Recently, a statue depicting Yang Guifei—the famed beauty of the Tang Dynasty—emerging from her bath at the Huaqing Palace scenic area in Xi’an, Shaanxi Province, has sparked public debate. The sculpture portrays Yang Guifei wrapped only in a translucent veil after bathing, which some visitors argue appears nearly nude and clashes with public decency and traditional cultural values, questioning its appropriateness in a public tourist site. Supporters, however, contend that the artwork aims to poetically evoke the famous line from Bai Juyi’s ‘Song of Everlasting Regret’: ‘In early spring, she was granted a bath at Huaqing Pool; the warm, smooth waters cleansed her jade-like skin.’ They view it as an artistic expression reflecting the openness and aesthetic freedom of the Tang Dynasty. The scenic area responded that the statue was created based on historical records and artistic conventions, not intended for sensationalism but to convey Yang Guifei’s legendary life and the cultural heritage of Huaqing Pool. Experts note that this controversy highlights the tension in contemporary society between historical representation, the boundaries of public art, and the modern interpretation of traditional culture. Striking a balance among historical authenticity, artistic expression, and public sensibility remains a key challenge for cultural tourism projects.
近日，位于陕西西安华清宫景区内的一座杨贵妃‘出浴’雕像引发公众热议。该雕像以唐代著名美人杨贵妃为原型，展现其沐浴后披纱缓步的场景，部分游客认为其造型过于写实，近乎裸体，有违公共审美与文化传统，质疑其是否适合在开放景区展示。支持者则指出，作品意在还原《长恨歌》中‘春寒赐浴华清池，温泉水滑洗凝脂’的诗意意境，体现盛唐文化的开放与艺术表达的自由。景区方面回应称，雕像创作参考了历史文献与艺术传统，并非刻意追求感官刺激，而是希望通过艺术形式展现杨贵妃的传奇人生与华清池的历史文化价值。专家表示，此类争议反映了当代社会对历史人物形象再现、公共艺术尺度以及传统文化现代诠释之间的张力。如何在尊重历史、兼顾审美与公众接受度之间取得平衡，是文旅项目设计需持续思考的问题。
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