Exile
Empress Dowager Wu sent the Prince of Luling and his family into exile in Fang and Jun prefectures, in the area of modern Shiyan in Hubei. He was kept under house arrest and lodged for a time in the residence once used by his uncle Li Tai, who had been banished to the region after losing the succession struggle of 643.
He lived in constant fear. His mother had shown she would not spare her own children: his elder brother Li Hong had died suddenly in 675, amid rumours that she had poisoned him, and in 684 she forced the former crown prince Li Xian to take his own life. Whenever messengers arrived from the capital, Zhongzong is said to have considered suicide, convinced they had come with orders for his death. His wife, Lady Wei, steadied him through these years, and he promised her that if they ever regained their fortunes he would deny her nothing, a promise that shaped his second reign.
A Symbol of Resistance
Opponents of the empress dowager used the exiled emperor as a rallying point. In 684 Li Jingye, Duke of Ying, rose in revolt at Yangzhou, declaring that he intended to restore Li Zhe to the throne. The rising was crushed within months, and later plots against the empress dowager also invoked his name.
In 690 Empress Dowager Wu had Ruizong yield the throne to her and proclaimed herself ruler of a new Zhou dynasty, interrupting the Tang. Ruizong was made her heir with the title huangsi, while Zhongzong's position in exile was at first left unchanged.
Return
In 698, on the advice of ministers who urged her to settle the succession on her own sons, Wu Zetian recalled Zhongzong to Luoyang, and Ruizong stood aside so that he could be made crown prince again. In 705, as she lay ill, a coup forced her to abdicate, and Zhongzong returned to the throne for his second reign.
Ceramics of the Reign
Zhongzong's brief first reign left no ceramic legacy, but his youth and exile coincided with a formative period in Tang pottery. The best-known wares of the late 600s are the earthenware figures made for the tombs of the elite: dancers, musicians, horses, camels and guardians, painted in pigments over a white slip. In the later decades of the century lead-glazed sancai, 'three-colour' ware splashed in amber, green and cream, began to be made in quantity at kilns near Chang'an and at Gongxian near Luoyang.
For daily use, the Xing kilns in Hebei made white wares and the Yue kilns in Zhejiang green-glazed stonewares, both of which reached their height in the later Tang.