Traditional Philosophical and Ideological Teachings of China in the Cinema of Chinese Director Zhang Yimou

The article is devoted to the study of traditional cultural concepts in the cinematography of Chinese director Zhang Yimou, with an emphasis on the influence of Confucianism, Taoism and Buddhism on the formation of the aesthetics and ideological content of his films. The subject of the study includes the analysis of philosophical ideas, visual symbols and narrative structures reflecting the national identity of China. The research methods are based on an interdisciplinary approach: textual analysis of films, a comparative study of interpretations of Russian and Chinese scholars, as well as a cultural and philosophical interpretation of key scenes. An appeal to opponents is manifested in a polemic with the assertion about the leveling of “national film culture” in the context of globaliza-tion; the author proves that Zhang Yimou’s unique cultural codes (color symbolism, traditional rituals, yin-yang concepts) strengthen cultural identity. The findings highlight that the director’s films serve as a bridge between Eastern and Western cultures, preserving China’s spiritual values and broadcasting them into a global context. The scientific novelty lies in the systematization of philosophical concepts (harmony of man and nature, Confucian eth-ics, yin-yang dialectic) through the prism of cinematic language, as well as in identifying their role in the formation of universal humanistic ideals. The study contributes to intercultural dialogue, expanding the understanding of Chi-nese traditional culture in contemporary art.