方志凌

 

人們習慣于將年輕女性浪漫地比喻為鮮花，女性的青春時期則被稱為花季。畫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，與花季一詞所喻示的健康與陽光的形象不同，石巍描繪的骨感美人瘦弱、骨感，飽含著性的饑渴，散發出性的誘惑，她們是欲望的主體，更是許多人欲望的對象。

《骨感美人系列》是從幾個不同的視角展開的：

《作品3》和《作品9》等中的骨感美人是欲望絕對的主動者。《作品3》中，骨感美人慵懶地卷縮在沙發的一角，衣著暴露（下身穿一條不能再短小的內褲，上身衣衫半敞，露出細小的乳罩和白皙的肉體），口唇微張，癡癡定定地直視著畫外的眼神里充滿了性渴望。如果說這個女孩向往的是情感與肉欲的雙重愉悅，《作品9》所中的骨感美人流露出的則是歇斯底里的肉欲——她的身體強烈地收縮、扭曲，目光焦灼，閃爍著油光的嘴唇不由自主地開合。還有露骨地叉開的腿根，用力收縮的小腿，神經質地抽搐的骨感的雙手……骨感美人骨感的身體所蘊含的色欲特征在這幅作品中得到最充分地表達。

《作品6 》、《作品8》等作品則展現了骨感美人與伴侶之間溫情的互動關系。在《作品6 》中，骨感美人的腦袋恬適地枕在自己的雙手上，暗示了她與隱身畫外的伴侶之間發自內心的親密感。女孩微噘的嘴和單純、沉靜而又若有所思的眼神透露出純真少女特有的青澀感，與色欲化的骨感身體形成鮮明的對比，顯現出一種靈肉分離的意味。《作品8 》中骨感美人愜意的心境在不經意地晃動的小腿上得到強化——美人伏地板上，一只乳房從短小的上衣中滑露而出，緊貼著天藍色的地板，小腿不自覺中自在地向后抬起，眼神柔和、淡定、從容，美人的神情和肢體語言都暗示出她內心溫馨的感受；滑露出的乳房、粉紅色的肌膚、尖利的鞋跟表現出她的肉欲特征，恬適愜意的神情顯示出她肉欲與精神上的雙重滿足。

《作品1 》、《作品2 》、《作品4 》、《作品10》等作品構成系列中另一個不同的方面，表現了骨感美人桀驁不馴的挑釁色彩。在《作品1 》中，美人的腿與腰身構成生硬的Z字形，頭、頸脖和整個身軀呈現為簡練的弓形，一條手臂盡力地往外伸展，另一條手臂有些痙攣地貼在弓形的軀體上，整個身體形態顯出強烈的動物特性；在零亂的短發映襯下，冷漠而又銳利的眼睛地直視畫外，使她極為色欲的肢體充滿了挑釁意味。與《作品1 》極為相似的是《作品10 》，那位美人的姿態讓人聯想到叫春的貓，冰冷而又焦灼的眼神里滿是性的饑渴與挑釁。《作品2》的色欲特征稍弱，但挑釁色彩更加強烈。女孩慵倦的坐在床上（或是地毯上），目光自下而上斜瞟過來，作品俯視的視角極大地強化了這雙眼睛的挑釁意味，挑釁的對象比較模糊，也許是將其視為玩物的異性，也許是父輩規訓，也許是人們現有的道德意識。

《作品7 》、《作品11 》、《作品17》、《作品26 》、《作品27 》、《作品28 》等等也許是石巍《骨感美人系列作品 》中最令人觸目驚心的一組，展現的是女孩們面臨強加于身的暴力的性時的驚恐與無助。《作品7 》中，女孩瘦小的身體橫陳在零亂的床單上，性感單薄的連衣裙幾乎被撕落，雙乳和陰部盡露，一只手臂用力地夾護著袒露的胸部，面部表情哀怨而驚恐。《作品11》中的少女頭部劇烈地扭曲著，雙手緊緊護住陰部，不合作的眼神冷冷地盯視著。《作品17 》、《作品27 》、《作品28 》 則描述了是女孩們任人蹂躪的無奈。《作品17》中，女孩上身已經完全裸露，雙手無力地拉著褪至腿間的衣衫，似乎是正在滿足施欲者色欲眼光。僵直的身體，用力扭曲的頸脖和冷漠倔強的神情表現出內心的憤懣與屈辱。在《作品27 》里，女孩的身體被無助地打開，雙臂開敞，只有緊抿的嘴和生冷哀怨的眼神似乎在無望地抵抗。《作品28》中的女孩沒有做出任何反抗的姿態，身體無助地展露著，無力地側靠在瘦弱的肩上的臉龐充滿了屈辱和哀傷。

相對而言，《作品29 》是《骨感美人系列》中比較獨特的作品，美人的肢體語言表現出語義的模糊性——緊貼在胸前的手像是在作最后的防御，又像是情欲難耐時的自我撫慰；緊聳的肩部與用力傾側的身體像盡力的躲閃，又像是欲火焚身時不自覺的痙攣；冷峻的眼神和微啟的口唇像是拒斥，又像是強烈的召喚——所有這一切，對于熱切的窺淫目光來說無疑提供了色欲的狂歡。

石巍塑造的骨感美人形象顯然是隱喻性的，包含著幾層不同的含義：女孩自身強烈的肉體欲望；這種欲望的被建構的特性以及觀淫者和施淫者的色欲臆想。

骨感美人骨感瘦弱的身體大大超出了從審美的角度對身體形態進行控制所需的限度，在現實中，這樣瘦弱至畸形的軀體不會給人以美的感受，也難以給人以色欲的刺激。然而，石巍作品中這些女孩的形象正如“骨感美人”這個色情的稱謂一樣傳達出異常強烈的色欲氣息。這種色欲感不是來自形體本身，而是來自畫家對她們肢體動作與精神狀態的刻畫和對整個畫面色欲氛圍的渲染。在這種色欲情境中，她們骨感瘦弱的肢體脫離了形體自身的含義，成為肢體難以承受的強烈肉欲的象征。

在整個系列作品里，在觀者與作品之間始終存在著一個未曾謀面的第三者。有些作品中，他是骨感美人既期盼又挑釁的對象，有些作品中他是骨感美人獲得身心歡愉的親密伴侶，有些作品中，他是罪惡的性暴力的施行者。這個未曾謀面的存在者其實也是一種深沉的隱喻，喻示的這個色欲化時代性帶給花季少女們的方方面面。

《骨感美人系列》也許還暗示了另一個更隱秘角色——熱切的窺淫目光——的存在。在這雙窺視的眼睛里，花季少女們的生存狀態被轉化為一幕幕色欲的戲劇，她們的命運無關緊要，緊要的是她們色欲化的存在所帶來的強烈的色欲刺激和觀淫癖好的巨大滿足。

在儒家思想盛行的時代，女性特征被塑造為謹守三從四德的柔弱賢淑；在新中國充滿激情的年代里，女性特征被建構為富有強烈動感的風風火火和英姿颯爽。性感與肉欲顯然是我們這個時代最典型的建構，它們來自于色情產業的膨脹，傳統道德觀念的崩潰，形形色色性科學的宣傳和性觀念的不斷開放，社會生活中無處不在的曖昧與情色的話語，以及發達的傳播媒體與通訊體系提供的快捷與便利。當性話語以一種無處不在的、時髦的、前衛的甚至帶有革命色彩的姿態出現的時候，這些色欲化（或者被色欲化）的骨感美人的存在就成為一種容易理解的現實。

作為藝術家，石巍并不追問將這些花季少女色欲化的社會根源，他關注的是在這個色欲化的環境中這些自身被色欲化（或者被色欲對象化）的女孩們的存在狀態。《骨感美人系列》是藝術家這份沉重關注的深刻體現，它們展示了女孩們性觀念的開放、對傳統觀念的蔑視、和她們對性愉悅的渴求，性成為純粹生理和個人的行為，失去了道德與倫理的價值。它們同時也展示了隱藏在那些性的歡愉與性的前衛姿態背后女孩們面對性暴力時的屈辱與無助。

也許誰也難以理清一個時代流行的社會生活意識的是非得失，作為一個富有愛心和責任感的畫家，石巍對花季少女這個特定的社會群體在新的社會環境中的存在狀態深沉的揭示，促使我們對我們時代的生活觀念進行更全面、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.