Group portraits in Tang Dynasty figure painting employ the ingenious arrangement of multiple figures to construct complex social landscapes

with the use of color and line conveying the characteristics of the era and cultural connotations. This paper will conduct an in-depth analysis of the specific application of group composition

color

and line

as well as their expressive techniques

using representative works such as Portrait of Emperor Taizong Riding in a Palanquin and The Painting of Lady of Guoguo Spring Outing as examples. Analysis reveals that the density and dispersion of lines in group portraits are linked to power dynamics. At the same time

the intensity of colors such as cinnabar and azurite conveys a rigid hierarchical structure. This analysis will likely provide new perspectives and insights for the contemporary interpretation of traditional painting.