Flourished Peony

Flourished Peony (Chinese: 国色芳华; pinyin: Guó Sè Fāng Huá) is a 2025 Chinese historical television series directed by Ding Ziguang and produced by Huace Media. It stars Yang Zi and Li Xian in the lead roles. Adapted from Yi Qianchong’s novel of the same name, the series is set in the Tang Dynasty and follows the story of He Weifang, the daughter of a merchant, who teams up with Jiang Changyang, the “Flower and Bird Envoy” of Chang'an, to form a partnership combining craftsmanship and investment. Beginning with the cultivation of peonies, the pair ultimately pursue their ideal of serving the country and contributing to society.

The series premiered on Mango TV and Migu Video starting January 7. It was released on Hunan Television's Golden Eagle Theatre on January 9 and ended its run on February 2. It also premiered internationally on multiple platforms including Netflix, VIU, Viki, Line TV, MyVideo, Astro, K+, Vidio, TrueVisions Now and MOA covering 80 countries and regions.^[1]

Flourished Peony received the Best Art Direction Award at the 30th Shanghai Television Festival. It was nominated for Best Drama Series at the 2nd Golden Panda Award. It has a direct continuation titled In the Name of Blossom which serves as its sequel.

Flourished Peony marks the second collaboration between Yang Zi and Li Xian following their 2019 television series Go Go Squid!.

Set during the Tang Dynasty, the story follows He Weifang (portrayed by Yang Zi), the daughter of a merchant with exceptional talent in cultivating rare peonies and a keen sense for business. After meeting Jiang Changyang (played by Li Xian), a man from Chang'an, the two form a partnership comprising craftsmen and investors.

He Weifang leads a group of women many of whom have faced difficult circumstances in establishing and operating a flower shop. Through perseverance and entrepreneurship, they overcome numerous social and economic challenges, carving out a place for themselves in a traditionally male-dominated society.

As He Weifang and Jiang Changyang grow closer, she comes to realize that the man known publicly as the "Most corrupt official in the country" is, in fact, a principled individual working covertly for the greater good of the country. Influenced by her experiences among the working class and the practical value of peonies, He Weifang eventually shifts her focus toward building a more accessible, people-oriented industry.

During the development of the series, the production team undertook historical and cultural research to accurately depict the Tang Dynasty. They collaborated with the Institute of History of the Chinese Academy of Social Sciences and conducted field research across multiple locations. More than 20 experts specializing in Tang history and peony studies were consulted. The research encompassed various aspects of Tang culture, including peony cultivation and its cultural significance, related industries, folk customs, daily life, as well as Tang-era architecture and garden design.^[2]

The play is adapted from Yi Qianzhong's novel of the same name. Significant changes were made during the scriptwriting process, particularly to the characterization and narrative structure. The screenwriter, Zhang Yuanang, altered the portrayals of the male lead and second male lead, streamlined character relationships, and merged several characters from the original work into composite roles.^[3] Content involving the character He Weifang's conflicts with concubines in the Liu household was omitted, with the aim of reshaping her into a more modern and nuanced female figure.^[4]

Compared to the source material, the drama adaptation downplays the protagonist He Weifang’s familial relationships. In the drama, Father He is indifferent toward He Weifang, failing to lend a hand during her critical moments, whereas in the novel, Mu Dan's relationship with her family is much closer. This change has led audience to feel that it excessively "subjects the female character to cruelty," as He Weifang is either being beaten or on the verge of being beaten. They have criticized the portrayal, arguing that "female awakening should not rely solely on the path of subjecting women to suffering.^[4] Director Zhang Yuanang responded that the change emphasizes He Weifang's strength and resilience rather than focusing solely on her hardships. He Weifang is introspective and resourceful, using the hostility she encounters as motivation rather than succumbing to self-pity. The creative team aimed to present her not as a tragic figure, but as a symbol of perseverance.^[5]

Director Zhang Yuanang stated that her approach to developing the protagonists was guided by an intention to portray emotionally mature and independent individuals. She explained that both characters are portrayed as having endured societal instability and personal loss, which precludes conventional romantic narratives. Their relationship develops gradually, founded on mutual understanding rather than sudden emotional attachment. Zhang specifically noted that her goal in subverting audience expectations was to maintain logical character consistency. Zhang also emphasized that the numerous scenes highlighting solidarity among women were a carefully constructed element of the series. She stated these storylines were intended to reflect the often-overlooked wisdom and strength of women, both historically and in contemporary contexts. Through them, Zhang expressed a desire to challenge prevailing skepticism about supportive relationships between women. The character Qin Shengyi received particular attention from the screenwriter, who drew inspiration from the real life experiences of women around her. Through this character, Zhang aimed to convey a broader message to female audiences: that suffering and oppression are not inherent to womanhood, but rather the result of outdated ethical norms and societal expectations. The series encourages resistance against such constraints and promotes female empowerment.^[5]

To accurately present the cultural richness and visual splendor of the Tang Dynasty, the production team conducted extensive research and adopted the colorful, mottled patterns of "Tang Sancai" ceramics as the primary visual concept for the series. The artistic direction was heavily influenced by Tang Dynasty paintings, murals, and materials sourced from major museums across China.

Approximately 1,500 costumes were created for the production, each designed with careful reference to historical sources. For instance, the wedding crowns worn by the main characters He Weifang and Jiang Changyang were inspired by the "Wu Zhou–era Six-flowered Hairpin Crown" worn by Pei Shi, wife of Yan Shiwei. The necklace and hair crown worn by Li Youzhen during her wedding drew inspiration from artifacts excavated from the tombs of Li Jingxun and Princess Li Jue.^[6]

Several props and costume elements in the series were modeled after actual Tang Dynasty relics. The "Peacock Crown" worn by the dancers was based on a Tang Dynasty figurine of a woman riding a horse and playing a waist drum, currently housed in the Xi'an Museum. A Tang silver sachet worn by Jiang Changyang was recreated based on a figurine held in the Shaanxi History Museum. Additionally, a secret-color porcelain eight-sided jar, briefly seen on a table in the series, was modeled after a well-known artifact from the same period.

Hairstyling throughout the series also drew from historical sources. Many of the styles worn by female characters were inspired by Tang Dynasty female figurines, particularly those on display at the Xi'an Museum, depicting women in standing poses with elaborate hairstyles typical of the era.^[7]

Several costumes incorporated motifs rooted in cross-cultural symbolism introduced through the Silk Road. The red round-necked robe worn by Jiang Changyang features a winged horse and linked bead pattern derived from Greek, Persian, and Central Asian cultures, which was adapted by Tang artisans into a decorative motif symbolizing nobility and auspiciousness. The symmetrical, stylized winged horses, paired with linked beads, reflect the grandeur and cosmopolitanism of the Tang era. In Episode 4, Jiang Changyang dons a blue robe bearing a paired bird-in-nest pattern, inspired by the traditional "Lingyang Gongyang" design, itself influenced by the Sassanid hansong bird motif. The birds face each other in elegant poses atop floral bases, framed by ornate scrollwork of grasses and flowers, recreating the intricate detailing of Tang aristocratic brocade.

He Weifang’s costumes highlight floral designs, particularly through elaborate peony embroidery. These garments combine elegant color palettes with a wide range of traditional needlework techniques, creating a three-dimensional effect in the layered petals. The embroidery is characterized by smooth, flowing lines that give the peonies a lifelike appearance, capturing their symbolic association with wealth and beauty. The detailed craftsmanship throughout the costumes serves to faithfully reproduce the weaving and embroidery techniques of the Tang Dynasty, enhancing both visual authenticity and historical depth.^[8]

The production team undertook extensive research to authentically recreate the appearance and aesthetic of Tang Dynasty women, reflecting both historical accuracy and narrative depth for lead and supporting characters alike. The makeup styles portrayed in the show draw heavily from historical records, murals, and figurines, highlighting the rich diversity of Tang-era cosmetics.

Tang women's makeup typically emphasized a fair, matte complexion, aligning with the prevailing aesthetic ideal of the period that "White is beauty". In the series, characters' base makeup is presented as clear and natural, embodying the Tang Dynasty’s characteristic pursuit of a porcelain-like appearance. Eyebrows were shaped in various styles such as moth brows, willow brows and water brows, each featuring soft, fluid lines. For example, the character He Weifang is depicted with crescent-shaped eyebrows slightly arched upwards, accentuating her facial features while conveying grace and spirit.

Eye makeup often incorporates reddish-brown tones to create a layered visual effect, complemented by slender, subtly raised eyeliner to emphasize the eyes. Lip makeup in the Tang Dynasty varied in form, including cherry lips and petal-shaped lips, both of which are showcased in the series to convey the refined femininity of Tang women.

Two of the most distinct features of Tang Dynasty cosmetics— huadian (forehead flowers) and dimple makeup —are also accurately portrayed. Huadian are ornamental marks or appliqués painted or affixed to the forehead, between the eyebrows, or on the cheeks. Their shapes include hearts, circles, diamonds, birds, and fish, serving both decorative and practical purposes, such as concealing blemishes. In the series, He Weifang’s forehead flower and small red dots at the corners of her mouth add a playful and spirited dimension to her overall appearance, consistent with Tang Dynasty beauty practices.^[8]

The use of fans in the series extends beyond their functional role, serving as culturally and emotionally symbolic props that deepen character expression and historical immersion. The production team designed a variety of fans based on meticulous research, integrating both period accuracy and individual character traits.

At the beginning of the series, He Weifang holds a round fan during her wedding, referencing the Tang Dynasty marriage custom of "Reversing the fan", where brides concealed their faces to symbolize modesty and a harmonious union. However, unlike traditional wedding fans decorated with auspicious symbols or landscape paintings, He Weifang’s fan features a unique image of a woman planting peonies. The design is inspired by the "Southern Tang Fairy Literary Gathering", evoking themes of femininity and cultivation. This choice also serves as a narrative device: the image represents He Weifang’s mother, an expert in peony cultivation who is absent from the wedding due to illness, thus preserving the maternal bond through visual metaphor.

The character Jiang Changyang is seen with multiple fan types, each reflecting different facets of Tang Dynasty artistry. His round fan is crafted with an ivory openwork frame and a printed silk surface decorated with Tang-style cloud and floral motifs. The design is modeled after "Tang Palace fans", adorned with gilded inlay to evoke luxury and refinement, while also conveying a delicate, feminine elegance.

In contrast, his feather fan made from goose feathers is based on depictions found in the Song Dynasty painting "Xiyuan Yaji Tu". Though from a later period, the fan maintains aesthetic continuity with earlier styles. Light and graceful, the fan not only serves a practical function in hot weather but also symbolizes Jiang Changyang's scholarly and refined temperament.^[8]

The filming process of the series began in Hengdian World Studios. In addition, Filming also took place at the Shengshi Tangcheng Scenic Area in Xiangyang, which is home to the largest Tang-style architectural complex in China. Recognized as one of the three major filming bases for ancient Chinese productions, Xiangyang Tangcheng provided a historically inspired backdrop for many of the outdoor scenes.^[9]

Later the crew moved to Laoling Film Studio. Approximately 90% of the show was filmed at Laoling Film Studio. The production team constructed four major architectural complexes specifically for the series including mansions, gardens, markets, streets, restaurants, rivers, and docks. Each element of the set—down to individual streets, flowers, and props—was uniquely designed to reflect the prosperity, cultural openness, and aesthetic vibrancy of Chang’an during the Tang Dynasty. Key locations such as the East and West Markets, various family residences, and elaborate flower filled gardens were created to enhance the immersive historical atmosphere.^[10]

To accurately represent the cultural landscape and everyday life of Tang society, the production team independently designed and constructed hundreds of individual buildings, each with distinct architectural styles. Whether depicting bustling alleyways or elaborate gardens in bloom, the sets were intended to offer viewers a visually rich and authentic representation of Tang Dynasty life.

The filming began on January 2, 2024 and wrapped up on July 25 of the same year.^[11] Both Flourished Peony and In the Name of Blossom were filmed together at the same time. Yang Zi and Li Xian acted in the lead roles. This series is their second on-screen collaboration following their 2019 hit television series Go Go Squid!.

According to industry tracker Beacon, Flourished Peony topped the mainland China's daily viewership charts for 20 days during the Chinese New Year holiday.^[12]

Flourished Peony received a 7.8 rating on Douban.^[13]

Flourished Peony premiered internationally on multiple platforms including Netflix, VIU, Viki, Line TV, MyVideo, Astro, K+, Vidio, TrueVisions and MOA. The release covered 73 countries and regions including the United States, France, Spain, Portugal, Italy, South Korea and Singapore. The series received a 9.8 rating on Rakuten Viki on its first day launch. In Vietnam, it reached the top position on the K+ platform in real-time views within two days of its premiere. ^[14]

Flourished Peony, alongside with the film Detective Chinatown 1900, attracted visitors to Laoling Film Studio in Shandong.^[15]

Flourished Peony achieved a peak viewership rating of 0.7928% on Hunan Television, ranking first among provincial satellite TV stations in the same time slot.^[14]The series achieved a 0.601% CSM average viewership rating and a 0.390% CVB rating, ranking first among local satellite TV dramas during prime time, accumulating 140 million viewers during its initial run.^[16] It was later broadcast on Shandong Television. According to statistics from CVB National Network, the highest single-episode rating for Flourished Peony during its run on Shandong TV was 0.219%, ranking among the top 4 highest-rated prime-time dramas of that day. According to statistics from CVB Shandong Province, the entire series achieved a 1.575% average viewership rating, ranking first among provincial satellite channels during the same period, reaching an effective audience of 40.623 million.^[1]

• Flourished Peony on Weibo (in Chinese)
• Flourished Peony at IMDb
• Flourished Peony at Douban (in Chinese)