毛泽东的一生是充满诗意的一生。他的诗词创作影响深远,从他的诗论及文论可以看到比较深刻的美学思想。这些美学思想也直接影响到他的书法创作。例如,他在1957年对范仲淹的词的评注有此一说:“词有婉约、豪放两派,各有兴会,应当兼读……我的兴趣偏于豪放,不废婉约。”其实,无论是诗词还是书法,毛泽东的艺术创作给人的一般感觉是:极其豪放,不失婉约。这说明他把他的“偏于豪放、不废婉约”的美学兴趣发扬到了极致。用美学范畴来说,豪放派具有阳刚之美,婉约派具有阴柔之美,两者相当于“壮美”与“优美”的区别。按照“文如其人”、“字如其人”的说法,毛泽东的诗词与书法之所以洋溢着“壮美”之情,除了受他 Mao Zedong’s life is full of poetic life. His poem creation has a far-reaching impact. From his poetry theory and literary theory, he can see more profound aesthetic thoughts. These aesthetic thoughts also directly affect his calligraphy creation. For example, in his commentary on Fan Zhongyan’s speech in 1957, he said: “Words are graceful and bold, each has its own uniqueness and should be part-time. My interest is partial and unruffled.” “ In fact, both the poetry and calligraphy, Mao Zedong’s artistic creation gives the general feeling is: extremely bold, yet graceful. This shows that he put his ”partial to bold, not tactful “ aesthetic interest developed to the extreme. In the category of aesthetics, boldness has masculine beauty and graceful beauty has feminine beauty, both of which are equivalent to the difference between ”magnificent“ and ”beautiful“. Mao Zedong’s poetry and calligraphy are filled with the feeling of ”magnificence“ in addition to being subject to the ”Wenru Renren“ and ”