The article considers the system of creative roll calls of Vladimir Mayakovsky and Chinese writer Guo Moruo, called «Chinese Mayakovsky» by critics. The creativity of writers is analyzed in the context of typologically similar trends in the Russian and Chinese literary process - the domestic literature of the post-revolutionary period 1924-1927 the Chinese literature of the era of the Revolution of 1937-1945, the national liberation anti-Japanese War of 2018, the popular revolutionary struggle against the Kuomintang dictatorship. When comparing the works of Guo Moruo and V. Mayakovsky, it comes to light a great number of writers of motive musters, significant for the art world: Motive «by the revolution of the mobilized and called», motive «I am the proletarian» likening poetry to weapons and feeling the power of poetry over the music of the elements and the great power of creativity in the transformation of the world, the angry denunciation of an unrighteous and unjust world of debauchery and a heartless citizen, images of the deestetized flesh of the outgoing world, sacralization of great historical and political figures, the poetic plot «memories of a dead friend» as a special variation of poems about idols, the singing of the Soviet universe and New China, the creation of its unique poetic space and the feeling of itself as part of that space, images of the sun and stars as indicators of the essence of man, allowing to understand the complexity and contradictions of the universe. The both poets are seen as the creators of a new type of verse, embodying a new revolutionary art, perceiving revolution both as a global political event and as an organic process, an indomitable natural element, a forever living, all-breaking force, drawing all mankind into its orbit and capable of changing the existing world order.
本文考虑了弗拉基米尔·玛雅可夫斯基（Vladimir Mayakovsky）和中国作家郭沫若（Guor Moruo）的创意唱名制，评论家称之为“中国玛雅可夫斯基（Chinese Mayakovsky）”。在俄国和中国文学过程中在类型学上相似的趋势下分析作家的创造力-革命后时期的国内文学（1924-1927年），1937-1945年革命时期的中国文学，民族解放2018年抗日战争，反对国民党专政的民众革命斗争。当比较郭沫若和马雅可夫斯基的作品时，发现了许多对艺术界具有重要意义的动机集合作家：动机“通过动员和召唤的革命”，动机“我是无产阶级”将诗歌比喻为武器，并在世界变化中感受到诗歌对元素音乐和创造力的强大力量，对放荡不义，不公正的放荡世界和无情的公民的愤怒谴责，对已剥夺肉体的印象即将到来的世界，伟大的历史和政治人物的圣化，作为情节偶像诗歌的特殊变体的“死去的朋友的记忆”诗情节，苏联宇宙和新中国的歌唱，其独特的诗情空间的创造以及作为空间一部分的自身感觉，太阳和星星的图像是人类本质的指示器，可以理解宇宙的复杂性和矛盾性。两位诗人都被视为新型诗歌的创造者，体现了新的革命艺术，认为革命既是全球性的政治事件，又是有机的过程，是不屈不挠的自然因素，永远的生命力，无穷的力量，绘画全人类进入其轨道，并能够改变现有的世界秩序。