Xinxin Zhao

The article is devoted to topical issues related to teaching Chinese students of fine arts. Due attention in the work is devoted to the general didactic principles of teaching students.

From year to year, there is a growing need for methods that contribute to the intensification of the educational process of preparation in the context of expanding intercultural communication. Russian-Chinese cooperation is of particular importance in this regard.

The development of a conceptual framework for arts education should be carried out taking into account the details of each of the three areas: academic, traditional and innovative. Because these differences are of a qualitative nature and cannot be carried out on a single philosophical, didactic and technical basis.

The article offers a comprehensive analysis of the artistic language typical of traditional Chinese painting, highlighting its unique semiotic and aesthetic characteristics. It explores how spiritual meaning is conveyed through the technique of free brushwork, the intentional use of empty space, and the profound symbolism of key motifs such as the lotus, peony, dragon, and phoenix. Particular attention is paid to the evolution of styles and techniques reflecting the transition from primitive forms to complex expressive compositions, as well as the role of traditional art in shaping national identity.