Flourished Peony
Flourished Peony 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.
Flourished Peony was a commercial and critical success, becoming the series with the highest investment in the history of Hunan TV and Mango TV. The series 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 and 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!.
Plot
Set during the Tang Dynasty, the story follows He Weifang, the daughter of a merchant with exceptional talent in cultivating rare peonies and a keen sense for business. After meeting Jiang Changyang, 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.
Production
Development
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.Scriptwriting
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. 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.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. Screenwriter 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.
Motive
Screenwriter 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.Costumes
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.
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.
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.
Makeup
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 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.
Prop
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.
Peony
In order to ensure authenticity, the production team used a large number of peonies during filming. The Heze Municipal Bureau of Culture and Tourism invited Huace Media to Heze for an on-site inspection and symposium. Following consultations among multiple parties, a cooperation agreement was reached. The Heze Municipal Bureau of Culture and Tourism, in coordination with Mudan district, agreed to sponsor peonies and herbaceous peonies required for the production of Flourished Peony. As a result, Heze City became the official peony and herbaceous peony flower sponsor of the series.After further coordination between Huace Media and the Heze Municipal Bureau of Culture and Tourism, Heze City provided a total of 2,570 potted plants free of charge for the production, including 28 varieties of peonies and 8 varieties of herbaceous peonies. All flowers were supplied in accordance with the production team's filming requirements. Most of the varieties were cultivated locally in Heze, including the "Lu Mu Yin Yu" peony, which served as the prototype for the "Qiong Tai Yu Lu" peony featured in the series. Technical personnel were assigned to provide follow-up support throughout the filming period.
Luoyang provided 12,000 peony and peony plants.
Location
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.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.
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.
Filming
The filming began on January 2, 2024, and wrapped up on July 25 of the same year. 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!.Reception
Viewership
Flourished Peony became the first ever TV series in Mango TV to exceed 6 million in reservations. It is the series with the most investment in the history of Hunan Television and Mango TV, securing 40 brand partners prior to its premiere. It became the TV series with the highest average number of ads per episode across all platform, a record later surpassed by its second season In the Name of Blossom.Since its premiere, the series's viewership has steadily increased, ranking first among provincial satellite TV channels in its time slot according to CSM average ratings. For several days, it topped the ratings and viewership charts on KuYun and Huanwang, also ranking first in both the TV drama ratings and the Yunhe charts. It garnered 6,743 trending topics across the internet; 4,212 being on Weibo. Its main Douyin hashtag reached 14.73 billion views with related hashtags reaching 29.6 billion views. It also dominated the data charts on various platforms such as Datawin, Maoyan, Vlinkage, Guduo, Lighthouse, and Blue Eagle. According to industry tracker Beacon, Flourished Peony topped the mainland China's daily viewership charts for 20 days during the Chinese New Year holiday. According to the 2025 domestic TV drama viewership report released by the National Radio and Television Administration, Flourished Peony aired on Hunan TV during the Chinese New Year, with its premiere attracting 140 million viewers. Related topics on Weibo garnered over 9.7 billion reads, and the series ranked second in viewership among TV dramas on Mango TV in 2025.
The series topped the Maoyan online popularity chart within 20 minutes of its release, and remained there for 10 days. On the third day after its premiere, the series recorded over 100 million views on Maoyan across the entire network. It exceeded 1.5 billion effective playback volumes on Maoyan, surpassing 48 million views per episode during its peak run. It became the champion of Maoyan Drama Popularity Monthly Chart and Maoyan Drama Effective Views Monthly chart. During its peak broadcast period, the series achieved the highest Mango TV Kuyun on-demand average viewership and became the first Mango TV drama to surpass 20 million Kuyun views. It was also the first Mango TV series to exceed 30 million Kuyun views.
After six days of broadcast, the Yunhe market share of the series increased to 20.3%. It is the first Mango TV drama to surpass both 35 million and 40 million views on Yunhe. During its hot-broadcast period, the series reached 40.83 million views per episode on Yunhe, setting an all-time platform record. It also became the first Mango TV drama to surpass 50 million average views per episode on Yunhe. It accumulated 1.274 billion total views and an average of 39.23 million views per episode on Lighthouse. It ranked at No 1 among all costume dramas in average views, held the daily top 1 spot for 20 days and was recognized as a Lighthouse hit drama.
Flourished Peony is the first and only drama in 2025 to surpass 3 on the Datawin Index. It surpassed 2 a total of 27 times and exceeded 2.5 a total of 21 times. After 5 days of broadcast, total views exceeded 1 billion on Mango TV. The series accumulated over 4 billion views, averaging over 130 million views per episode, setting a record for Mango TV. It received a 7.8 rating on Douban, with over 340,000 viewers participating in the rating.
Flourished Peony premiered internationally on multiple platforms including Netflix, VIU, Viki, Line TV, MyVideo, Astro, K+, Vidio, TrueVisions and MOA. The release covered 80 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. In Vietnam, it reached the top position on the K+ platform in real-time views within two days of its premiere.
Impact
According to reports from numerous mainstream and financial media outlets, the immense success of Flourished Peony has directly boosted the "Peony Economy. After the series aired, peony sales surged in Heze city of Shandong province and Luoyang city of Henan province. Zhao Wenshuang, Secretary-General of the Heze Peony Industry Association and head of the Heze Flower King Industrial Park, stated in an interview, "The peak sales of peonies in Heze arrived three days earlier this year, with sales increasing by one-third compared to the same period last year". Luoyang's traditional Chinese pastry, "Peony Flower Pastry," has also become incredibly popular. The series also boosted local cultural tourism. During the broadcast, offline activities such as a Flourished Peony themed light show at Yingtian Gate in Luoyang, Henan and a Flourished Peony themed garden party in Nanyue Lane, Hengyang, Hunan attracted a large number of tourists. Replicas of the flower garden "Hua Man Zhu" from the television series was featured in the Peony Festival in Taiyanggong Park, Chaoyang, Beijing. Another Flourished Peony themed flower exhibition was held at Kunming, Yunnan during the Spring Festival holiday. The series, along with the film Detective Chinatown 1900, also attracted visitors to Laoling Film Studio in Shandong.The Arabic version of the series was presented as a diplomatic gift to Egypt and the United Arab Emirates, while Hungarian National Television signed a contract to broadcast the series. According to informations from Mango TV's Spring Investment Promotion Conference in May, Flourished Peony directly boosted Mango TV's user base by 42.7% and its membership conversion rate reached a record high.