The continuity of the Russian piano culture traditions in the modern music space of China is more clearly seen than, for example, in the exact sciences, computer technology, and medicine. The article briefly discusses the objective and subjective factors of such a fruitful multicultural pairing. The author reviews the creative activity of some famous Chinese pianists and educators, students of professors of Moscow and Leningrad conservatories in the Soviet period, in the context of the priorities in Russian performance and pedagogy. This is, for example, an appeal to the tactile side of performing, issues of sound production, flexible pianistic apparatus, “breathing” in music. The author specifies aspects that require more comprehensive realisation in the practice of music pedagogy in China. In particular, it is the lack of individualisation of the piano educational process, lack of attention to the creative and personal component in training, using a limited music performance repertoire, universal motor-pianistic formulas, lack of individual interpretive decisions. It is noted that in this direction the appropriate methodological support is being formed – Chinese authors are publishing research works and didactic materials summarising the achievements of the Russian pedagogy of music education.
Key words: music education in modern China, famous Chinese pianists and educators, traditions of the Russian piano school.

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