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Despite having a few distinguishing characteristics, lotuses (Nelumbo nucifera) and water lilies (Nymphaea) are frequently mistaken for one another. As a result of this, their symbolic meanings frequently overlap to the point where they have the same connotations across certain cultures. Thus, for the duration of this post, I shall use both names interchangeably. In China, lotuses are known as lián huā (蓮花) or hé huā (荷花) while water lilies are known as shuìlián (睡莲) and héhuā (荷花). They are renowned as the gentleman's flower since they grow upwards pure and unstained from the mud. As a result of how it grows, this flower is associated with endurance, elegance, resilience, triumph over adversity and ultimate purity of mind and heart in China. The lotus is considered a sacred flower, embodying the essence of divine beauty and grace. It is also a symbol of moral integrity, emphasising the importance of maintaining inner purity and virtuous behaviour in the face of worldly temptations. In China, part of the lotus flower’s Chinese name “l蓮” (lián) is homophonous with the words “聯” (lián) meaning “to bind/connect as in marriage”; “戀” (liàn) meaning to love; and “廉” (lián) meaning modesty. This has resulted in the lotus flower symbolizing love, marriage and unions in Chinese culture. The lotus is thus a common motif in poetry, from the Tang and Song dynasties to contemporary works, and it is used to express love, convey feelings, and reflect on the state of humanity. A single stalk bearing two lotus flowers symbolises the yearning for harmony and a shared heart. This was derived from the fact that the “荷” (hé) in the lotus flower’s other Chinese name also means “union” and is homophonous with the word “和” (hé) meaning uninterrupted or one after another. In addition to this, a lotus bloom complete with a leaf and bud represents a complete union. Water lilies are often used in bridal bouquets because they are considered a lucky charm and symbol of 100 years of love in China. The word “l蓮” (lián) also sounds similar to “連續” (liánxù) which means continuous. This conveys the idea of constant growth and spiritual progress thus making the lotus a symbol of the continuous pursuit of knowledge, wisdom, and enlightenment. Lotus flowers symbolize purity, wisdom, peace, perfection, humility, enlightenment and rebirth in various Asian cultures because of their strong connection to Buddhism. The lotus is commonly used as a metaphor for the path to enlightenment in Buddhist literature. In the same way, as lotuses arise from the murky depths of ponds and lakes, pure and uncontaminated by the pollutants of their surroundings, so too are humans capable of rising above the obstacles and temptations of the outside world to achieve enlightenment and spiritual purity. The lotus is compared to the pure soul in South Asian Ismaili literature. There is a poem that highlights the beauty of the lotus, noting how its delicate white petals remain pure and attractive despite their murky surroundings. Similarly, a pure soul is both part of and not of this world, much like the lotus's surroundings. The lotus has deep symbolic meaning in Taoism, such as representing peace, balance, and the interaction of the natural and human worlds. It is a strong metaphor for the "interconnectedness of all things and the inherent harmony within the universe". The serene beauty of the lotus flower and its adaptability to many environments are representative of the Taoist concept of living in harmony with the natural order of things, flowing with life's rhythms, and maintaining balance in the face of change. In Taoist philosophy, the lotus is also connected to transcendence and immortality. Its enduring cycle of life, death, and rebirth is symbolised by its capacity to regenerate and blossom year after year in spite of the changing seasons. The lotus is a representation of transcendence and spiritual development that guides individuals towards a state of inner immortality and connection with the divine.

In Japan, lotuses are called ren (蓮) or hasu (はす) while water lilies are called suiren (睡蓮). In hanakotoba, lotuses symbolise eloquence, detached love, sacredness and a pure heart. They are also associated with rebirth, purity, transformation, renewal, spiritual enlightenment and resurrection as well as beauty, grace and perfection. In hanakotoba, water lilies symbolise a pure heart, faith and trust. In Western floriography, water lilies symbolize purity of the heart, virtue, innocence, achieving great things, beauty rising from humble beginnings and bringing together separate things. Pink waterlilies in particular are often associated with feelings of admiration. Since its scientific name was derived from the Greek nymph, water lilies while a symbol of beauty also has a dangerous side in addition to being a symbol of unity and balance. Lotuses can also symbolize estranged love as well as eloquence in floriography.

Despite a certain someone’s trials and attempts to corrupt Xie Lian in order to mould him into a perfect successor, the latter remained firm in his beliefs—"I just won’t change! Even if it’s painful I won’t change, Eve if I die, I won’t change, I will never change!” (MXTX, p. 1937). This ties in with the lotus flower’s symbolism of “rising above obstacles and temptations of the world to reach enlightenment and spiritual purity”, “triumph over adversity” and “maintaining balance in face of change” as well as “ultimate purity of mind and heart”. The lotus flower’s symbolic meanings of humility, virtue, resilience and constant growth complement Xie Lian’s character after his third ascension while its meanings of perfection, divine beauty, grace, and purity complement his character before and during his first ascension.  The lotus flower’s symbolic meanings of perfection, virtue, divine beauty, grace, and purity complement his character before and during his first ascension while its meanings of humility, wisdom, resilience and constant growth complement Xie Lian’s character after his third ascension. The lotus is a highly revered flower in both Taoism and Buddhism, and both have served as inspiration for the basis of Tiān Guān Cì Fú’s complex setting and lore. The lotus flower’s symbol meanings of “transcendence and immortality”, “divine beauty and grace”, “unity and balance”, “the cycle of life, death and rebirth” as well as “rising above obstacles and temptations of the world to reach enlightenment and spiritual purity” are all recurring motifs in Tiān Guān Cì Fú. Additionally, the lotus’ symbolism of longstanding love and feelings of admiration tie into Hua Cheng and Xie Lian’s relationship. A single stem bearing two lotus flowers denotes a desire for harmony and a shared heart. To share someone’s heart is to completely understand, accept and support them. Xie Lian professes his desire to understand Hua Cheng—"I want to understand your everything" (MXTX, p. 943)—while Hua Cheng states at the end of the book, "I understand your everything. Your courage, your despair, your kindness, your pain, your resentment, your hate, your intelligence, your foolishness” (MXTX, p. 1953). Xie Lian is completely enamoured by Hua Cheng and wants to be someone he can confide in and rely on. While Hua Cheng not only adores Xie Lian but fully understands him and accepts every part of him. As a heavenly official and a supreme ghost king respectively, Xie Lian and Hua Cheng's union brings together the heavenly and ghost realms—which embodies the lotus' symbolism of unity, balance and bringing together separate things. Throughout various cultures, the water lilies and lotuses repeatedly symbolize gracefully overcoming adversity as well as embodying the essence of divine beauty and grace; because they grow pure and unstained by the mud in which they grow. This sentiment is reminiscent of one of the most famous quotes in Tiān Guān Cì Fú which was said by both Xie Lian and Hua Cheng—“The one standing in infinite glory is you; the one fallen from grace is also you. What matters is ‘you’ and not the state of you” (MXTX, p. 943 & 1438 & 1930).

In the scene wherein Xie Lian meets “San Lang” for the first time, there are Ginkgo (Ginkgo biloba) and Maple trees (Acer) present in the background. Their vibrantly coloured leaves cascade onto the pair as they converse, creating a picturesquely autumnal setting. A ginkgo tree is also present in the scene where Xie Lian speaks to other heavenly officials via the communication array while maple trees are featured in many pieces of official artwork for the donghua.

Ginkgo trees are known as yínxìng (銀杏 ) in China and are the country’s national tree. In Chinese culture, ginkgo trees are highly symbolic of longevity, endurance, resiliency, and hope. The ginkgo's symbolic meaning is said to be derived from the tree’s ability to survive under the harshest conditions as well as its long lifespan. When displayed as a single tree, it stands for strength and solitude. In Japan, ginkgo trees are called ginkyo (銀杏) and symbolise magnificence, longevity, requiem, strength, hope and peace in hanakotoba. In Western floriography, ginkgo trees symbolise solemnity, longevity and requiem. The beauty and symbolism of the ginkgo tree are valued by many European cultures, who associate it with power, resilience, human progress, enlightenment, and memory enhancement. The ginkgo tree also represents renewal as shows off a magnificent colour display each autumn as it sheds its leaves to sprout new ones. Even if he denies it—"Don’t think someone overly perfect... If it’s just watching a shadow from afar and never having to interact, then whatever. But once acquainted and grown close, you will find that this person was not what you had imagined; maybe the complete opposite. When that happens, you will be completely disappointed” (MXTX, p. 445)—Xie Lian embodies the qualities of hope, peace, strength, and resiliency. Hua Cheng, on the other hand, sees Xie Lian as the embodiment of hope—"You never know. I don't care if anyone else is disappointed. But to some, the very existence of a certain person in this world is in itself, hope” (MXTX, p. 445). Which encapsulates the symbolic meanings of the Ginkgo tree: strength, hope, resilience, peace, and perseverance.

“Looking up they were traversing through a maple grove, a sea of flaming red in a field of green. The rustic charm of the mountainous countryside, with fresh grass that refreshed the mind, was extremely intoxicating. But, Xie Lian could not help but give a slight start. A long time ago, in his youth, when he cultivated at the Royal Holy Pavilion, the entire mountain of maple was like this: shimmering like gold, intense like fire. The unforgettable sight before him now inevitably took him on a trip down memory lane” (MXTX, p. 117). Maple trees are known as fēngshù (楓樹) in China and primarily represent the passage of time and seasonal change. Furthermore, maple trees have traditionally been associated with abundance and positive energy in Chinese Feng Shui. These trees are thought to denote growth and prosperity. This is partly because red is considered an auspicious colour in China and is thought to bring good luck and happiness. Maple leaves and bark are also frequently used as materials in Taoist spells for drawing out courage, wealth and luck as well as for healing and attracting love. The maple tree is also a symbol of enduring love since it is frequently associated with loyalty and durability. Hence, maple leaves are connected to marriage and love in China. In Japan, maple trees are known as kaede (楓) and symbolize precious memories, restraint and beautiful change in hanakotoba. In addition to this, they also symbolize endurance, strength, resilience, transformation and change. The reason why maple trees are associated with change and transformation is because their leaves change colour with the seasons, morphing from green to yellow, orange, and red. This vibrant range of colors also represents the passing of the seasons, the changing nature of life as well as the beauty and fragility of life. In Japanese culture, the maple tree's five-lobed leaf is a representation of wealth and good fortune. Throughout various Asian cultures, maple trees are associated with persistence and stability, expression and passion, power and regality, endurance and strength as well as determination and resilience. In Western floriography, maple trees are associated with peace, serenity, reservedness, unity, humility, strength, endurance, balance, wisdom, and promise as well as seasonal change and new beginnings. The maple tree has also been utilised as a symbol of passion and desire in literature and art. Its vivid, crimson autumnal leaves represent the intensity of love, while its sturdy roots represent the deep bond between two individuals. While the tree's ability to endure adverse weather represents the tenacity and endurance required in romantic partnerships. Maple trees have been used as an enduring symbol of the transformational power of love in several literary and artistic works. Although roses and doves are more commonly linked with love, maple trees perfectly encapsulate the intense emotion and raw intensity of love.  Red maple trees are one of Tiān Guān Cì Fú’s signature motifs because of their use during the scene where Xie Lian meets San Lang—“The cart was driving through the forest of flaming red maples, where maple leaves danced their way to the ground. A leaf playfully landed on the shoulder of the youth, and he blew it off softly, then looked up at Xie Lian, speaking with a shadow of a smile” (MXTX, p. 119).  As a result, the use of maple trees in this scene greatly contributes to the romantic atmosphere. Hua Cheng's tremendous devotion to Xie Lian is foreshadowed by the maple tree's connotation of passionate, enduring love and devotion. Considering red is Hua Cheng's signature colour, having Xie Lian surrounded by a veritable sea of red sets the intimate cosy ambience needed for this scene.

The red spider lily (Lycoris radiata) is known as mànzhūshāhuá (曼珠沙華) or the bǐ'ànhuā (彼岸花) in China and is a symbol of autumn. The flower is also regarded as a symbol of both death and rebirth. Red spider lilies are described as flowers that grow in hell in the Lotus Sutra. As a result of this, certain Buddhist traditions in China and Japan believe that these flowers aid spirits in crossing from the afterlife into reincarnation. The red spider lily also represents beauty because of its vivid, vibrant red blossoms, which give a sense of elegance. In Chinese culture, the red spider lily has a long history and is commonly associated with death and funerals. It is considered bad luck in some parts of China to keep this plant in your home since it is thought to attract ghosts. The flower's sad symbolism for loss and parting is based on an ancient Chinese legend about two elves, Saka and Manju, who were the guardians of leaves and flowers, respectively. They could never meet, however, because the red spider lily never sprouts flowers and leaves at the same time. They both yearned to meet one another, and they violated the gods in order to do so. The gods punished them harshly for this and separated them for eternity. The flower is still associated with loss, both of loved ones and of memories. In Japan, these flowers are known as higanbana (彼岸花) which means autumn equinox flower. They represent sad memories, resignation, independence, lost memory, abandonment, passion and those who are never to meet again in Japanese hanakotoba. The red spider lily is also associated with death, goodbyes, rebirth and the far shore (land of the dead). The red spider lily's symbolic meaning of farewells and rebirth is embodied in classic Japanese artworks depicting mythological situations, where they are referred to as the "flowers of heaven.“ In Japan, there is a strong correlation between the Buddhist and Shinto religions and red spider lilies. These striking flowers are thought to represent rebirth and the transience of life. They are also believed to guide the deceased's spirits transition to the afterlife. They are frequently observed blossoming next to cemeteries or other holy locations. They are also thought to have protective properties that shield against negative energy and evil spirits. Red spider lilies are also thought to symbolise the boundary between life and death in Japanese culture. This is because its flowers bloom during autumnal equinox when Japanese Buddhists believe that deceased people's spirits return to the near shore (the world of the living). Some legends claim that when an individual crosses paths with someone they will never see again, red spider lilies blossom alongside their path. These legends are partly responsible for the flower's affinity with final goodbyes, in addition to its association with death and the hereafter. Despite their frequent association with death and parting, red spider lilies are also admired for their beauty and resilience. They can survive in a range of challenging environments, including rocky and riverside locations, and their vivid red hue helps them stand out against the surrounding scenery. As a result of this, these flowers can also be seen as a symbol of strength and perseverance in the face of adversity.

Red Spider Lilies greatly complement Hua Cheng as only only are they his signature colour but are also associated with death, rebirth, longing, parting, loss and passion which are all traits associated with him. Hua Cheng has effectively died three times and has come back three times which ties into the flower’s association with the transience of life, death and rebirth. Red spider lilies are also seen as a symbol of passion, strength and perseverance in the face of adversity which fits Hua Cheng’s character. In some official artwork such as the one shown above, red spider lilies are associated with Ghost City. This is fitting considering the red spider lilies symbolise the boundary between life and death whereas Ghost City is said to be “the most prosperous place within the ghost realm, situated right at the crossroads of the mortal and ghost realms” (MXTX, p. 287). 

While the flowering trees featured in the donghua as well as in its opening credits, official artwork and ending credits could be plum blossoms (Prunus mume) or cherry blossoms (Prunus serrulata), they are most likely to be peach blossoms (Prunus persica). Despite the fact that they can be difficult to differentiate between at times, especially when referencing a drawing, these three blossoms do have a few distinguishing features, which are as follows. Peach blossoms have pointed petals, plum blossoms have rounded petals, and cherry blossoms have a notch at the tip of their petals. Peach blossoms produce two flowers from a single node, whilst plum blossoms produce one flower per node and cherry blossoms produce several flowers per node. Finally, while plum and cherry blossoms develop leaves after their blossoms fall, while peach blossoms seem to produce leaves concurrently with flowering. Despite these distinctions, these flowers are frequently confused with one another, resulting in a significant overlap in their symbolic meanings throughout different cultures; thus, my decision to feature them all here.

Peach blossoms are known as táohuā (桃花) in Chinese. They symbolise immortality, vitality, longevity, peace, good luck, success and prosperity in Chinese culture. Furthermore, peach tree wood was believed to protect humans from evil spirits, therefore branches were hung above doorways to drive demons away, and peach wood wands were used in exorcisms. Furthermore, its Chinese name “táohuā” has the figurative meaning of “luck in love affairs; luck in love”. Peaches are also known as senki or senka in China (meaning tree or fruit that gives power to the gods), and it has been believed since ancient times that peaches have the divine power to grant people perpetual ageing and longevity.  Peach blossoms are known as momo (桃) in Japanese. Its meanings in hanakotoba are “I am your captivator”, “invincible under heaven” and good-natured. Its symbolic meaning of "invincible under heaven" stems from the fact that peach has traditionally been used to fend off evil spirits and as a spiritual medicine for immortality. In Western floriography, peach blossoms symbolize longevity, gentleness, honour, peace, happiness and generosity. The peach blossom also has the meanings "I am your captive" and "your charms are unrivalled qualities." The peach blossom has been used as a symbol of renewal and growth in Western literature.Xie Lian’s infamous quote “Body in the abyss, heart in paradise” (MXTX, p. 6) is translated from the original “Shēn zài wú jiàn, xīn zài táo yuan” (身在无间, 心在桃源)—which can be roughly translated as “Body in Wujian, heart in Taoyuan”. The word "paradise" in his quote actually corresponds with the Chinese phrase "táo yuan" (桃源)—which is short for táohuāyuán (桃花源)—which means "peach blossom valley," and is a saying for paradise/heaven. The phrase is taken from the title of Tao Yuanming's 421 CE fable, which details a chance discovery of an ethereal paradise where its inhabitants live an ideal existence in harmony with nature for centuries, remaining oblivious of the outside world. This phrase can also refer to an idealistic place of serenity and rest, but it is also used to refer to an unrealistic fantasy. Additionally, the peach blossom’s symbolic meanings of immortality, longevity, good luck, generosity, honour, good-natured, prosperity and “invincibility under heaven” as well as its association with gods and divine power suit the attributes of the heavenly realm—which is where they are primarily seen in the series—as well as the values its officials are meant to aspire to. The tree’s symbolic meanings of “your charms are unrivalled qualities”, “luck in love”, renewal and growth greatly complement Xie Lian and Hua Cheng’s relationship. Despite having his luck sealed away and being catastrophically unlucky from then on, Xie Lian was extremely fortunate in discovering profound and enduring love. Furthermore, Xie Lian's immense generosity and compassion for people, albeit an unattainable ideal for many, was part of what drew Hua Cheng to him: "If your dream is to save the common people, then my dream, is only you" (MXTX, p. 1953). This corresponds to the peach blossom's association with dignity, serenity, charity, and "unrivalled charms". The scene in the second season's ending theme visuals during which a peach tree branch is shown enduring weather conditions throughout all four seasons is a representation of Hua Cheng's patience and dedication while searching for Xie Lian during the 800 years between the latter's second banishment and third ascension. It also parallels Xie Lian's patience and fidelity while waiting for Hua Cheng's return after the final battle.

Plum blossoms are known as méihuā (梅花) in Chinese. They hold the symbolic meanings of endurance, perseverance, vitality, inner strength, hope and thriving through adversity in Chinese culture because they are one of the hardiest flower species in the world and blossom during winter defying all the vagaries of winter weather. When their blossoms valiantly emerge during the latter weeks of winter, they are seen as a hopeful omen of spring and are treasured for their splendour during the darkest time of year. Plum blossoms thus herald the arrival of spring and signal the end of winter. Plum blossoms are also China's national flower, serving as a national symbol. Plum blossoms are associated with longevity because their blossoms remain in flower for a month. Plum blossoms can also represent those with a strong personality who are unafraid of difficulties.   In Japan, plum blossoms are known as ume (梅). Its meanings in hanakotoba include integrity, patience, elegance, loyalty and faithfulness. In Western floriography, plum blossoms symbolise keeping promises, fidelity, beauty and longevity. Plum blossoms are also associated with the end of winter and represent hope, tenacity, perseverance, courage, and beauty's capacity to overcome adversity. Furthermore, plum blossoms represent prosperity, fruitfulness, beauty, purity, and good fortune. Wild plum blossoms in particular represent independence. The intricate dynamics of Hua Cheng and Xie Lian's relationship are complemented by the symbolic meanings of hope and the onset of spring evoked by plum blossoms. After 800 years of roaming alone, Xie Lian meets Hua Cheng. Bringing a sense of fulfilment, excitement, and happiness to his life that he hadn’t felt in a long time; as he told Hua Cheng, "Only after meeting you, did I rediscover that it's such a simple thing to be happy" (MXTX, p. 1060). Plum blossoms can also represent individuals who possess strong personalities and are not intimidated by challenges, which complements Xie Lian's character well. Despite being subjected to tremendous adversity, he continues to be as unyielding and resilient as he was before his first banishment, remarking, "I might not be able to decide whether the road is easy or not, but whether I walk it is entirely up to me" (MXTX, p. 1125). The plum blossom’s symbolic meanings of integrity, patience, fidelity, perseverance, courage, beauty, independence and elegance also complement Xie Lian’s character. The plum blossom’s symbolic meaning of keeping promises greatly aligns with Hua Cheng’s character, especially when referencing his declaration to Xie Lian near the end of the novel, "There is no banquet in this world that does not come to an end...but I will never leave you. I will come back...Your Highness, believe me" (MXTX, p. 1954). True to his promise, he defies death once more to return to Xie Lian after replenishing his spiritual power for an indeterminable amount of time. Hua Cheng’s unwavering devotion to Xie Lian is a core part of his character which also ties into the plum blossom’s meanings of fidelity, loyalty and faithfulness. Hua Cheng’s favourite poem referenced in the novel—Ache of Separation by the Tang poet Yuan Zhen—is a reference to his immense devotion. The poem states “After seeing the vast sea, no water can compare; Scattered from the peak of Mount Wu, there are no other clouds… Many times I’ve passed through the flowers, yet I spare them no glance; For half my fate is in cultivation, and the other half, in you.” This poem, which is akin to Hua Cheng's feelings for Xie Lian, describes the poet's unwavering love and devotion for his late wife Wei Cong and how nothing and no one else can compare to her presence in his life. This once more relates to the plum blossom representing devotion, loyalty, and fidelity.

The cherry blossom (Prunus serrulata) is also known as the Japanese cherry and is the unofficial national flower of Japan. Its Japanese name Sakura (桜) has been derived from the word “saku” which means “to bloom”.  Its meanings in hanakotoba are “beauty of spirit”, grace, chastity, excellent beauty, gentleness, good education and the “transience of life”. In Japan, cherry blossoms are also a symbol of the “beauty of impermanence”—a Shinto concept better known as “mono no aware” (物の哀れ) as their falling petals are a reminder that although life is short, it is beautiful and should be savoured. The Japanese concept of “natsukashii” (懐かしい) likewise emphasizes the fleeting nature of cherry blossoms. This concept refers to the happy-yet-wistful nostalgia for times and things that we will never be able to go back to. We will never get to experience those moments again, just like the ephemeral cherry blossoms, which makes them even more significant. Cherry blossoms bloom from March to April which is the start of the new fiscal year in Japan. As a result of this cherry blossoms have also come to symbolise new beginnings and springtime. Given that feudal Japanese soldiers associated cherry blossoms with honour, discipline, and dignity—falling flowers were thought to be symbolic of a Samurai's death. In Western floriography, cherry blossoms herald the changing of the seasons and symbolise renewal and rebirth. They also symbolise the fleeting nature of life, tenderness, forgiveness, strength, beauty, love, confidence, peace, friendship and gratitude.

In China, most of the Cherry blossom’s Japanese symbolic meanings are more strongly associated with plum blossoms. Cherry blossoms are known as yīnghuā (樱花) in Chinese and symbolise life, beauty, femininity, power and mysteriousness in Chinese culture. While still occasionally connected to the concepts of life and death, Cherry blossoms are more connected to the concepts of love and romance as well as beauty and femininity in Chinese culture.

Cherry blossoms are primarily associated with the transiency of life. In Xianxia novels like Tiān Guān Cì Fú, where characters can achieve immortality through cultivation, themes such as the transiency of life are not majorly relevant. However, in Tiān Guān Cì Fú, gods are powered by the faith and worship of their followers and without this faith they would fade into non-existence. These Heavenly Officials are not all-powerful but are beholden to fate like all other living things and are capable of death. It was also stated by MXTX, that Heavenly Officials banished or not, are not included in the wheel of reincarnation after death. This reaffirms that while long-lived, “when humans ascend, they are still human; when they fall, they are still human” (MXTX, p. 541). Xie Lian’s first 2 ascensions and subsequent banishments are also reminiscent of the fleeting nature of life—“He ascended to the heavens quickly, but his fall from grace was even faster” (MXTX, p. 10). At one moment he was “the crown prince who pleased the gods”, at the pinnacle of prominence and the next he was “the laughingstock of the three realms”. This ties in with the cherry blossom’s representation of the fleeting nature of life. Xie Lian’s words to Hua Cheng in chapter 31—“Those who have known each other for decades can become strangers in a day. We've met by chance, and we may part by chance. If we like each other then we shall continue to meet; if we don't, then we shall part. At the end of the day, there's no banquet in the world that doesn't come to an end, so let's go all more with the flow, and I'll say what I want to say” (MXTX, p. 267)—are also reminiscent of the fleeting nature of life.

The Cherry Blossom’s association with the “happy-yet-wistful nostalgia for times and things that we will never be able to go back to” is reminiscent of Xie Lian’s halcyon days before his first ascension as well as the friendship of the Xianle Trio before the fall of Xianle. Additionally, the cherry blossom also symbolizes strength, dignity, “beauty of spirit”, peace, forgiveness gratitude, friendship and tenderness which are all qualities that can be associated with Xie Lian. 

“At the corner of the jade altar table sat a tiny, lonesome flower. A far-gone memory surfaced in Xie Lian’s mind, and he was momentarily stunned. It was like a dust-covered picture, but when he tried to wipe it clean, it remained blurry. Unspeaking, he frowned and loosened his grasp to pick up that flower. Hua Cheng put down his brush as well and slowly began to grind some ink. “What’s wrong?” Xie Lian smiled. “Nothing. Just…this flower’s scent is refreshing. I’ve always liked this sort.” Offerings of flowers in temples and palaces were far from rare. However, most devotees offered large, fresh bouquets of bright red or purple blossoms, or handcrafted imitation flowers that never wilted. After a pause, Xie Lian said, “Could this be the flower which Crimson Rain sought?” Hua Cheng smiled. “Gege has such godly premonitions.” (MXTX, pp. 765-766) Despite the flower Hua Cheng shielded from the blood rain after raiding Qi Rong's hideout—“…a shower of blood rain poured down from the skies. He saw a flower was getting battered by the bloody rain, so he tilted his umbrella and shielded it” (MXTX, p. 120)—earning him the alias "crimson rain sought flower”, it is never named in the novel. It is however confirmed to be the same kind of flower he always places as an offering on the altar of Xie Lian's temple. In the donghua however, it is portrayed as a white peony (Paeonia). Peonies are known as mǔdān (牡丹) in China and were regarded as China’s national flower during the Tang Dynasty (618 to 907 A.D.). In accordance with this, they symbolise prosperity, honour, wealth and beauty, love and happiness. The Chinese term for peonies means "the most beautiful” while other Chinese names for peonies are "fùguìhuā" and "huawang," which translate to "king of the flowers" and "flower of riches and honour," respectively. In Japan, peonies are called botan (牡丹) and symbolize shyness, wealth and regalness in hanakotoba. The flower's profound appearance, notably its multitudes of large petals that are thin and silk-like, is considered to be where the peony symbolising wealth and regalness originated. In Western floriography, peonies represent bashfulness and compassion. It is speculated that the reason Hua Cheng shielded the white flower to prevent it from being stained by the blood rain is because he associated the flower with Xie Lian.

The flower featured in the above panel is likely a red rose. In China, roses are known as méigui (玫瑰), and in accordance with their universal symbolism, they are strongly associated with romance, passion and love. Thanks to the Chinese monthly rose (Rosa chinensis), which blooms in almost every month of the year, creating a "spring" that never ends, roses are also associated with longevity and the perpetual spring in China. Considering that the colour red is auspicious, red roses are also thought to bring good fortune in China. In Japan, roses are called bara (薔薇) and its meaning in hanakotoba is love and beauty. Red roses in particular symbolize affection and passionate love; while rose thorns represent “happiness in misfortune”.  In Western floriography, roses symbolize love, passion, beauty, romance and secrecy. Red roses symbolize enduring passion, desire, affection and romance. A single rose is said to symbolize love at first sight. The rose flower’s symbolic meanings of enduring passion, romance, “love at first sight” and secrecy tie in well with Hua Cheng and his motivations—“My beloved is a brave, noble, and gracious special someone. He’s saved my life; I’ve looked up to him ever since I was young. But, I wanted to catch up to him more, and become an even stronger person for him. Although he might not remember me well. We never really talked. I want to protect him” (MXTX, p. 1953). The wild rose flower depicted in the opening is seen wilting as Xie Lian walks by leaving only thorns. This could be a depiction of how Xie Lian’s naïve, fragile passion from his youth has long since wilted leaving behind someone wiser who is able to find happiness in misfortune and life’s simplicities. The scene could also possibly be an allusion to how in the novel’s original character concepts Xie Lian was supposed to become a flower god in charge of flowers blooming and wilting after being banished.

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