文／天心、明心

近年来，我们注意到一些影视作品中，仍然采用在剧情中插入带歌词歌曲的做法。虽然这样做出于增强情感表现的考虑，但现代观众往往觉得这种方式显得有些稚嫩，影响整体艺术效果。

回顾八九十年代，当时许多地区的影视技术与美学尚处于初级阶段，导演常采用公式化的模式：片头一首歌，片中一首歌，片尾再一首；电视剧甚至几乎每一个场景后都插入唱段。那时的观众之所以被吸引，并非因为作品本身艺术价值高，而是出于对新技术的新鲜感和好奇。

然而，随着人们审美水平的提升，那些手法如今已被认为是过时甚至幼稚的。如果今天仍继续使用这类风格，不仅无法展现专业水平，反而可能削弱作品传递信息的力量。

我们要回归的“传统”，并非数十年前的旧式审美，而是神传文化所涵养的真正辉煌。汉、唐、宋等文化高峰时期，音乐与舞蹈各自独立、优雅庄重，严格区分表演与叙事。歌曲从不会随意嵌入剧情之中。神韵艺术团就是典范之一，其节目中，歌曲与舞剧分别呈现，展现出严谨与庄重的艺术风貌。

因此，我们诚挚提出以下建议：

影片中应尽量避免在剧情中插入人声歌曲，以保持叙事的纯净与连贯。
如需音乐深化情感，建议在结尾处使用器乐旋律，而非人声演唱，除非该歌曲本身具备极高的精神能量与庄重感。
导演与创作者应主动提升自身的艺术审美，探索更能体现内涵与心境的艺术形式。

这不仅是对艺术的尊重，更是对观众心灵的责任。只有精进自身艺术修为，才能真正承载作品内涵，让更多人通过作品感受到真、善、美的光辉。

这条路不容易，但我们坚信：走正的路，一定能够抵达光明的彼岸。

🌸 温馨提示：本文基于明慧网《电影审美需要尽快成熟》改写，并结合个人观察和体会，旨在推动艺术交流与共同进步。内容仅供参考，非商业用途。原文链接：明慧网《电影审美需要尽快成熟》

回歸真正的傳統：提升影視藝術的審美境界

近年來，我們注意到一些影視作品中，仍然採用在劇情中插入帶歌詞歌曲的做法。雖然這樣做出於增強情感表現的考慮，但現代觀眾往往覺得這種方式顯得有些稚嫩，影響整體藝術效果。

回顧八九十年代，當時許多地區的影視技術與美學尚處於初級階段，導演常採用公式化的模式：片頭一首歌，片中一首歌，片尾再一首；電視劇甚至幾乎每一個場景後都插入唱段。那時的觀眾之所以被吸引，並非因為作品本身藝術價值高，而是出於對新技術的新鮮感和好奇。

然而，隨著人們審美水平的提升，那些手法如今已被認為是過時甚至稚嫩的。如果今天仍繼續使用這類風格，不僅無法展現專業水平，反而可能削弱作品傳遞信息的力量。

我們要回歸的「傳統」，並非數十年前的舊式審美，而是神傳文化所涵養的真正輝煌。漢、唐、宋等文化高峰時期，音樂與舞蹈各自獨立、優雅莊重，嚴格區分表演與敘事。歌曲從不會隨意嵌入劇情之中。神韻藝術團就是典範之一，其節目中，歌曲與舞劇分別呈現，展現出嚴謹與莊重的藝術風貌。

因此，我們誠摯提出以下建議：

影片中應盡量避免在劇情中插入人聲歌曲，以保持敘事的純淨與連貫。
如需音樂深化情感，建議在結尾處使用器樂旋律，而非人聲演唱，除非該歌曲本身具備極高的精神能量與莊重感。
導演與創作者應主動提升自身的藝術審美，探索更能體現內涵與心境的藝術形式。

這不僅是對藝術的尊重，更是對觀眾心靈的責任。只有精進自身藝術修為，才能真正承載作品內涵，讓更多人通過作品感受到真、善、美的光輝。

這條路不容易，但我們堅信：走正的路，一定能夠抵達光明的彼岸。

🌸 溫馨提示：本文基於明慧網《電影審美需要盡快成熟》改寫，並結合個人觀察和體會，旨在推動藝術交流與共同進步。內容僅供參考，非商業用途。

原文連結：明慧網《電影審美需要盡快成熟》

Returning to True Tradition: Elevating the Aesthetic Standard of Film and Television Art

tianxin.明心

In recent years, we have noticed that some film and television works still use the practice of inserting songs with lyrics into the storyline. Although this approach may be intended to enhance emotional expression, modern audiences often perceive it as somewhat immature, which affects the overall artistic impact.

Looking back to the 1980s and 1990s, many regions’ film and television techniques and aesthetics were still in their infancy. Directors often followed formulaic patterns: a song at the beginning, one in the middle, and another at the end; TV dramas sometimes inserted songs after nearly every scene. Audiences at that time were attracted not because of the high artistic value of the works, but because of the novelty and curiosity towards new technology.

However, as people’s aesthetic standards have improved, those techniques are now considered outdated and even immature. Continuing to use such styles today not only fails to demonstrate professional quality but may also weaken the power of the work to convey its message.

The “tradition” we seek to return to is not the outdated aesthetics of a few decades ago, but the true brilliance cultivated by divine-transmitted culture. During cultural peaks such as the Han, Tang, and Song dynasties, music and dance were distinct, elegant, and solemn, with a clear separation between performance and narrative. Songs were never casually inserted into the storyline. The Shen Yun Performing Arts company is a prime example, where songs and dance dramas are presented separately, demonstrating rigorous and solemn artistic style.

Therefore, we sincerely offer the following suggestions:

Films should avoid inserting vocal songs within the narrative to maintain purity and coherence.
If music is needed to deepen emotional impact, instrumental melodies are recommended at the end rather than vocal songs—unless the song itself carries exceptionally high spiritual energy and solemnity.
Directors and creators should actively elevate their artistic aesthetics and explore art forms that better embody the inner cultivation and profound meaning of their work.

This is not only a respect for art but also a responsibility towards the audience’s spirit. Only by refining our artistic cultivation can we truly carry the connotations of the work and allow more people to feel the radiance of truth, kindness, and beauty through it.

This path is not easy, but we firmly believe: by walking the right path, we will surely reach the shore of light.

🌸 Warm Reminder: This article is adapted from the Minghui article “Film Aesthetic Needs to Mature Quickly” and combined with personal observations and insights. It aims to promote artistic exchange and mutual progress. Content is for reference only and is not for commercial use.

Original article link: Minghui — “Film Aesthetic Needs to Mature Quickly”