Abstract: This article analyzes the integration process of the painters from the states Later Shu (934-965) and Southern Tang (937-976) at the court of the Song Empire (960-1127). The subject of this research is the biographies of the painters, who after the formation of Song Empire, migrated from the regions Sichuan Jiangnan to the capital of Kaifeng Empire. The method of sociocultural approach is used in the course of this research. The goal is to examine the migration of the painters from the conquered states in the context of unification of the country. The author gives a brief characteristics to the peculiarities of development of the painting tradition in the states Later Shu and Southern Tan; reviews the migration process of the painters from the aforementioned regions to the capital of the new empire, and their integration at the court of the Song emperors. The conducted analysis demonstrates that during the unification of China, multiple painters together with the rulers of the conquered states, moved to Kaifeng and were invited to service as the court of Song Dynasty. An important role in the integration of painters from the conquered territories at the rule of new regime, was played by the Department of Painting, opened at the court of the Second Emperor Taizong (ruling period 976-997). The painters from the Later Shu were under a special patronage of the court, as they made a significant contribution to the creation of the royal style of painting of the Northern Song era.