Neolithic patterns are traced on earthenwares, stonewares, and bone and horn tools. The pervasive types were repetitive geometrical patterns including comb, droplet, wave, and sawtooth patterns. From the early Bronze Age emerged new patterns such as concentric circles and radial lines, which were etched on bronze sheaths and hilts, bronze objects in the shape of shields, palduryeong (bronze ritual implements having eight bells around flat lanceolate octagons), and danyusemun-gyeong (bronze mirrors adorned with delicate incised lines). Petroglyphs and rock-cut graffiti also appeared at this time. Many petroglyphs are exposed along the hillside rock face in Daegong-ri, Eonyang-myeon, Ulsan, mostly of prey, including deer, wild boars, bears, whales, and fish. Concentric circles and quadrilateral forms which are superposed in many layers and other stylized geometric patterns were discovered on boulders in Yangjeon-dong, Goryeong-gun, Gyeong-sangbuk-do province.

A variety of highly sophisticated derivative patterns in paintings and artifacts proliferated from the Three Kingdoms era. Fine linework and colors are applied together with handicraft techniques in works of intricate carving, gold and silver incising, or reverse inlaying. Artists found value in blending a main motif and subordinate elements in a layout.

Many new patterns emerged in the Three Kingdoms era. Popular ones were floral motifs including vignettes, lotus flowers, and trees, as well as legendary animals, including the four guardian deities, the dragon, phoenix, white tiger, and black tortoise, which can be seen in the murals of Goguryeo tombs and on roof tiles of that period.

Stylized designs of birds, feathers, deer, and antlers were often applied in gold crowns and diadems. They were used to represent the royal sovereignty of kings as well as cosmic principles. Clouds patterns were often used to express religious trances or enlightened states of mind. As clouds float high above the earth, they seem to have been regarded as a proper expression of rapture.

The Unified Silla period (668-935) enriched the tradition of the previous three kingdoms while creating flourishing patterns in the arts by adopting Buddhism and the culture of Tang China. A Bodhisattva ascending on wisps of cloud embossed on a temple bell, arabesque-style vignettes, and such filigree as appears on the gold crown excavated from the Geumgwanchong tomb, demonstrates the refined skills of Silla craftsmen.

Inlay design is one of the most impressive accomplishments in the arts of the Goryeo Dynasty (918-1392). Applying the motifs of landscape painting added poetic flavor to handicraft work. Patterns used on Goryeo celadon, which is one of the landmark achievements of Korean art, are indigenous motifs of Korean fauna and flora, as well as such natural phenomena as clouds. They include chrysanthemums, lotus flowers, peonies, willow trees, reeds, waterfowl, cranes, and various other birds. In particular, apricot, orchid, chrysanthemum, and bamboo motifs, called "the four noble plants" were adored by literati in the olden days, for they were believed to symbolize the noble and loyal spirit of a man of virtue.

During the Joseon Dynasty (1392-1910), the dignified styles of the landscape paintings of literati artists had broad appeal to the yangban (scholar bureaucrat). During the mid-dynasty portrait paintings also gained popularity, as did natural motifs such as quails, crabs, flowers, plants, insects, grapes, apricots, and bamboo, which were all drawn in ink.

Folk paintings were in fashion among the common people in the late Joseon Dynasty, when living conditions were improving. In line with this trend, patterns symbolizing fortune, longevity, and procreation, the basic desires of the common people, were pervasive in all types of arts and crafts.

The favorite patterns used in furniture, costume, and daily utensils were flowers, fruits, plants, insects, animals, fish, Chinese characters, and ideograms. Looking closer at the floral patterns, we see that peonies and lotus flowers gained great popularity, followed by chrysanthemums and apricots. As for fruits and trees, well-ripened pomegranates, peaches, grapes, and persimmons and bamboo, pine, and paulownia trees were often seen. Dragonflies and beetles were friendly motifs, but butterflies were considered the most popular subject among insects. As for animals, dragons, phoenixes, cranes, tortoises, deer, and tigers were favored, as well as fish and carp. Chinese characters considered felicitous signs, particular those for longevity, fortune, health, peace, and happiness were also widely used. Popular ideograms were taegeuk (meaning the Great Ultimate, representing the great cosmic principles) and palgwae (hexagrams, the eight signs for divination).

Throughout Korea's long history, a great variety of Korean patterns evolved. They were the motifs used to depict prayers for happiness and peace, as well as Confucian, Buddhist, and Taoist ideals. However, in recent days, Koreans seem to be pushing these traditional patterns to the sidelines, or, at least, no longer finding visual delight in them.