Recently, the ‘Concubine Yang Bathing’ statue at the Huaqing Pool scenic area in Xi’an, Shaanxi Province, has sparked public debate over its perceived immodesty. The sculpture depicts Yang Guifei—the famed Tang Dynasty imperial consort—in a semi-nude pose, aiming to artistically recreate the historical anecdote of her bath and evoke the cultural splendor of the Tang era. However, some visitors and online commentators argue that the statue is overly revealing, clashing with standards of public decorum and potentially tarnishing traditional cultural values. In response, the scenic area clarified that the work was created by professional artists based on extensive historical research and Tang Dynasty artistic styles, emphasizing its intent as a respectful homage rather than sensationalism. Supporters counter that Tang society was notably open-minded, with women’s fashion often loose and flowing, making the depiction historically plausible. They urge a more tolerant view toward artistic interpretation. The statue remains on display, and the controversy has prompted broader discussions about the balance between artistic freedom, historical representation, and contemporary social norms in public spaces.
近日，位于陕西西安华清池景区内的‘贵妃出浴’雕像因造型被认为‘不雅’而引发公众热议。该雕像以唐代杨贵妃沐浴为题材，展现其半裸姿态，旨在还原历史典故与盛唐文化意象。然而，部分游客和网友认为雕像过于暴露，不符合公共空间的审美规范，甚至有损传统文化形象。对此，景区方面回应称，作品由专业艺术家创作，参考了大量史料与唐代绘画风格，意在艺术化呈现杨贵妃的传奇故事，并非刻意追求感官刺激。支持者则指出，唐代社会风气开放，女性服饰本就较为宽松飘逸，雕像符合历史语境，应以包容心态看待艺术表达。目前，该雕像仍正常展出，相关讨论也引发了关于公共艺术尺度、历史再现与当代价值观之间平衡的广泛思考。
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