In the historical drama Blossoms of Power (百花杀), actress Meng Ziyi (孟子义) appears as a character named Shen Xihe (沈汐和). The show features a pair of ornamental hairpins that have been popping up in quite a few recent period productions. Unlike the more common single dangling hairpins we are used to seeing, this particular style—a long pin with a decorative top and a swaying chain of beads—actually traces its roots back to a specific type of ceremonial headwear seen in a famous silk painting from the Mawangdui (马王堆) Han dynasty tomb.
That painting depicts Lady Xin Zhui (辛追), and the ornament she wears is known as a Bu Yao (步摇). This has led to a resurgence of interest in a style of hair accessory that was incredibly popular during the Eastern Han dynasty. But beyond its aesthetic appeal, the most pressing question for the modern viewer is about its practicality: how did women of that era keep these elaborate pieces, which are literally named for their movement, securely in place?
Defining the Dangling Charm
To understand how it was worn, we first have to define what a Bu Yao actually is. In modern minds, it is often confused with any hairpin that has a long, dangling chain. However, the concept is much more specific. The Chinese dictionary Shiming (释名), written by Liu Xi (刘熙) during the Eastern Han period, gives a very precise definition: it is a hair ornament with pendants of pearls or jade that sway as the wearer walks. The name literally translates to “step shake,” perfectly capturing its most essential function—it moves with the rhythm of the wearer’s gait. This isn’t just a static piece of metal; it is an interactive accessory that turns the wearer’s movement into a visual spectacle of light and sound. The primary feature is the slender, dangling beads attached to the body of the pin, which create a shimmering, tinkling effect.
Based on archaeological finds, the particular style seen in Meng Ziyi’s drama, which features long, dramatic tassels, reflects a version that was highly fashionable from the late Western Han to the Eastern Han period. However, it is crucial to note that the version in the show is a stylized artistic interpretation, not a historically accurate replica. In its early stages during the Western Han, these Bu Yao were simpler, often with shorter beads and smaller chains. By the Eastern Han, the pendants grew longer and more extravagant. The ornament was also not strictly a “pair” item. While symmetrical wear was common, some elaborate, single pieces were also the centerpiece of a hairstyle, worn right in the middle of the topknot.
Mechanics of a Marvel
This brings us to the central question of stability. A top-heavy pin with swinging chains seems like it would be a recipe for disaster, constantly slipping out of a woman’s hair. The secret lies in the base of the Bu Yao, which is not typically the thin, single-pronged structure we often imagine. Historical records and artifacts, such as those from Mawangdui, suggest that the base was often a zhi (擿). A zhi is essentially a long, comb-like pin with dense teeth, often measuring around 20 centimeters. This piece was a versatile tool; in its basic form, it was used simply to secure hair. However, its top could be perforated, allowing it to serve as a functional anchor for a more decorative Bu Yao or even to be adorned directly with jewels.
The term zhi might be unfamiliar, as it has multiple pronunciations, but when referring to a hairpin, it is pronounced “zhi.” It is also written as “ti” (揥) or “zhai” (摘) in some texts. This comb-like pin performed a dual function. It was both a practical hair tool used to secure the front or back of a coiffure and a decorative piece. This is the secret to the design. Instead of relying on a single, slippery stick, the wide, toothed base of the zhi provided a firm grip on the hair, providing a stable platform to support the weight of the swaying beads and chains above. The mechanism is quite intelligent: the functional base supports the ornamental top.
Artistic License and Historical Resurrection
Since ancient paintings are often two-dimensional, it is difficult to see the three-dimensional construction of these hairpins. We must rely on inference. It’s likely that in many cases, the Bu Yao appeared as a pair, placed symmetrically on either side of the bun, or perhaps slightly in front. This is the style that Meng Ziyi’s character sports in Blossoms of Power, creating a balanced and elegant silhouette. However, this is educated speculation. Modern creators often have to “replicate” these ornaments based on drawings and their own understanding of the era’s aesthetics.
In the drama, the heads of the hairpins are a blend of artistic influences and historical references. Two of the most common designs seen on the show are the butterfly-headed and the phoenix-headed Bu Yao. These are fascinating because they are not pure Han dynasty artifacts. They are a hybrid, combining motifs and techniques from various dynasties. This mix-and-match approach creates a beautiful look but also shows the fluid nature of “historical” costume design. The same style also appeared in Meng Ziyi’s other historical drama Jiangmen Duhou (将门独后), showing how this specific aesthetic has become a trend in the industry.
Looking at these small but significant details, we see a blueprint for period drama costume design. It demonstrates that the appeal of traditional styling lies not in pandering to the bizarre or the overly exotic, but in a respectful excavation of our ancestral culture. By honoring the historical record and restoring authentic forms, designers can make the classical beauty found in artifacts and the traditional charm found in texts come alive on screen. It encourages the audience to not just watch the drama, but to read the story of Chinese aesthetics, deepening our cultural confidence and appreciation for the subtle, moving art of the ancients.