As someone deeply passionate about historical clothing and accessories, people often ask me: "Does your knowledge of ancient fashion ruin your enjoyment of period dramas?" The answer is—quite the opposite! In fact, it adds another layer of enjoyment, turning each viewing into a treasure hunt for accurate details (or amusing anachronisms).
Take "Nirvana in Fire 2" (琅琊榜之风起长林), for example. The series boasts stunning visuals, but as I watched, I couldn't help but notice a curious detail—the jewelry worn by characters like Empress Xun (荀皇后) and the Grand Lady of Laiyang (莱阳太夫人) bore striking similarities to Ming Dynasty designs. However, their application in the drama was... unconventional, to say the least. It appears that the production team sourced historically inspired pieces but missed the mark on how they were actually worn.
Filigree Gold Phoenix Hairpins
One of the most eye-catching pieces worn by Empress Xun is a set of three gold phoenix hairpins (累丝嵌宝石金凤簪). These exquisite accessories have a real-life counterpart: they are modeled after jewelry unearthed from Ming Dynasty imperial tombs in the western suburbs of Beijing. These tombs, unfortunately looted and excavated long ago, left behind only fragments of their once-lavish burial artifacts, yet what remains showcases remarkable craftsmanship.
Unlike the solid gold accessories one might expect, these phoenix hairpins were crafted using a technique known as "filigree" (累丝). This method involves twisting and weaving ultra-fine gold or silver wires to form delicate, airy structures—creating an illusion of weightlessness in the gold phoenix. The process was incredibly intricate, often requiring a mold that was later burned away, leaving a hollow but durable structure.
Yet in the drama, these hairpins were simply stuck into elaborate wigs, completely out of context. Historically, a phoenix crown (凤冠) was a substantial headdress, more akin to a hat, structured and voluminous. It was never just a handful of bird-shaped ornaments randomly pinned into a hairstyle. The simplified depictions of phoenix crowns in period dramas, likely influenced by later Qing Dynasty (清代) aesthetics, often miss the structured grandeur of their Ming predecessors.
A Hair Ornament Misplacement That Sparks Laughter
Another amusing detail appeared on the back of Empress Xun’s head—three decorative pieces known as "fenxin" (分心). In the Ming Dynasty, fenxin were integral components of a structured headdress system called "zhanji" (䯼髻), worn by noblewomen. These ornaments were always positioned at the front and inserted upside down, with the decorative end pointing downward, never placed haphazardly at the back.
Fenxin came in many motifs, from phoenixes and peacocks to Buddhist imagery like pagodas and Sanskrit inscriptions. Their precise placement adhered to strict aesthetic and hierarchical principles, much like clothing etiquette. What made me chuckle was that the show’s stylists had completely reversed the intended positions of these pieces! Meanwhile, on the Grand Lady of Laiyang’s head, what should have been a "manguan" (满冠)—a broad, mountain-shaped hairpiece—was incorrectly placed at the front instead of the back. While manguan were meant to be prominent, they were not designed to overshadow the delicate layering of front-facing jewelry.
This misplacement likely stemmed from a visual preference rather than historical accuracy. To an untrained eye, the larger manguan appears more opulent and visually striking, making it a tempting choice for front placement. But in reality, Ming Dynasty hairstyling followed a meticulous balance between front and back adornments, ensuring harmony rather than overwhelming opulence.
The Hidden Structure of Ming Headdresses
One crucial element missing in most dramas, including "Nirvana in Fire 2," is the structural base of these ornate hairstyles. Unlike modern hairpins that slide directly into a bun or wig, Ming Dynasty accessories were often anchored into a woven hair frame that encased the wearer’s real hair. This framework, made of horsehair, human hair, bamboo strips, or even fine silver wires, served as a stable foundation for elaborate arrangements.
The true measure of status in Ming Dynasty attire wasn’t in the sheer size of one’s sleeves or the number of dangling ornaments, but in the refinement of these structured embellishments. The wealthier the wearer, the more intricate and varied their headdress components would be.
Why Do These Details Matter?
While these costume inconsistencies don’t necessarily diminish the storytelling of a drama, they do highlight an ongoing challenge in historical productions—balancing visual appeal with authenticity. The misplacement of Ming Dynasty accessories in "Nirvana in Fire 2" is a small but telling example of how historical fashion is often adapted for modern aesthetics rather than strict accuracy.
For viewers like me, these details are part of the fun. Noticing a misplaced fenxin or an improperly worn phoenix hairpin doesn’t ruin the experience—it enhances it. It’s a reminder that history is rich, complex, and full of fascinating nuances, even in something as seemingly simple as a hair ornament.
