近代以来，随着国运衰败中国传统山水画遭受着西方绘画的强烈冲击。新中国的建立使传统艺术面临更为严峻的考验：山水画因其不能反映文艺政策，反映现实生活，尤其是政治生活面临被禁止创作的危机。五十年代初傅抱石尝试以毛泽东诗词入画，获得了良好的社会反映。1959年傅抱石应邀为人民大会堂创作鸿篇巨制《江山如此多娇》，启发了更多画家的思路。与毛泽东诗词相结合使山水画获得了一定的生存空间。毛泽东诗词逐渐成为了新的创作母题。艺术家们研读毛泽东诗词，结合当时的文艺政策，社会生活景观创造出了具有强烈时代特征的山水艺术。此时的山水艺术从美学各个层面上和传统艺术分道扬镳。在美的本质问题上，传统山水画的美学观建立在农业生产方式和封建专制体制上，主要的美学观点如天人合一道法自然等都顺应这一经济政治模式，强调美的整体性，辨证性。毛泽东诗意山水画的美学观基本建立在马克思主义美学上，强调通过人的实践活动改造世界，人在实践活动中感受到自己的本质力量，感受到自由，故实践是美的源泉。对美的本质理解不同必然造成视觉图像上的改变，这些变化表现在意境，内容，形式语言三方面。首先传统山水画总体呈现出宁静悠远，消散淡泊的意境美，毛泽东诗意山水画则呈现雄奇壮丽的氛围。其次从画面内容方面，传统山水画呈现的是整体山水自然环境，毛泽东诗意山水画突出表现人的集体活动，包括改造自然的活动和改造社会的活动。再次从形式语言方面传统山水画以水墨为主，毛泽东诗意山水画色墨相谐突出红色，在构图方面吸收西方绘画方式以突出人物活动。艺术是对社会政治经济文化的反映，有时代性阶级性。虽然人们对毛泽东诗意山水画褒贬不一，但有一点可以肯定，毛泽东诗意山水反映了毛泽东时代的特征，后人无法企及。它已经作为一个时代的符号流传下来。以上是对本课题研究内容的概括。此外，本文整理了部分毛泽东诗意山水画作品，结合原诗词进行了评价，以便大家以具体图像为依托了解毛泽东诗意山水画创作。虽然毛泽东时代已远去，但人们对毛泽东诗词的喜爱，关于毛泽东诗词的艺术创作并未停止，在艺术市场中毛泽东诗词画已成为专门的收藏门类。本文研究的目的就是向读者呈现毛泽东诗意山水画的总体面貌，望诸位同仁批评指正。

Since modern times, with the decline of Chinese traditional landscape painting, suffered a strong impact of Western painting. The establishment of new China is bringing the traditional art of painting landscape painting the crowning calamity, because it can not reflect the real life, especially in political life are banned the creation of crisis. In the early fifty's attempts to Mao Zedong poetry picturesque, established a new Chinese landscape painting and the contact, and has obtained good social reflect. Painters have to follow, the landscape painting to obtain certain living space. Artists studying Mao Zedong poetry, combined with the policy of literature and art, social life, landscape and created a strong characteristics of the times of the landscape art. The landscape painting from the view of aesthetics and traditional landscape painting fracture. Harmony between man and nature, nature and so on a series of aesthetic proposition of Chinese classical philosophy based on the overthrow. Man of practice activities, collective consciousness. During this period, people's understanding of beauty is based on the former Soviet Union of Marx's philosophy, aesthetics. Of course, these ideas and the social life of the time background Association, is the product of the times. Aesthetic thought change will inevitably lead to the change of image and language features. People be in full swing collective labor, a large number of industrial image full screen, landscape space has been squeezed, these images embodies man against nature and conquer. At the level of language artist creates an expression of space and color of the new, by using realistic space and the symbolic color of the screen is full of appeal. The new image and the language has changed the traditional landscape painting quiet indifferent temperament, the magnificent landscape of new artistic conception expression. Although Mao Zedong era has gone, but people still like Mao Zedong poetry, Mao Zedong poetry painting in the art market has become a specialized collection of categories, with Mao Zedong poetry as the theme of the painting creation never stop. Relatively speaking the current research on Mao Zedong poetic landscape painting is not enough. Chen Lvsheng Zou Yuejin's works focus on the creation background. Nanjing Museum million Xinghua creation course of Fu Baoshi's in-depth analysis. There are many artists unknown. Some of the other reviews of Mao Zedong's poetic landscape paintings mixed. This paper studies the topic to Mao Zedong poetic landscape painting. Present Mao Zedong poetic landscape painting creation background, creation, aesthetic characteristics analysis, based on a large number of image data for the support of Mao Zedong's poetic landscape paintings show the charm, to explore the theme of creative experience, Mao Zedong's poetic landscape creation presents to the readers of the whole.