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“泛裸体”现象已经超出了原有的艺术范畴,几乎涉及了当前社会现实和文化现象、意识形态的诸多方面,由此引发的思考也必然要建立在更为广泛的认知基础之上。从传统限定意义上的裸体艺术来看,无论是在国际还是国内、无论是架上绘画还是摄影艺术,都存在受众日少渐趋式微的情况。“泛裸体”现象却以其时尚性、商业化得到了普遍的社会认知,在多种形态与表现范畴里面进行着花样翻新的展示;尤其有了经济的强力支撑,“泛裸体”现象愈发蓬勃。尽管相比于国外艺术家动辄就搞出上千人的裸体场面以及更加暴露直接的表现,我国目前的“泛裸体”形式和内容还大多处于半遮半掩的模仿和急功近利的
The phenomenon of “pan-nude” has gone beyond the original art category and touched on many aspects of present-day social reality, cultural phenomena and ideology. The resulting reflections must also be based on a broader cognitive foundation. From the traditional definition of nudity art, whether in international or domestic, whether it is on-frame painting or photography art, there is a gradual decline of the audience less the case. The phenomenon of “pan-nudity” has been widely recognized by the society for its fashion and commercialization. It has undergone a retrospective display of various forms and manifestations. In particular, with the strong economic support, the phenomenon of “pan-nudity” Flourishing. Although compared to foreign artists often come up with thousands of naked scenes and more direct exposure to the performance of China’s current “pan-nude” forms and content are mostly in the semi-obscure imitation and quick success