摘要： 1955年召开的万隆会议在艺术领域所产生的影响，标示着现代中国艺术发展道路的重新定向与变革。从五四运动到万隆会议，中国艺术的主旋律是创造新文艺；万隆会议之后，中国艺术的主旋律是发展有中国气派的民族艺术，中国艺术的发展方向是解殖民的，是东方国际主义的。通过在艺术舞台和政治舞台两个舞台上“表演万隆”，借助国家的文 化体制建设，中国艺术在民族化、社会主义化和国际化的道路上找到了融合点，创造出 了具有中国气派的新的社会主义民族艺术。

关键词: 万隆会议, 民族艺术, 后殖民, 文化外交, 东方国际主义

Abstract: The impact of the Bandung Conference held in 1955 on the art field marked a reorientation and transformation in the development path of modern Chinese art. From the May Fourth Movement to the Bandung Conference, the main theme of Chinese art was the creation of new literature and art; after the Bandung Conference, the main theme of Chinese art shifted to the development of a national art with Chinese characteristics, and the development direction of Chinese art was decolonial and oriented towards Eastern internationalism. By “Performing Bandung” on both the artistic and political stages, and with the aid of the country’s cultural system construction, Chinese art found a convergence point on the paths of nationalization, socialism, and internationalization, creating a new socialist national art with Chinese characteristics.

Key words: Bandung Conference, national art, postcolonialism, cultural diplomacy, eastern internationalism