在中国美学史和艺术史上,“媚”历来是一个备受争议的范畴。在习语中,有“俗媚”、“谄媚”、“软媚”、“妖媚”等等贬义性词,并且常常与女性的柔弱与无节联系起来。这种审美取向体现在书法艺术中,使得“媚”一直成为人所诟病的话题。比如,明代董其昌在《画禅室随笔》中,就曾不止一次提到唐代书家有“姿媚之习”。这种观点到了清代的傅山那里,更是发展到了极致,他明确提出了“宁拙毋巧,宁丑毋媚”的响亮口号。他说:“予极不喜赵子昂,薄其人遂恶其书。近细视之,亦未可厚非,熟媚绰约,自是贱态,……。”他在“媚”字前加上“熟”字已见贬义,再附上“贱态”二字,其厌恶之情可见一斑。 In the history of Chinese aesthetics and art, “Mei ” has always been a controversial category. In the idioms, there are “vulgar”, “flattery”, “soft”, “seductive” and so on derogatory words, and often with the weakness of women and no link. This aesthetic orientation is reflected in the art of calligraphy, making “Mei ” has become a subject of criticism. For example, in the Ming dynasty, Dong Qichang referred to the book of the Tang Dynasty for more than one time in his “Essay of Painting the Zen Chamber”. This point of view to the Fu Shan in the Qing Dynasty there, but also to the extreme development, he clearly put forward “rather clumsy, ugly ugly” loud slogan. He said: “Mostly do not like Zhao Ziang, thin his evil then evil book. ”Words before adding “ cooked ”has been derogatory term, then attached “ cheap state ”word, its aversion to evil is evident.