Flourished Peony is a period drama produced by Huace Film and TV. Adapted from the novel of the same name by Yi Qianchong, it is set in the Tang Dynasty. The story follows He Weifang (何惟芳), the daughter of a merchant. With the help of Jiang Changyang (蒋长扬), she starts from cultivating peonies and eventually realizes her ideal of helping the world and serving the country. It is a wonderful drama integrating history, culture, and emotions.

From the magnificent palace costumes to the simple folk attires, the clothing in Flourished Peony skillfully incorporates Hanfu elements. These costumes carry rich historical information and profound cultural connotations. While enjoying the plot, the audience can also experience the unique charm of traditional Chinese clothing, presenting a dual feast of vision and culture.

Today, Silk Divas will take you on an in – depth analysis of the Hanfu elements in this drama, allowing us to appreciate the beauty of ancient clothing together!

Ⅰ. The Sloppy Horse – Fall Coiffure (堕马髻)

The Sloppy Horse – Fall Coiffure gets its name from its appearance, which resembles the posture of falling off a horse, with the coiled hair tilted to one side. This hairstyle was extremely popular in the Tang Dynasty and was favored by the nobility and upper – class society. You can refer to the standing female figurine with the Sloppy Horse – Fall Coiffure in the Tang Dynasty, which is housed in the Xi’an Museum.

Ⅱ. The Single – Blade Half – Flipped Coiffure (单刀半翻髻)

The Single – Blade Half – Flipped Coiffure was a popular hairstyle among women in the Tang Dynasty of China. It belongs to the category of blade – shaped coiffures and is also known as the Single – Blade Coiffure. In various unearthed pottery figurines and murals, noblewomen can often be seen wearing this hairstyle. One side of the towering coiffure curves at a certain angle, and at the top, it slightly bends forward and downward. The overall shape of the coiffure looks exactly like a large sword, thus it is called the Single – Blade Half – Flipped Coiffure. You can refer to the painted clay figurine of a lady in the Tang Dynasty, which is kept in the Lüshun Museum.

Ⅲ. Intertwined Heart Bun (交心髻)

The Intertwined Heart Bun was a daily hairstyle for women in the Tang Dynasty. It evolved from the single or double small buns (单双小髻) in the Gaozong era and was more voluminous. To create this hairstyle, two buns are coiled. From the center of each bun, a strand of hair is left, which then twists and crosses around the buns. You can refer to the painted Tang – dynasty pottery figurine of a woman holding a waist – drum, housed in the Palace Museum in Beijing.

Ⅳ. Double – Hanging Buns (双垂髻)

The hair is divided into two parts. The sideburns are gathered and combed upwards to form edges. The buns are coiled on top of the head, either as plump round buns or small, pointed – long buns. This style is also called “Double Buns”.

Typically, unmarried women, palace maids, servant girls, or young servants often wore this hairstyle. You can refer to the figure of the standing Tang – dynasty female figurine with Double – Hanging Buns in the Xi’an Museum.

Ⅴ. Futou (幞头)

The futou worn by male characters in the drama, is a soft scarf made of silk or gauze used to wrap the head.

The evolution of the early Tang Dynasty’s soft – footed futou reflects the changing fashion trends of men’s clothing in the Tang Dynasty. The material for making futou gradually changed from thin silk to lacquered gauze, demonstrating the exquisite craftsmanship and attention to detail in ancient times.

Ⅵ. Crown Ornaments

The wedding crown ornaments of Li Youzhen (李幼贞) in the drama draw inspiration from those of Li Chui (李倕).

The crown ornaments of Li Chui are currently housed in the Shaanxi Archaeological Museum. The owner, Li Chui, was a female member of the Tang royal family. This is the only restored Tang – Dynasty female crown ornament in China, incorporating almost all the materials and techniques of the Tang Dynasty. The main body of the hair crown is wrapped in silk and decorated with jewels, covering the coiled hair. Wing – shaped accessories are placed in front of the crown body, with a jewel – decorated hairpin on each side, horizontally inserted on both sides of the crown.

Ⅶ. Drunken – Blush Makeup (酒晕妆)

The “drunken – blush makeup” appears several times in the drama, such as the makeup of Li Youzhen during her wedding and the makeup of Concubine Huangfu Lingge (皇甫令歌) when she makes her entrance.

The “drunken – blush makeup” was a popular fashion makeup during the reign of Empress Wu Zetian and the heyday of the Tang Dynasty (even extending to the Five Dynasties period). With a base of white powder, it was decorated with Huadian (花钿), slanting red marks (斜红), and cheek dots (面靥). The cheeks, and even the areas around the eyes and ears, were thickly applied with rouge, resembling the blush after getting drunk.

You can refer to the Tang – Dynasty female dancing figurine unearthed from Tomb No. 206 in Astana, Turpan, Xinjiang.

Summary

The TV drama Flourished Peony not only showcases the essence of Chinese culture through its exquisite costumes but also allows us to re – examine and experience the beauty of Hanfu.
These delicate costumes and hairstyles are not merely decorations in the drama; they carry rich historical and cultural connotations, reflecting the features and spirit of the times.