方志凌
人们习惯于将年轻女性浪漫地比喻为鲜花，女性的青春时期则被称为花季。画家石巍塑造的骨感美人都是正值青春年少的花季少女，然而，与花季一词所喻示的健康与阳光的形象不同，石巍描绘的骨感美人瘦弱、骨感，饱含着性的饥渴，散发出性的诱惑，她们是欲望的主体，更是许多人欲望的对象。
《骨感美人系列》是从几个不同的视角展开的：
《作品3》和《作品9》等中的骨感美人是欲望绝对的主动者。《作品3》中，骨感美人慵懒地卷缩在沙发的一角，衣着暴露（下身穿一条不能再短小的内裤，上身衣衫半敞，露出细小的乳罩和白皙的肉体），口唇微张，痴痴定定地直视着画外的眼神里充满了性渴望。如果说这个女孩向往的是情感与肉欲的双重愉悦，《作品9》所中的骨感美人流露出的则是歇斯底里的肉欲——她的身体强烈地收缩、扭曲，目光焦灼，闪烁着油光的嘴唇不由自主地开合。还有露骨地叉开的腿根，用力收缩的小腿，神经质地抽搐的骨感的双手……骨感美人骨感的身体所蕴含的色欲特征在这幅作品中得到最充分地表达。
《作品6 》、《作品8》等作品则展现了骨感美人与伴侣之间温情的互动关系。在《作品6 》中，骨感美人的脑袋恬适地枕在自己的双手上，暗示了她与隐身画外的伴侣之间发自内心的亲密感。女孩微噘的嘴和单纯、沉静而又若有所思的眼神透露出纯真少女特有的青涩感，与色欲化的骨感身体形成鲜明的对比，显现出一种灵肉分离的意味。《作品8 》中骨感美人惬意的心境在不经意地晃动的小腿上得到强化——美人伏地板上，一只乳房从短小的上衣中滑露而出，紧贴着天蓝色的地板，小腿不自觉中自在地向后抬起，眼神柔和、淡定、从容，美人的神情和肢体语言都暗示出她内心温馨的感受；滑露出的乳房、粉红色的肌肤、尖利的鞋跟表现出她的肉欲特征，恬适惬意的神情显示出她肉欲与精神上的双重满足。
《作品1 》、《作品2 》、《作品4 》、《作品10》等作品构成系列中另一个不同的方面，表现了骨感美人桀骜不驯的挑衅色彩。在《作品1 》中，美人的腿与腰身构成生硬的Z字形，头、颈脖和整个身躯呈现为简练的弓形，一条手臂尽力地往外伸展，另一条手臂有些痉挛地贴在弓形的躯体上，整个身体形态显出强烈的动物特性；在零乱的短发映衬下，冷漠而又锐利的眼睛地直视画外，使她极为色欲的肢体充满了挑衅意味。与《作品1 》极为相似的是《作品10 》，那位美人的姿态让人联想到叫春的猫，冰冷而又焦灼的眼神里满是性的饥渴与挑衅。《作品2》的色欲特征稍弱，但挑衅色彩更加强烈。女孩慵倦的坐在床上（或是地毯上），目光自下而上斜瞟过来，作品俯视的视角极大地强化了这双眼睛的挑衅意味，挑衅的对象比较模糊，也许是将其视为玩物的异性，也许是父辈规训，也许是人们现有的道德意识。
《作品7 》、《作品11 》、《作品17》、《作品26 》、《作品27 》、《作品28 》等等也许是石巍《骨感美人系列作品 》中最令人触目惊心的一组，展现的是女孩们面临强加于身的暴力的性时的惊恐与无助。《作品7 》中，女孩瘦小的身体横陈在零乱的床单上，性感单薄的连衣裙几乎被撕落，双乳和阴部尽露，一只手臂用力地夹护着袒露的胸部，面部表情哀怨而惊恐。《作品11》中的少女头部剧烈地扭曲着，双手紧紧护住阴部，不合作的眼神冷冷地盯视着。《作品17 》、《作品27 》、《作品28 》 则描述了是女孩们任人蹂躏的无奈。《作品17》中，女孩上身已经完全裸露，双手无力地拉着褪至腿间的衣衫，似乎是正在满足施欲者色欲眼光。僵直的身体，用力扭曲的颈脖和冷漠倔强的神情表现出内心的愤懑与屈辱。在《作品27 》里，女孩的身体被无助地打开，双臂开敞，只有紧抿的嘴和生冷哀怨的眼神似乎在无望地抵抗。《作品28》中的女孩没有做出任何反抗的姿态，身体无助地展露着，无力地侧靠在瘦弱的肩上的脸庞充满了屈辱和哀伤。
相对而言，《作品29 》是《骨感美人系列》中比较独特的作品，美人的肢体语言表现出语义的模糊性——紧贴在胸前的手像是在作最后的防御，又像是情欲难耐时的自我抚慰；紧耸的肩部与用力倾侧的身体像尽力的躲闪，又像是欲火焚身时不自觉的痉挛；冷峻的眼神和微启的口唇像是拒斥，又像是强烈的召唤——所有这一切，对于热切的窥淫目光来说无疑提供了色欲的狂欢。
石巍塑造的骨感美人形象显然是隐喻性的，包含着几层不同的含义：女孩自身强烈的肉体欲望；这种欲望的被建构的特性以及观淫者和施淫者的色欲臆想。
骨感美人骨感瘦弱的身体大大超出了从审美的角度对身体形态进行控制所需的限度，在现实中，这样瘦弱至畸形的躯体不会给人以美的感受，也难以给人以色欲的刺激。然而，石巍作品中这些女孩的形象正如“骨感美人”这个色情的称谓一样传达出异常强烈的色欲气息。这种色欲感不是来自形体本身，而是来自画家对她们肢体动作与精神状态的刻画和对整个画面色欲氛围的渲染。在这种色欲情境中，她们骨感瘦弱的肢体脱离了形体自身的含义，成为肢体难以承受的强烈肉欲的象征。
在整个系列作品里，在观者与作品之间始终存在着一个未曾谋面的第三者。有些作品中，他是骨感美人既期盼又挑衅的对象，有些作品中他是骨感美人获得身心欢愉的亲密伴侣，有些作品中，他是罪恶的性暴力的施行者。这个未曾谋面的存在者其实也是一种深沉的隐喻，喻示的这个色欲化时代性带给花季少女们的方方面面。
《骨感美人系列》也许还暗示了另一个更隐秘角色——热切的窥淫目光——的存在。在这双窥视的眼睛里，花季少女们的生存状态被转化为一幕幕色欲的戏剧，她们的命运无关紧要，紧要的是她们色欲化的存在所带来的强烈的色欲刺激和观淫癖好的巨大满足。
在儒家思想盛行的时代，女性特征被塑造为谨守三从四德的柔弱贤淑；在新中国充满激情的年代里，女性特征被建构为富有强烈动感的风风火火和英姿飒爽。性感与肉欲显然是我们这个时代最典型的建构，它们来自于色情产业的膨胀，传统道德观念的崩溃，形形色色性科学的宣传和性观念的不断开放，社会生活中无处不在的暧昧与情色的话语，以及发达的传播媒体与通讯体系提供的快捷与便利。当性话语以一种无处不在的、时髦的、前卫的甚至带有革命色彩的姿态出现的时候，这些色欲化（或者被色欲化）的骨感美人的存在就成为一种容易理解的现实。
作为艺术家，石巍并不追问将这些花季少女色欲化的社会根源，他关注的是在这个色欲化的环境中这些自身被色欲化（或者被色欲对象化）的女孩们的存在状态。《骨感美人系列》是艺术家这份沉重关注的深刻体现，它们展示了女孩们性观念的开放、对传统观念的蔑视、和她们对性愉悦的渴求，性成为纯粹生理和个人的行为，失去了道德与伦理的价值。它们同时也展示了隐藏在那些性的欢愉与性的前卫姿态背后女孩们面对性暴力时的屈辱与无助。
也许谁也难以理清一个时代流行的社会生活意识的是非得失，作为一个富有爱心和责任感的画家，石巍对花季少女这个特定的社会群体在新的社会环境中的存在状态深沉的揭示，促使我们对我们时代的生活观念进行更全面、更深刻的反省。
The flower season with Changed color
----Comprehending "The Skinny Beautiful Woman Series"
Written by Fengzhiling
The people are accustomed to analogizing the young feminine the fresh flowers romantically, the feminine youth is called the flower season. The skinny beautiful women which painter Shi Wei molds all are just when they are young girls with flower season.The word flower season metaphor health and sunlight, however, Shi Wei describes the skinny beautiful woman as emaciated, skinny, being full of the thirst of sex, sending out the enticement of sex, they are the desired main body, and they are many menfolk ’desired objects.
"The Skinny Beautiful Woman Series" is launches from several different angles of view:
In the "Works No3" and "Works No9" and so on, the skinny beautiful woman is the absolute desired initiator. In the"Works No3" , the skinny beautiful woman curls and shrinks in a sofa lazily, with clothing revealed, mouth opening slightly, looking straight ahead outside the picture crazily, full of the hunger of sex,. If this girl yearns for the joyful of the emotion and carnal desire, the skinny beautiful woman in the "Works No9" expresses the hysteria of carnal desire - her body intensely contracts and distorts, the vision is deeply worried, the glittering lip cannot help but open and shut up. Also the leg root undisguisedly splits, the calf contracts effortly, both skinny hands twitches nervously... ... The lust desire in the body of the skinny beautiful woman expresses in this works fully.
"Works No 6", "Works No 8" and so on has unfolded the warm-hearted interaction relations between the skinny beautiful woman and the companion .In the"Works No 6" , the skinny beautiful woman rest head on her own both hands tranquilly, it suggests that she is intimate with the companion hiding outside the picture. The girl pouts her mouth slightly , her eyesight is pure and as if lost in thought, the all has disclosed the pure young girl's unique astringent feeling, and this forms the distinct contrast with the lust skinny body. In the"Works No 8", the skinny beautiful woman's satisfied mood can be seen from her calf which waggles carelessly. She lies on the floor, a breast has revealed from short underwear, tightly pasting the sky blue floor, a calf is lifting to back unrestrainedly, the eyesight is gentle and calm, her expression and the body suggest she is satisfied with both spirit and carnal desire.
"Works No 1", "Works No 2", "Works No 4", "Works NO 10" and so on constitute another different aspect, which has displayed the skinny beautiful woman's intractability and provocation. In the"Works No 1" , the beautiful woman's leg and the waist constitute stiff Z , the head, neck and the whole body form the succinct arch, an arm extends with effort toward outside,another arm pastes on the arch body convulsively, the entire shape of body appears the intense animal characteristic; her sharp eye looks straight ahead outside the picture, making her extremely lust body fill with provocation . The"Works No 10"is extremely similar to the"Works No 1" , the beautiful woman's posture lets us associate her with a cat in mating season, her ice-cold and worried eyesight is full of the thirst of sex and provocation. The lust characteristic of "Works No 2" is slightly weak, but the provocation color is more intense. The girl lethargicly seat on the bed, the vision casts sidelong glance from bottow to top, the overlooking angle of the works enormously strengthened the provocation of this pair of eye, The object which she is provoking is quite fuzzy, perhaps it is a certain man regarded as her toys, perhaps the gauge of father's generation, perhaps the morals consciousness existing in the minds of people now.
Perhaps "Works No 7", "Works No 11", "Works No 17", "Works No 26", "Works No 27", "Works No 28" and so on are most startling in Shi Wei's "The Skinny Beautiful Woman Series”, they unfold the girls' impose panic-stricken and helplessness faced with the violence of sex . In the"Works No 7" , the girl's thin and small body lies on bedsheet in disorder, the sexy thin dress is nearly ripped , double breast and genitals completely expose, an arm makes an effort to pretect the chest which reveals, the facial expression is panic-stricken and plaintive.In"Works No 11" the young girl' s head is twisting fiercely , both hands closely protect the genitals, the unfriendly eyesight is staring coldly. "Works No 17", "Works No 27"and"Works No 28" describe the helplessness when the girls are devastated. In the"Works No 17" , the girl' s upper part of body has been already exposed completely, both hands incapably pull the clothing shedding to the legs, as if she is satisfied with the lecher' s lust sight.Her unbending body, twisting neck and indifferent stubborn facial expression has displayed the resentment and humiliation in her heart. So it is with the "Works No 28", the girl does not revolt, the body is exposing incapably, the face depended on the emaciated shoulder is full of the humiliation and sadness.
Relatively, the"Works No 29" is the more distinctive works in "The Skinny Beautiful Woman Series",the beautiful woman's body displays the semantic fuzziness –it is seem that with the hand tightly pasting on the chest she is making the final defense,it is also seem that she is masturbating; the callous eyesight and slightiy- opening mouth show not only that she is repelling,but also that she is seducing somebody-- all these has provided the lust revelry to the lecher.
The skinny beautiful woman whom Shi Wei molds is obviously the metaphor,it contains several different meanings:the girl's intense lust desire, the characteristic constructed by this kind of desire and the lether's lust conjecture.
The emaciated body of the skinny beautiful woman has greatly surpassed the limit controled the bodily shape from the esthetic angle, In real life, people do not think this emaciated and the abnormal girls as the beauty,and they also can't stimulate the lust of menfolk. However, these girls' images in the Shi Wei’s works transmits the intense lust desire, just like this pornographic name --"the skinny beautiful woman". This kind of lust feeling does not come from their physique itself,but comes from the painter's portrayal to the body movement and state of mind and exaggerating to the lust atmosphere of the picture. In this kind of lust situation, The skinny body has been separated from the primary meaning of physique,it becomes the intense lust symbol which the body can't withstand.
In all works, there is the third person which doesn’t appear between the audience and works. In some works, he is the object seduced by the skinny beautiful woman; in some works, he is the intimate partner of the skinny beautiful woman, from whom she can obtain the body and mind happy; in some works, he is the evil raper. Actually the third person is also one kind of deep metaphor,he means how this lust times influences the life of the young girls with flower season.
Perhaps "The Skinny Beautiful Woman Series" also suggests there is another hidden role – who likes to peep at the obscenity earnestly.In this pair of eyes, the survival condition of the young girls with flower season is transformed into a lust play, their destiny is immaterial, what is critical is that their lust existence can stimulate the intense lust and be satisfied with the menfolk peeping at the obscenity greatly.
At the time when the Confucianist thought was in vogue , the female characteristic was molded for being delicate and virtuous and dutiful; in new China, the female characteristic was constructed to be valiant and capable. Obviously the sex and lust is the typical at our time, this opinion comes from the inflation of pornographic industry, the collapse of tradition morality, all kinds of scientific propaganda about sex and the opening attitude to sex,as well as the developed dissemination of media and the convenience provided quickly by the communication system. When the words about sex is fashionable, avant-garde, even revolutionary color, these lust skinny beautiful woman's existence is easily understood by people now.
As an artist, Shi Wei does not care about these social roots certainly, he pays attention to the lust girls’ existence condition in this lust environment. "The Skinny Beautiful Woman Series" is the profoundly manifestation of the artist’s excessive attention, it has demonstrated the girl’s opening attitude to sex, despising the traditional ideas and their seeking to the sex joyful, the sex becomes the pure physiologic and individual behavior, which has lost the value of the morality and ethics. At the same time it has also demonstrated the girls’ humiliation and helplessness confronting the sex violence.
Perhaps nobody can judge whether the popular life consciousness is right or wrong, as an artist with sense of responsibility and love, Shi Wei has revealed profoundly the existence condition of the young girls with flower season-this specific social group in new social environment, which lets us introspect to the life idea at our time more profoundly and extensively.
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