Recent behind - the - scenes photos from the film set featuring Ju Jingyi and Chen Duling’s floral hairpin styles have sparked heated discussions online. Some netizens pointed out that Chen’s look appears "overwhelmed by oversized flowers and a smaller head," creating a disproportional effect, while Ju’s styling aligns more closely with traditional aesthetics. Analysis reveals that these differences stem from distinct interpretations of Tang Dynasty floral adornment culture:
Chen Duling’s Historical Inspiration
Her hairstyle draws from the "high coiled bun" (峨髻, é jì) depicted in Zhou Fang’s iconic painting Court Ladies Adorning Their Hair with Flowers (簪花仕女图). Historically, such buns required a height of 28 - 29 cm (Tang Dynasty measurement) to balance the visual weight of the floral ornaments. Modern adaptations often retain actors’ natural eyebrows rather than recreating the Tang practice of shaving and redrawing them, and today’s slimmer facial features make it challenging to replicate the original proportions. Netizens improved the balance by digitally raising the bun’s height and adding U - shaped hairpins for lateral symmetry.
Ju Jingyi’s Styling Approach
Her look adopts a classic Tang - Song era updo, featuring a center - parted front and a coiled top bun to elongate the silhouette horizontally, reminiscent of styles seen in dramas like The Curtain of Pearls (珠帘玉幕). Her floral ornaments follow the "balance of solemnity and liveliness" principle, with moderate sizing and color coordination to avoid visual heaviness.
As a cornerstone of Tang - era aesthetics, this painting has inspired screen costumes since the 1980s. Key elements include:
The triad: High bun + wide - sleeved robe (大袖衫, dà xiù shān) + hezi skirt (诃子裙, a draped wrap skirt). Beauty standards: Short, broad eyebrows and fuller figures symbolizing aristocratic opulence. Historical context: Exaggerated adornments reflecting the decadence of late Tang nobility. Though debated as a late Tang or Five Dynasties work, its realism offers invaluable insights into Tang fashion.
The two actresses’ looks reflect a tension between historical accuracy and cinematic adaptation: Chen’s emphasizes historical gravitas, while Ju’s prioritizes visual appeal. As noted by the costume designer of The Curtain of Pearls, modern adaptations must balance tradition with actors’ features and audience expectations. This iterative process exemplifies how traditional culture evolves in contemporary media—a dynamic interplay of heritage and innovation. In the future, we can expect more creative and balanced interpretations of traditional styles in film and TV, further promoting the inheritance and development of traditional culture.
