中共自有正式的文藝政策以來，即與文藝整風結下不解之緣。毛澤東雖然偶作詩詞，但沒有獨創的文藝觀，無產階級文學的黨性思想，白馬克思、和恩格斯首倡後，經列寧和斯大林發揚光大，為毛澤東所襲取。延安時期，毛澤東以工人、農民、兵士和城市小資產階級四種人，占當時全國人口百分之九十以上，因此奉斯大林為師，主張文藝為工農兵服務。他又重複列寧所說，文藝是整個無產階級機器中的齒輪和螺絲釘，位置業已擺好，所以絕無自由運作的可能。時至今日，毛澤東業已離世多載，死靈魂仍附著中共的文藝政策中，可謂其來有自。毛澤東身兼中共的列寧和斯大林，此種雙重身分，已成歷史定論，因此，過去的俄共可以全面批判斯大林，現在的中共則無法全盤否定毛澤東。就文藝政策本身觀之，毛澤東確也同時抄襲了列寧和斯大林，造成大陸文壇的蘇維埃化，其全面的悲劇，至「文革」達一高峰。

Since the People's Republic of China ( PRC ) formed an official literature and art policy， there have often been rectification campaigns in mainland China's literary and art circles. Mao Zedong did not form his own views on literature and art， though he himself occasionally wrote poems. He inherited the “Partyspirit" ideology of proletarian literature and art， advocated by Marx and Engels and further developed by Lenin and Stalin. During the Yan'an Period， he decided to follow Stalin in demanding that literature and art serve the workers， peasants and soldiers as these groups， along with the urban petty bourgeoisie， constituted more than 90 percent of the total population of China.

He reiterated Lenin's remark that literature and art were “cogsand screws" destined to fulfill their allotted roles in the “proletarianmachine，\" and should not be allowed to develop freely. Although Mao has been dead for more than two decades， his ideas on literature and art still remain dominant in mainland China. In literature and art policy， Mao did copy both from Lenin and Stalin， leading to the Sovietization of literature and art in mainland China. The Cultural Revolution marked the climax of this Sovietization tragedy.