Standing on the eastern side of the Sacred Avenue outside the Vermilion Bird Gate is the world-famous Wordless Stele of Wu Zetian. Carved from a single massive boulder, it measures 7.53 meters in height, 2.1 meters in width and 1.49 meters in thickness, with a total weight of approximately 100 tons. It presents a solemn, solid and integrated aesthetic.

No title is inscribed on the stele head. In the center of its front face lies one horned dragon, with four more on each side, totaling nine dragons. Hence it is also known as the Nine-Dragon Stele. The eight intertwined dragons feature distinct scales and visible muscle lines, conveying a dynamic vitality amid tranquility. On both sides of the stele are line carvings of ascending dragons. The giant dragons appear to soar through the air with vivid lifelike details.

The front of the stele base bears a line carving of a lion and a horse, also called the Lion and Horse Fight. The horse bends its hooves and lowers its head, looking gentle and docile, while the male lion holds its head high with glaring eyes, exuding supreme majesty. The stele is also adorned with delicate and flowing floral patterns.

Flanked by the eastern watchtower to the north and stone guardian figures to the south, and facing the Monument in Praise of the Sage Ruler to the west, this magnificent stele boasts exquisite craftsmanship. It is rightly hailed as the finest of all ancient stone steles.

Elaborately designed and erected by Wu Zetian, the Wordless Stele stands in a prominent position within the mausoleum complex. It wins widespread fame for its superb carving art, unique charm and numerous legendary tales. Nearly all visitors pause here to admire the stele, take photos or share comments. For tourists, it is not only an icon of Qianling Mausoleum, but also a symbol of Empress Wu Zetian herself.

Three folk explanations have emerged for the blank surface of the stele. The first view holds that Wu Zetian left it blank to glorify herself, believing her extraordinary achievements and virtues were too profound to be put into words. The second suggests she was aware of her wrongdoings and chose not to have an epitaph inscribed. The third argument states that she was self-aware and made a wise decision: to leave her merits and demerits for later generations to judge.

From the Song and Jin dynasties onward, travelers began carving inscriptions on the stele, turning the originally blank monument into one covered with writings. In the following Yuan, Ming and Qing dynasties, more inscriptions were added. These writings naturally formed diverse comments on Wu Zetian, and feature five major calligraphy styles: regular, cursive, clerical, seal and running script. This may have fulfilled Wu Zetian’s original intention.

Yet due to the passage of time, the scattered inscriptions lack coherence and organization, making the grand stele look like a patchwork robe worn by an old monk. Among all the carvings, Record of the Military Governor and Strategist, Younger Brother of the Jin Imperial Family, dating back to 1135 AD, is relatively well-preserved. It is engraved in the Jurchen script with a Chinese translation alongside. Since the Jurchen language has long become extinct, these inscriptions serve as invaluable materials for the study of the Jurchen script and the history and culture of ancient Chinese ethnic minorities