During the Northern Song Dynasty, there was a unique phenomenon of communication and mutual learning between the Han and Fan ethnic groups through painting as a medium. The respect and importance placed by the Song court on the culture of the Fan ethnic group is not only reflected in the political and diplomatic aspects, but also more profoundly in the field of painting. The Xuanhe Painting Manual specially designated the "Fan Clan Class", which ranks fourth among the ten kinds after the "Dao Shi Class", "Ren Shi Class", and "Gong Shi Class". The compilation style and classification standards of the Xuanhe Painting Manual reflect the open style of the rulers of the Song Dynasty, who were culturally independent and absorbed different customs, and the diplomatic concept of harmonious coexistence and equal treatment between the Song court and the Fan ethnic group. Fan and Han painters had interactions with each other. Fan painters came to work and lived in the Song Dynasty, and were influenced by Central Plains culture. Their artistic styles gradually merged with the Han ethnic group. Han painters also went to places of different ethnic groups, and their works were highly appreciated and learned by the Fan people, which had a significant impact on Fan people's. This kind of two-way communication between ethnic groups not only enriches the connotation of painting art, but also promotes mutual understanding and respect between the Fan and Han ethnic groups. During the exchange between the two ethnic groups, the Liao dynasty often presented paintings with their own ethnic characteristics, such as deer, geese, and wild geese. The Song dynasty, on the other hand, presented them in the form of flying white calligraphy, a representative of traditional Han culture. These paintings deepened the friendly relationship between the Song and Liao dynasties and became a symbol of cultural exchange between the two ethnic groups. In addition, the exchange of imperial attire between the Song and Liao dynasties, as well as the painting of the Khitan Envoy's Appointment to the Court by the Song people, record the diplomatic activities between the Fan and Han dynasties, showcasing the historical scene of ethnic harmony. The Song court attached great importance to collecting and drawing images of the Fan ethnic group, as well as depicting official tribute maps for ethnic exchanges. These paintings were not only artistic creations, but also products of the interaction between politics and art. They became a way for the Song court to praise the cultural and military achievements of the dynasty, shape the prestige of the Central Plains, and enhance national confidence. During the Northern Song Dynasty, the Han and Fan ethnic groups used painting as a medium to collide and learn from each other, intertwined with innovation, and their cultural connections strengthened day by day, jointly promoting the prosperity and development of Chinese painting art.