近日，位于陕西西安华清池景区的一座杨贵妃出浴雕像引发公众热议。该雕像以唐代著名美人杨贵妃沐浴为题材，展现其裸体出浴的瞬间，部分游客和网友认为其造型过于暴露，有伤风化，质疑在公共景区设置此类雕塑是否合适。对此，景区方面回应称，该作品旨在还原历史典故与盛唐文化，体现杨贵妃‘温泉水滑洗凝脂’的诗意形象，并强调雕像艺术处理含蓄，符合传统审美。专家指出，中国古代文学与绘画中不乏对贵妃沐浴的描绘，如白居易《长恨歌》中的经典诗句，雕像实为文化意象的艺术再现，而非低俗表达。争议背后，反映出当代社会对公共空间艺术尺度、传统文化表达方式以及性别审美的多元理解与碰撞。如何在尊重历史与艺术自由的同时兼顾公众接受度，成为文旅项目设计中值得深思的问题。
Recently, a statue depicting Yang Guifei—the famed beauty of the Tang Dynasty—emerging nude from her bath at the Huaqing Pool scenic area in Xi’an, Shaanxi Province, has sparked public debate. The sculpture, inspired by historical accounts of Yang Guifei bathing in the hot springs, portrays her in the nude. Some visitors and online commentators have criticized it as overly revealing and inappropriate for a public tourist site. In response, the scenic area explained that the artwork aims to authentically reflect Tang Dynasty culture and the poetic imagery from Bai Juyi’s famous poem ‘Song of Everlasting Regret,’ which describes her skin as ‘smooth as congealed cream washed by warm spring water.’ They emphasized that the statue employs restrained artistic expression aligned with traditional Chinese aesthetics. Cultural experts note that depictions of Yang Guifei’s bath have long appeared in classical literature and painting, and this sculpture is an artistic interpretation of a cultural symbol rather than a vulgar display. The controversy highlights broader societal tensions regarding the boundaries of public art, the representation of historical figures, and evolving views on gender and modesty. Balancing artistic freedom, historical authenticity, and public sensibilities remains a key challenge in cultural tourism development.
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