After the mid-18th century, images of flower arrangement (Byeonghwa) inscribed in cobalt blue, began to appear in white porcelain of the Joseon dynasty. These images appear on objects including white porcelain jars, bottles, plates, and rice bowls. Among Korean writers, the flower arrangement motif has continued since the Goryeo Dynasty, but it seems the influence of Ming paintings such as “Pinghuatu 瓶花圖” , and printed manuals such as Shizhuzhaishu Huapu 十竹 齋書畫譜 and T angshi Huapu 唐詩畫譜 intensified interest in it in the late Joseon dynasty. These late Ming works, which engaged in dividing the quality of the antique vase into bronze vases and Geyao 哥窑 kiln vases, had in turn been stimulated by renewed interest in the material culture of early China. The present article situates the findings of recent excavations of Chinese porcelains on the Korean peninsula, such as that excavated from the tomb of King Injo’s 仁祖 eldest daughter, Princess Sukshin 淑愼公主 (1635~1637), and no. 12-16 in Chongjin-gu, Jongno excavation site in present-day Seoul. In analyzing elements in porcelain produced on the Korean peninsula that is not found in Chinese blue and white porcelain—such as bronze bumps and cracked decoration of Geyao in a single flowerpot—I argue that the Korean changes in the transmitted conventions of flower vase motifs are related to the expansion of yangban elites and the loosening of their social boundaries during the late Joseon Dynasty. Affluent people and civil servants participated in collecting the antiquities, commissioning porcelain with flower arrangement images on them.