After standing outside the Schengen International Hotel near the North Fifth Ring Road for four years, a sculpture depicting a cluster of breasts was finally removed earlier this year.

The 6-meter-high sculpture, titled Yanr by Beijing artist Wang Kaifang, featured breasts billowing from the ground in a smoke-like formation. It was chosen in June 2008 by the Chinese Olympic Committee to be displayed next to the hotel, which was used to accommodate foreign journalists during the Olympics.

In September 2009, the sculpture was painted green. In October 2010, it was given another colorful transformation in hues of yellow, before finally disappearing from public altogether earlier this year.

The latter fate has befallen many public artworks in Beijing that court controversy with their subject matter. Sculptures of nude figures often attract criticism that seals their removal from public, despite artists arguing such works are not erotic and actually stand to benefit society.

Pushing the boundaries

Wang said the message he aimed to convey through Yanr is that breasts should be praised, instead of looked down upon, by society.

"Breasts in the sculpture are shaped in a smoke-like formation. Even though they fall to the ground, they still struggle to rise. The meaning is that breasts are coming into public view from their previous underground status," Wang explained.

Wang's sculpture isn't the first to tackle a subject deemed sensitive, or even untouchable, in Chinese society. Another sculpture depicting a muscular naked man by Shen Hongbiao, a professor at the China Central Academy of Fine Arts, was erected in 2008 in front of the Guanghua School of Management at Peking University (PKU), facing a sculpture of ancient Chinese philosopher Confucius.

Chen Siming, a second year postgraduate student studying computer science at PKU, said it was "shocking" to erect Shen's sculpture at the university, saying an art museum would be a more appropriate venue.

"I first saw [the sculpture] in a photo and thought it was marvelous that a huge naked man should just stand there," he said. "But I feel that it's a public place, and public art should follow certain rules."

In 2011, Shen's sculpture was moved to a more secretive location nearby.

According to a November 2011 report in The Beijing News, PKU claimed the relocation was due to campus planning purposes and wasn't linked to criticism, which included a PKU professor labeling it "indecent."

Artists required to bide time 

Wang is no stranger to tussling with censorship in art.

"Previously, some of my works have been removed from exhibitions and sometimes even covered by a sheet," he said.

Wang said the message he wants to convey to viewers is positive, with Yanr using breasts to symbolize love and warmth.

"Since ancient times, breasts have always been seen in a warm way as helping nurture babies. But in recent years, they have been linked to sex and pornography. This is a mistake on our behalf," he said. "We are looking at [breasts] through colored lenses. It is our fault."

Shen expressed a similar defense about his sculpture, saying he hadn't sought to cross any moral boundaries.

"Adding human elements into art is a basic step of art creation at our academy," he said. "Artists shouldn't have to appeal to the interest of the public. If they do, art ceases to be genuine."

But Xie Luncan, associate director of the Communication University of China's Institute for Cultural Industries, argued it's reasonable for controversial art to be pulled from public.

"It purifies the living environment around us," he said. "Such artworks should be shown at exhibitions if possible. When shown in public, it's necessary to follow certain rules."

Because people of all ages can view public art, artworks that could have a bad influence on children should avoid being exhibited publicly, he said.

However, Wang rejected this argument.

"You can't let [young viewers] think such presentation is ugly at a time when they are still establishing their values," he said.

"I was trying to portray love, not sex. Everybody born into this world suckles milk from breasts, it's not disgusting."

Peng Xiaohui, a professor of sexology at the Central China Normal University in Wuhan, Hubei Province, said it's necessary for such sculptures to exist, but noted they can only be accepted gradually by the public as society develops.

"There are still issues with our sex education. Everybody still thinks sex should be hidden because it is vulgar," he said. "At a time when public understanding hasn't reached a high level, artists might need to compromise a little."

Public acceptance 'not the goal'

The first law on the management of city sculptures was passed by the Beijing Municipal Commission of Urban Planning in 1988, said Yu Huayun, director of the bureau's city sculpture management department.

Under the law, all sculptures displayed on the city's roads, squares, parks and in other public places must first be inspected by the commission.

"Before a sculpture can be created and exhibited in public, it needs to be assessed and approved [by the Commission of Urban Planning]," Yu said. "If artworks are erected without meeting the standards, we'll remove them in accordance with the law."

He gave an example of a sculpture previously erected in front of the Beijing Administrative College in Xicheng district, depicting a child swimming naked.

"The content was inappropriate for public exhibition, so we relocated it to a kindergarten," he said.

If an artwork is deemed controversial or attracts criticism, the office invites a panel of experts to discuss whether it warrants removal.

"It's OK if art is avant-garde and can lead to the development of art or beauty," Yu said. "But if art causes a stir in regards to traditional culture, religion or ideology, it has to go."

The office removed a sculpture in 2004 during Chinese New Year in Xidan Sqaure, Xicheng district.

The sculpture depicted chopsticks inserted vertically into bowls of rice, a taboo symbol in China as it resembles ritual incense burning after death.

To Wang, art that pushes the envelope contributes to a city's development. He argues public art doesn't need to always be 100 percent accepted by the public.

"If everybody accepts it, how can it push the boundaries?" he questioned.