting its integration into elite as a marker of moral fortitude. In , under the dynasty (1802–1945), the motif, termed tam hữu đông (Tam Hữu Đông) or tuế hàn tam hữu, was incorporated into and classical , blending with indigenous elements like the apricot blossom (mai) to emphasize national resilience and seasonal renewal. court artists and poets drew on the trio to symbolize endurance in lacquer panels and verses, adapting the Chinese original to local aesthetics where apricot represented vitality amid hardship, as seen in royal poetic traditions influenced by Confucian . This integration highlighted virtues of , evident in decorative arts that fused the motif with Vietnamese floral symbolism for cultural affirmation.

References

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