与马克思主义诗学反映论的重再现、追求主体对客体的形象认识相比较，毛泽东的文艺反映论虽然也着眼于形似的模仿成分，但更多地是中国古代诗学的“感兴”意味；虽然也讲主体对客体的形象认识，但更强调在主客体的同化中主体（作家）作为客体（人民）的“代言人”的情绪和情感体验；虽也涉及形象认识的真实性，但更侧重于情绪情感倾向上的正确性。因此，毛泽东对文艺反映论的主要贡献是赋予其以中国化的民族形态，强调文艺反映的情感性 Compared with the re-reproduction of the Marxist theory of poetics and the pursuit of the subject’s understanding of the image of the object, Mao Zedong’s literary and art reflexology is more of a “sensational” meaning in ancient Chinese poetics, though it also focuses on the similar imitation components. But also stresses the subject’s image understanding of the object, but emphasizes the emotional and emotional experience of the subject (the writer) as the “spokesperson” of the object (the people) in the assimilation of the subject and object. It also focuses on the authenticity of the image recognition The correctness of emotions and emotions. Therefore, Mao Zedong’s main contribution to the theory of literature and art is to give it the national form of Chinese, emphasizing the sentimentality reflected in literature and art