This article looks into the Chinese Manchijiao style, which is called Yeonjisugum pattern in Korea. The Manchijiao style has lotus f lowers as its central motif and is divided into the southern and the northern types according to the water landscape and animals in it. The motif of lotus f lowers originated with the custom of growing and appreciating lotus f lowers in the regions to the south of the lower reaches of the Yangtze River, and was spread into the northern China to be established as an important symbol both for Confucianism and for Buddhism. Water landscapes and animals as shown in the Manchijiao style were applied to craftworks under the inf luence of the literati culture of the Song Dynasty and the nomadic culture of the Liao Dynasty such as the spring hunting of the emperor. Later during the Yuan Dynasty, the Manchijiao style was even adopted to the emperor’s clothes to become the symbol of the royal family and the ruling class. Although the term “Manchijiao” was first used in the Southern Song Dynasty, the style began to be formed from the Tang Dynasty, regarding relevant archaeological materials. The southern Manchijiao style features the southern animals of mandarin ducks and egrets, and the northern Manchijiao style shows the northern animals of hawks and swans. Mandarin ducks and egrets are important symbolic motifs in Buddhism and signify friendship, love, freedom, and loftiness. On the other hand, hawks stand for the nomadic virtue of bravery, and swans for elegance and fidelity. The Manchijiao style centering on the northern animals of swans is, however, found in the craftworks from the southern regions during the Song Dynasty. This is probably because of the change of the capital to Hangzhou during the Southern Song; the strong literati culture of the period; and the inf luence of the northern culture on the regions around the boundaries between the north and the south during the wars between the Song and the northern nomadic peoples. Therefore, the northern Manchijiao style was selectively borrowed in the southern regions ruled by the Han people, while the southern culture was actively learnt in the north during the Liao, the Jin, and the Yuan Dynasties. In Goryeo, the northern and the southern Manchijiao styles were selectively adopted and developed into a new decorative pattern. As a result, the style became established as a most popular decoration among people of various classes including the royal family, the noble, and commoners. For instance, the motif of hawks, which mainly appeared in the chunshui style of the northern China, was scarcely used in the Song and the Goryeo, probably because hawks were the animals held sacred in the Liao and the Jin. The Manchijiao styles not just served a decorative pattern but also ref lected the respective culture of China and Goryeo during the period. In China, it represents the different customs in the north and the south. On the other hand, it was applied to luxurious goods for the royal family and the upper class in Goryeo, showing how highly regarded the decorative pattern was. This article explored the Manchijiao style in China during the thirteenth to the fourteenth centuries including its concept, origination, and development. It also examined the process, in which the pattern was introduced to Goryeo, to show how it evolved and transformed according to the culture of the region, to which it was adopted. In doing so, it intended to broaden our understanding of decorative patterns featuring water landscapes.