The patterns of craft-arts has always been a good indicator to understand the life styles and aesthetic perciptions of human beings. In this thesis, Peony pattern of Chosun Dynasty is analyzed to understand the uarying characteristics of patterns for different base materials and the patterns are classified by shapes. Peony pattern became more popular as Bosang-flower pattern gradualiy lost its flourishment in Chosun Dynasty chiness, by and large, influenced with colourfullness and sketchyness, but Chosun Peony pattern again influenced Japanese patterns to affect their simpleness and monotoneness. Chosun Peony pattern's final development is considered to be vivacious liveliness. It appears that Peony patterns were frequently used along with kil-sang patterns that symbolizes richness and prosperity, with base materials such as fabrics, ceramics, metals, and woods. It is interesting to notice that Peony patterns most frequently appeared in wedding crafts. From the view point of base materials, 1. Peony patterns on fabrics usually showed bright colors, purposefully selecting different techniques such as weaving, embroidering, gold-leaf etc. 2. Wooden patterns often carried simpler, sketchy expressions using intaglios, relifs, and holepunchings. 3. With ceramics, it is noticed that monotone, sketchy expressions were prefered for Chunqhwas and briskness and liveliness, were more frequently used for the patterns on Punchong are regarded to represent Korea peoples's unique disposition that is characterized by liveliness and openness. 4. With other base materials such as metals, papers, stones, etc., Peony patterns were used in like manner. From the view point of shapes, standing from prevailed over other forms such as round form, angle form, and Dang-cho form, Typically, Excellent aesthetic perceptions of the koreans may be induced form the asymmetric shape of Peony pattern which takes on symmetric shape.