Reconstructing the Appearance of an Iconic Ruler

Historical records provide no direct description of Wu Zetian’s physical appearance, but tantalizing clues emerge from related accounts. Her daughter Princess Taiping reportedly bore striking resemblance to her mother, with Tang dynasty chronicles describing the princess as “plump with a broad forehead and full cheeks” – features that aligned perfectly with Tang beauty standards. The Old Tang History specifically notes Wu Zetian’s comment that her daughter “resembles me,” allowing scholars to extrapolate the empress’s probable appearance.

Contrary to her reportedly short-statured family members like Wu Yizong and County Princess Jingle, Wu Zetian stood out literally and figuratively. Tang documents refer to her as the “eldest brother” (大哥) of the Wu clan – not denoting seniority but height (长 meaning tall rather than 长 meaning elder). This suggests she towered over her relatives, with some scholars humorously noting she was “the tallest among the short.”

The Lost Textile Clues from Famen Temple

The 1980s discovery of Famen Temple’s underground palace offered potential insights into Wu Zetian’s physique. Among the treasures listed on the temple’s inventory stele was “one embroidered skirt of Empress Wu” – a garment she personally wore. Had this textile survived intact, modern researchers could have reconstructed her exact body measurements.

The skirt’s cultural significance deepens when connected to the famous poem “Ruyi Niang,” traditionally attributed to Wu Zetian:
“Seeing red as green, my thoughts in disarray,
Worn and weary from remembering you.
If you doubt these recent tears I’ve shed,
Open my chest – inspect my pomegranate skirt.”

While some scholars like Shi Zhecun argue this was merely a generic love poem for court performers, others maintain it reflects Wu Zetian’s authentic voice during her early monastic years. Unfortunately, the excavated skirt had deteriorated beyond recognition, folded into an indistinguishable mass. Recent research by Song Xin confirms that currently identified skirts belong to later Tang rulers, leaving Wu Zetian’s garment either still buried or permanently lost.

The Problematic Portraiture of a Controversial Figure

No contemporaneous portraits of Wu Zetian survive intact. The most widely circulated image comes from the Ming dynasty’s “Praise of Ancient Figures Through the Ages” (历代古人像赞), created nearly 800 years after her death. This problematic depiction shows her with exaggerated masculine features, reflecting the artist’s clear bias as evidenced by the accompanying text condemning her for “slaughtering relatives, poisoning loyal officials, usurping power, and violating moral principles.”

Several disputed artworks potentially portray Wu Zetian:

1. The Empress’s Procession (唐后行从图): Attributed to Tang painter Zhang Xuan, this shows a figure matching historical descriptions of “broad forehead and full cheeks.” However, analysis of artistic techniques suggests it may be a Song dynasty recreation.

2. The Vairocana Buddha at Longmen Grottoes: Standing over 17 meters tall, this colossal statue allegedly bears Wu Zetian’s features. While she did contribute cosmetics funds (20,000 strings of coins) to its 672 CE construction, no period evidence confirms this connection. The theory first appeared in 1981’s “Longmen Grottoes Art” without substantiation.

3. Samarkand’s Ambassador Hall Murals: These 7th-century Central Asian frescoes include scenes labeled “Emperor Gaozong Hunting Leopards” and “Wu Zetian Boating.” While contemporaneous, the Sogdian artists blended Chinese elements with local styles – the “dragon” boat actually features a Greek griffin head, making these unreliable for facial reconstruction.

Beauty Secrets of an Octogenarian Empress

Historical accounts agree Wu Zetian maintained remarkable youthfulness into her eighties. The New Tang History notes: “Though advanced in years, the Empress Dowager skillfully applied cosmetics so that those around her didn’t perceive her aging.” Her beauty regimen included an elaborate face wash recipe recorded in medical texts:

– Gather motherwort herb on May 5 (lunar calendar)
– Clean roots thoroughly before drying
– Burn in clay furnace to ash
– Mix with water for fermentation
– Form egg-sized balls for secondary drying
– Roast until white (avoiding yellow/hard texture)
– Grind with jade pestle for three days

This labor-intensive process yielded a powder said to maintain fair, smooth skin. Her daughter Princess Taiping adopted similar practices, using a face mask of March 3 peach blossoms mixed with July 7 black chicken blood for whitening effects.

Wu Zetian’s preserved appearance caused psychological shock to her son Emperor Zhongzong during the 705 coup. Accustomed to his mother’s carefully maintained visage, he was reportedly devastated to see her suddenly aged without cosmetics, contributing to his later guilt-driven decisions including her controversial burial in the Qianling Mausoleum.

Culinary Habits and the Vegetarian Court

Unlike stereotypical imperial extravagance, Wu Zetian likely maintained Buddhist vegetarian practices. While no direct records of her diet survive, Luoyang’s famous “Water Banquet” claims its signature “False Swallow Dish” (假燕菜) originated when she praised a creative turnip preparation resembling bird’s nest.

Her Buddhist convictions led to unprecedented nationwide meat bans, though enforcement proved problematic. Amusing anecdotes reveal widespread circumvention:

– Minister Lou Shide accepted “wolf-killed lamb” and later “otter-killed fish” excuses when served meat during the prohibition.
– Official Zhang De secretly slaughtered a sheep for his son’s celebration, only to be betrayed by a colleague who pocketed evidence. Wu Zetian publicly shamed the informer while pardoning Zhang, demonstrating political acumen.

Calligraphic Master and Literary Patron

Contemporary critics ranked Wu Zetian among Tang’s forty-seven greatest calligraphers. Her surviving “Ascending Immortal Crown Prince Stele” (升仙太子碑) features innovative cursive script – reportedly China’s first cursive stone inscription. As a collector, she famously had Wang Xizhi’s calligraphy copied rather than seizing the originals from minister Wang Fangqing, earning praise for restraint.

The enduring mystery of Wang Xizhi’s “Orchid Pavilion Preface” reveals Wu Zetian’s cultural significance. While tradition claims Tang Taizong took it to his tomb, some modern theorists suggest it entered Qianling with her – though no historical evidence supports this.

Revolutionizing Education and the Arts

Wu Zetian transformed Chinese culture through three key reforms:

1. Institutionalized Palace Examinations: She regularized the practice of emperors personally testing candidates, creating the powerful “Son of Heaven’s Disciple” tradition that lasted until 1905.

2. Military Examinations: Established in 702 CE to combat declining martial skills, this system produced leaders like the An Lushan Rebellion hero Guo Ziyi.

3. Literary Emphasis in Civil Exams: By requiring poetry composition, she catalyzed Tang poetry’s golden age. The Tang Classics recorded: “Even children felt ashamed if not versed in letters,” creating the examination culture that shaped Chinese intellectual life for millennia.

The Linguistic Legacy of a Symbol-Maker

Wu Zetian created 17-20 new characters to signify her new regime, most famously 曌 (zhào, “sun and moon shining on heaven”) as her personal name. Other inventive forms included:

– 臣 (minister): Symbolizing loyalty beneath the emperor
– 地 (earth): Combining mountain, water and soil elements
– 国 (nation): Originally containing 武 (Wu) before being changed to 八方 (eight directions) for better symbolism

While most disappeared after her reign, her name character endures in digital fonts. Contrary to popular belief attributed to Gu Yanwu, modern archaeology proves numeral characters like 壹 (one) and 贰 (two) predated her by centuries.

Through these multifaceted reforms and personal symbols, Wu Zetian crafted an enduring legacy that transcended her controversial reign, permanently altering China’s cultural and political landscape.