Comma Blooms Florist – 香港花店 | 訂花送花
  • Shop
  • About Us
  • Size Chart
  • Flowers
    • Orchids
    • Lilies
    • Tulips
    • Roses
    • Peony
  • Locations
    • Hong Kong Island
      • Kennedy Town
      • Pok Fu Lam
      • Sai Ying Pun
      • Mid Levels
      • Central
      • Admiralty
      • Wan Chai
      • Causeway Bay
      • Happy Valley
      • Quarry Bay
      • Happy Valley
      • Tai Hang
      • The Peak
      • Repulse Bay
      • Stanley
    • Kowloon
      • Tsim Sha Tsui
      • Mong Kok
      • Prince Edward
      • Hung Hom
      • Ho Man Tin
      • Kwun Tong
    • New Territories
      • Tung Chung
      • Tuen Mun
      • Yuen Long
      • Sha Tin
      • Tseung Kwan O
  • English

Your cart is currently empty!

Home / Uncategorized / Flower Symbolism in Chinese Literature Throughout History
Uncategorized

Flower Symbolism in Chinese Literature Throughout History

admin
October 15, 2025

Flowers have held profound symbolic meaning in Chinese literature for over two millennia, serving as vehicles for expressing emotions, moral virtues, philosophical ideas, and social commentary. The Chinese literary tradition has developed an intricate and sophisticated language of flowers, where each bloom carries multiple layers of meaning shaped by mythology, folklore, Confucian ethics, Buddhist philosophy, Daoist thought, and centuries of poetic association. This symbolic vocabulary became so rich and nuanced that educated readers could decode complex emotional and political messages simply through the mention of specific flowers in poetry and prose.

The Historical Foundations

The symbolic use of flowers in Chinese literature can be traced to ancient texts like the Shijing (Book of Songs, circa 1000-600 BCE), China’s oldest collection of poetry, where plants and flowers appeared as metaphors for human relationships, romantic longing, and seasonal change. In these early poems, flowers often served as coded references to lovers or as expressions of separation and desire. The Chuci (Songs of Chu), attributed largely to the poet Qu Yuan (340-278 BCE), elevated flower symbolism further, using exotic and fragrant plants to represent political loyalty and moral purity in contrast to a corrupt court.

However, it was during the Tang dynasty (618-907 CE) and Song dynasty (960-1279 CE) that flower symbolism reached its full flowering in Chinese poetry and prose. Tang poets like Li Bai, Du Fu, and Bai Juyi wove intricate floral imagery throughout their works, while Song dynasty literati developed an entire aesthetic culture around flowers, including flower-viewing parties, flower arrangement, and the scholarly appreciation of particular blooms. By the Ming (1368-1644) and Qing (1644-1912) dynasties, flower symbolism had become deeply embedded in novels, opera, and painting, creating a unified aesthetic vocabulary across all arts.

The Four Gentlemen (四君子, Sì Jūnzǐ)

Perhaps the most celebrated grouping in Chinese culture, the Four Gentlemen represent the ideal qualities of the scholar-gentleman (junzi), a concept central to Confucian philosophy. These four plants—plum blossom, orchid, bamboo, and chrysanthemum—appear countless times in Chinese poetry, painting, and literature, each embodying specific virtues that the educated person should cultivate.

Plum Blossom (梅花, méihuā)

The plum blossom blooms in late winter, often pushing through snow and frost, making it a powerful symbol of resilience, perseverance, inner strength, and hope. It represents the ability to maintain integrity and beauty during adversity, blooming when other flowers dare not. The Song dynasty poet Lin Bu (967-1028) famously lived as a recluse on Solitary Hill near West Lake, with only plum trees and cranes for company, epitomizing the scholarly ideal of withdrawal from corrupt officialdom while maintaining moral purity.

In literature, plum blossoms frequently appear in poems about enduring hardship with grace and dignity. The early blooming of the plum made it a herald of spring and renewal, a promise that winter’s hardships would end. Wang Anshi’s famous line “From a distance, it’s not the snow I recognize, but rather the secret fragrance that comes” captures the plum’s subtle yet unmistakable presence. The “secret fragrance” (暗香, ànxiāng) became a literary epithet for the plum blossom itself.

The plum also carries associations with female beauty and virtue, particularly the combination of outer delicacy with inner strength. In the classic novel Dream of the Red Chamber (红楼梦, Hónglóu Mèng), the character Lin Daiyu is associated with plum blossoms, reflecting her combination of fragile beauty and strong character. The five petals of the plum blossom were interpreted as representing five blessings: longevity, wealth, health, love of virtue, and a natural death.

Orchid (兰花, lánhuā)

The orchid symbolizes refinement, elegance, nobility, and moral integrity. Its subtle, refined fragrance that persists even in remote valleys represents the superior person whose virtue remains constant regardless of recognition or circumstance. Confucius himself praised the orchid, comparing the friendship of virtuous people to entering a room full of orchids—eventually, you no longer notice the fragrance because you have become one with it.

In Chinese literature, orchids frequently appear in contexts involving friendship, loyalty, and the bond between like-minded scholars. The phrase “orchid chamber” (兰室, lánshì) came to mean a gathering place for refined individuals. The orchid’s tendency to grow in secluded, wild places made it a symbol of the reclusive scholar who maintained his principles away from the corrupting influence of political life.

The famous Warring States period poet Qu Yuan used orchids extensively in his poetry, particularly in the “Li Sao” (Encountering Sorrow), where fragrant orchids and other aromatic plants represented loyal ministers in contrast to the “stinking weeds” of corrupt courtiers. This established a tradition of using orchids to represent political integrity that would persist throughout Chinese literary history. During periods of political turmoil, poets would often write about orchids as a way to express their frustration with corruption while maintaining plausible deniability.

The orchid’s association with spring also made it a symbol of renewal and the feminine principle. In romantic literature, orchids could represent a beloved’s grace and refinement, or the sweet memory of past love.

Bamboo (竹, zhú)

Bamboo, while not technically a flower, is included in the Four Gentlemen for its symbolic importance. It represents flexibility combined with strength, integrity that bends but never breaks, and the scholar’s upright character. Bamboo is hollow inside, symbolizing modesty and an open mind ready to receive wisdom. Its segmented structure represents the stages of moral development and life’s journey.

Throughout Chinese literature, bamboo appears as a symbol of the ideal scholar-official—one who maintains principles under pressure, who is useful yet humble, who provides shelter to others while remaining unadorned. The Tang dynasty poet Bai Juyi wrote extensively about bamboo, praising its ability to remain green through all seasons and to produce a pleasant sound when wind passes through it, much as the virtuous person brings harmony to society.

Bamboo groves in literature often serve as settings for philosophical discussions or as refuges from worldly concerns. The “Seven Sages of the Bamboo Grove” (竹林七贤), a group of third-century scholars who met in a bamboo grove to discuss philosophy and practice “pure conversation,” established bamboo as a symbol of intellectual freedom and non-conformity. In later literature, bamboo forests became romantic settings where scholars could escape bureaucratic constraints.

The rapid growth of bamboo shoots also made them symbols of vigorous, upward-striving youth and the potential for rapid advancement through virtue. Su Dongpo’s famous line “Better to eat without meat than live without bamboo” expressed the scholar’s preference for spiritual sustenance over material comfort.

Chrysanthemum (菊花, júhuā)

The chrysanthemum blooms in autumn when most other flowers have faded, making it a symbol of integrity in the face of declining fortune, the ability to remain virtuous during difficult times, and longevity. The chrysanthemum’s association with the recluse poet Tao Yuanming (365-427 CE) is legendary. After resigning from official service rather than compromise his principles, Tao lived in rustic simplicity, growing chrysanthemums and writing poetry celebrating the simple life.

His famous line “Picking chrysanthemums by the eastern fence, I gaze at the southern mountain in peace” became one of the most quoted lines in Chinese literature, encapsulating the ideal of withdrawal from politics to live according to one’s principles. The chrysanthemum thus became inextricably linked with the idea of the scholar-recluse who chooses poverty and simplicity over wealth and corruption.

In literature, chrysanthemums often appear in contexts involving autumn, reflection on mortality, the passage of time, and the choice between worldly success and moral integrity. The flower’s ability to withstand frost made it a symbol of hardy virtue and the scholar who remains uncorrupted by adverse circumstances. The ninth day of the ninth lunar month became the Chrysanthemum Festival, when scholars would climb heights, drink chrysanthemum wine, and compose poetry—activities frequently depicted in literature.

Chrysanthemums also carried associations with immortality and longevity, as the flower was believed to have life-extending properties when consumed. This made it a popular subject in birthday poems and wishes for long life. Different colors of chrysanthemums carried different meanings: yellow represented disappointed love, white represented truth and honest sentiment, and red represented love.

The “Three Friends of Winter” (岁寒三友, Suìhán Sān Yǒu)

Another important symbolic grouping consists of pine, bamboo, and plum blossom—the three plants that remain green or bloom during winter. Together they symbolize steadfastness, perseverance, and resilience in the face of adversity. This grouping appears frequently in poetry about friendship that endures through difficult times, or about maintaining one’s principles when facing hardship.

The concept comes from a passage in the Analects of Confucius: “Only when winter comes does one know that the pine and cypress are the last to fade.” This metaphor for recognizing true friendship and virtue during difficult times became a recurring theme in Chinese literature. Poets would often write about these “three friends” when facing political exile, personal loss, or other hardships, using them to express determination to maintain integrity regardless of circumstances.

The Peony (牡丹, mǔdān): The King of Flowers

The peony holds a unique position as the “king of flowers” and represents wealth, honor, prosperity, and feminine beauty. Unlike the Four Gentlemen, which represent scholarly virtues, the peony embodies worldly success and aristocratic splendor. During the Tang dynasty, peony cultivation and appreciation reached fever pitch, with rare varieties fetching astronomical prices and becoming status symbols for the wealthy.

The Tang poet Liu Yuxi wrote that “Only the peony is the true national beauty; when it blooms, the capital goes wild.” This capture the intense cultural fascination with peonies during this period. Poets like Li Bai wrote drinking songs celebrating peonies, while the imperial family held elaborate peony-viewing parties in specially constructed gardens.

However, the peony’s symbolic meaning is complex and sometimes contradictory. While it represents legitimate success and honor when bestowed by heaven or earned through virtue, it can also symbolize excessive wealth, vanity, and the transient nature of worldly glory. In Dream of the Red Chamber, the magnificent but ultimately doomed Jia family is associated with peonies, reflecting both their aristocratic splendor and their inevitable decline.

The peony also serves as a symbol of romantic love and feminine beauty. The phrase “beautiful as a peony” became a conventional compliment, and peonies frequently appear in poems and stories about beautiful women. The Tang dynasty story “The Peony Pavilion” (later made into a famous opera by Tang Xianzu) uses the peony as a central symbol for young love, beauty, and desire.

Interestingly, the peony never attained the moral and philosophical weight of the Four Gentlemen precisely because of its association with wealth and beauty rather than moral virtue. This tension between aesthetic appreciation and moral symbolism runs throughout discussions of the peony in Chinese literature.

The Lotus (荷花/莲花, héhuā/liánhuā): Buddhist Purity

The lotus occupies a special place in Chinese literature due to its prominence in Buddhism, where it symbolizes purity, enlightenment, and spiritual rebirth. Growing from mud yet remaining unstained, the lotus represents the ability to maintain spiritual purity while living in the imperfect material world. This symbolism made it enormously important in Buddhist texts and in secular literature influenced by Buddhist thought.

The Song dynasty scholar Zhou Dunyi’s famous essay “On the Love of the Lotus” (爱莲说, Ài Lián Shuō) established the lotus as the flower of the superior person (junzi). He wrote: “I love the lotus because it grows out of muddy water yet remains unstained, it is washed by clear ripples yet does not appear seductive. Its stem is hollow and straight, it has no branches or tendrils, its fragrance becomes more delicate the farther it spreads, it stands clean and upright, it can be appreciated from a distance but cannot be played with frivolously.”

This description became the classical statement on the lotus’s symbolic meaning, and subsequent literature frequently referenced or alluded to Zhou’s essay. The lotus became a symbol not just of Buddhist purity but of the Confucian ideal of maintaining integrity while participating in worldly affairs—being “in the world but not of it.”

In romantic literature, the lotus carries multiple meanings. Its association with purity makes it a symbol of virtuous feminine beauty. The phrase “lotus feet” referred to bound feet, considered beautiful during certain periods of Chinese history. Lotus flowers and lotus-themed imagery pervade classical poetry about beautiful women. However, the lotus also represents the Buddhist ideal of non-attachment, sometimes creating interesting tensions in romantic poetry between desire and renunciation.

The various parts of the lotus plant each carry symbolic significance: lotus seeds (lián zǐ) sound like “continuous sons,” making them symbols of fertility; lotus roots (lián ǒu) sound like “good match” (lián’ǒu), making them symbols of good marriage. This kind of punning added additional layers to lotus symbolism in literature.

The Apricot Blossom (杏花, xìnghuā): Spring and Scholarly Success

Apricot blossoms, blooming in early spring, symbolize feminine beauty, renewal, and education. The association with education comes from the legendary “Apricot Altar” where Confucius taught his disciples. The phrase “apricot forest” (杏林) became a poetic term for the medical profession, originating from a legend about a physician who had patients plant apricot trees in gratitude for treatment.

In poetry, apricot blossoms often appear in scenes of early spring, representing hope, youth, and the awakening of romantic feelings. The Tang poet Du Mu’s famous lines describe encountering a wine shop marked by an apricot blossom banner during spring rain—an image that became iconic in Chinese literature. Apricot blossoms could also symbolize the ephemeral nature of beauty, as they fall quickly, making them appropriate for poems about the passage of time or lost love.

The apricot’s golden fruit also carried symbolic weight, sometimes representing rewards for virtue or scholarly achievement. During imperial examinations, successful candidates would celebrate among blooming apricot trees, reinforcing the flower’s association with educational success and official appointment.

The Peach Blossom (桃花, táohuā): Immortality and Romantic Escapism

Peach blossoms carry rich symbolic associations with immortality, springtime romance, and utopian refuge from worldly troubles. In Daoist mythology, the Queen Mother of the West cultivated peaches of immortality in her heavenly garden, which ripened once every three thousand years. This association made peach blossoms symbols of longevity and transcendence.

The most famous literary use of peach blossoms comes from Tao Yuanming’s “Peach Blossom Spring” (桃花源记, Táohuā Yuán Jì), a story about a fisherman who follows a stream lined with peach blossoms and discovers a hidden utopian community that has been isolated from the outside world for centuries. This story established peach blossoms as symbols of escape from political turmoil and the search for an ideal society. The phrase “Peach Blossom Spring” (táohuā yuán) became shorthand in Chinese literature for any utopian refuge.

In romantic literature, peach blossoms often appear in contexts involving passion, desire, and sometimes illicit love. The phrase “peach blossom luck” (桃花运, táohuā yùn) refers to romantic fortune or sexual opportunities. The ephemeral nature of peach blossoms, which bloom brilliantly but briefly, made them appropriate symbols for fleeting romantic encounters or the transient nature of beauty and desire.

Peach blossoms also appear in poems about spring’s arrival and nature’s renewal. Their pink color and delicate petals made them conventional symbols of feminine beauty and youth. In Dream of the Red Chamber, important scenes take place during the falling of peach blossoms, using the imagery to underscore themes of beauty’s transience and the bittersweet nature of human relationships.

The Cassia/Osmanthus (桂花, guìhuā): Autumn and Literary Success

The cassia or osmanthus, with its intensely fragrant small flowers blooming in autumn, symbolizes literary achievement, honor, and autumn itself. The association with success comes from a legend about a cassia tree growing on the moon, which scholars must metaphorically pluck to achieve success in imperial examinations. “Plucking cassia” (折桂, zhé guì) became a euphemism for passing the examinations and achieving official position.

In poetry, osmanthus frequently appears in contexts involving autumn, the moon (since the cassia tree supposedly grows on the moon), scholarly aspiration, and nostalgia. The flower’s powerful fragrance, which can perfume an entire garden, made it a symbol of virtue whose influence spreads widely. The Tang poet Song Zhiwen wrote, “The cassia tree beside the courtyard sends its fragrance far”—an image of virtue naturally attracting recognition.

Osmanthus wine and osmanthus cakes appear frequently in Mid-Autumn Festival literature, linking the flower with family reunion and lunar appreciation. The flower also carries associations with romance, as its sweet scent and connection to the moon made it appropriate for poems about longing and separation.

The Magnolia (木兰, mùlán): Purity and Noble Character

The magnolia symbolizes purity, nobility, and feminine virtue. The famous “Ballad of Mulan” (木兰辞), about a young woman who takes her father’s place in the army, associates the magnolia with filial piety and righteous action. Though the character Mulan’s name may or may not derive from the magnolia flower, the association became fixed in literary tradition, giving the flower connotations of female strength combined with virtue.

Magnolias bloom early, often while snow still threatens, which gave them associations with courage and purity untainted by worldly concerns. Their large, pristine white flowers made them natural symbols for untainted virtue and spiritual purity, sometimes appearing in Buddhist contexts alongside the lotus.

In garden literature and poetry, magnolias often represent the pure, remote beauty that inspires aesthetic appreciation without desire. Their fragrance, considered refined rather than intoxicating, made them appropriate symbols for dignified beauty.

The Narcissus (水仙, shuǐxiān): New Year and Self-Reflection

The narcissus or “water immortal” blooms during the Lunar New Year period, making it a symbol of good fortune for the coming year, renewal, and new beginnings. Its Chinese name, meaning “water immortal,” gives it associations with Daoist transcendence and purity.

In literature, the narcissus often appears in New Year poems and scenes of winter’s end. The flower’s tendency to grow in water, often placed in shallow dishes for indoor cultivation, made it a favorite subject for poems about winter confinement and scholarly cultivation. The narcissus’s reflection in water created opportunities for poets to explore themes of self-knowledge, vanity, and the relationship between appearance and reality.

The flower also carries associations with feminine beauty and grace, particularly in contexts involving introspection or contemplation. Its delicate white and yellow flowers and sweet fragrance made it appropriate for poems about refined beauty and spiritual cultivation.

The Azalea/Rhododendron (杜鹃花, dùjuānhuā): Sorrow and Longing

The azalea carries particularly poignant symbolism because its name in Chinese (dùjuānhuā) is the same as the word for cuckoo bird (dùjuān). According to legend, the ancient king of Shu transformed into a cuckoo after death and cried until he coughed up blood, which stained azaleas red. This mythology made azaleas powerful symbols of grief, longing, homesickness, and the pain of separation.

In poetry, azaleas frequently appear in contexts involving exile, loss, unrequited love, or longing for home. The Tang poet Li Bai wrote about hearing the cuckoo’s cry among azaleas, using the imagery to express homesickness. The flower’s blood-red color reinforced its associations with passionate emotion, whether love or sorrow.

Azaleas bloom in spring, which creates interesting tensions in poetry between the season’s typical associations with joy and renewal versus the flower’s melancholy symbolism. This made azaleas particularly effective for exploring complex emotional states that combine beauty with sorrow, or hope with loss.

Regional and Period Variations

The symbolic meanings of flowers evolved over time and varied somewhat by region. During the Tang dynasty, peonies reached their peak of cultural importance, while Song dynasty aesthetics emphasized the more restrained beauty of plum blossoms and orchids. The Ming and Qing dynasties saw increased interest in exotic flowers and more elaborate garden cultivation, which influenced literary symbolism.

Regional differences also existed: southern literature made more frequent use of water plants like lotus and water lilies due to their abundance in southern climates, while northern literature emphasized flowers that could withstand harsh winters. The literati of Jiangnan (the region south of the Yangtze River) developed particularly sophisticated flower symbolism, influencing the entire literary tradition.

Flowers in Narrative Literature

While lyric poetry made the most concentrated use of flower symbolism, novels, stories, and dramas also employed flowers systematically. In Dream of the Red Chamber, different female characters are associated with different flowers, creating a symbolic system that comments on their personalities and fates. The novel’s “Crab-Flower Club” scenes, where characters compose poems about flowering crabapples, demonstrate how flower poetry served as social performance and revealed character.

In The Plum in the Golden Vase (金瓶梅, Jīn Píng Méi), the title itself combines three flowers representing the three main female characters, and floral imagery throughout the novel comments on themes of desire, transience, and moral corruption. Ming and Qing dynasty dramas frequently used flower imagery in song lyrics to express emotion and advance themes.

Conclusion: The Living Language of Flowers

Flower symbolism in Chinese literature represents one of the world’s most sophisticated and sustained symbolic vocabularies. Over more than two thousand years, Chinese writers developed an intricate language of flowers that could express philosophical concepts, political commentary, emotional states, and aesthetic ideals with remarkable precision and nuance.

This symbolic system was not static but evolved continuously, with each generation of writers adding layers of meaning while drawing on accumulated tradition. The same flower could mean different things in different contexts, and skillful writers could play these multiple meanings against each other to create rich, ambiguous effects.

For the modern reader, understanding this flower symbolism opens up deeper appreciation of Chinese literature. What might seem like simple nature description often carries complex symbolic freight, and recognizing these patterns allows readers to perceive meanings that would otherwise remain hidden. The flowers that bloom throughout Chinese literature are never merely decorative—they are a language in themselves, speaking across centuries about the perennial human concerns of virtue, beauty, mortality, and the search for meaning.

←Previous
Next→

Categories


  • Uncategorized (87)

Recent post


  • 中國藝術史上的花卉象徵

    October 15, 2025
  • Flower Symbolism in Chinese Art Throughout History

    October 15, 2025
  • 中國文學中的花卉象徵歷史指南

    October 15, 2025
  • Flower Symbolism in Chinese Literature Throughout History

    October 15, 2025

Gallery


kitchen-with-small-space-modern-design
3d-rendering-white-minimal-kitchen-with-wood-decoration
beautiful-shot-modern-house-kitchen-dining-room
3d-rendering-white-minimal-kitchen-with-wood-decoration
empty-modern-room-with-furniture-2-scaled
minimalist-kitchen-interior-design

Tags


Comma Blooms

Our love for flowers goes beyond aesthetics, it is rooted in an in-depth understanding of craftsmanship and deep professional floral knowledge.

florist@commablooms.com

送花、訂花、預訂花束、線上訂花、推薦花店、鮮花快遞服務、花束、客製化花束訂單、情人節花束、生日花束、當日快遞、畢業花束、訂婚花束、母親節花束、母親節鮮花、開幕禮籃、迎賓禮品、禮物籃、婚禮插花、胸花、新娘花禮、新生兒擺花禮品、中秋花禮盒、花草中花禮盒、花草中花禮盒

我們喺 flowersby.com 有登記
而且我哋係HK Florist Association 嘅會員

Explore more

Size Chart

Blog

Shop

New product

Packaging


© 2025 Copyright All right Reserved