The purpose of this study is to consider implicit meanings with Panofsky’s iconographical methods. This research further seeks to objectively organize and understand a new dancer’s, (Kim Baek-Bong) intention to produce meanings and details in “Flow of Line.” Based on references, this study captured images necessary for an iconographical analysis of “Kim Baek-Bong’s Dance Performance” (on Nov. 29, 1989 at Sejong Center for the Performing Arts) and “New Dance, the Triple Layer Dance Scenes” (on March 25, 2013 at Yeak-dang of National Gugak Center). The researcher then drew the image of the line produced as the group danced in order to study the composition of Kim Baek-Bong’s “Flow of Line.” Analysis revealed that the group dance movements, formed by the dancers’ movements, was set to the ‘line’. This study also included an interview with Kim Baek-Bong, the choreographer of “Flow of Line” in order to understand the time setting and conditions of dance communities at the time of creation for “Flow of Line.” The ‘pre-iconographical description’ of “Flow of Line” was divided into the factual meanings and the expressional meanings. The former were the proscenium stage (stage), 16 female dancers (dancers), Kim Yoon Deok style Kayageum Sanjo music (music), unique movements of upper and lower body parts (movement), and white skirts and jackets (costume). The latter included a total of 41 compositions: 3 compositions from Jungmori beat, 23 compositions from Jungjungmori beat, and 15 compositions from Danmori beat. As mentioned above, in the 41 compositions, the iconographical analysis indicated that the united image was derived from sources of snow crystals, water drops, whirlpools, water drop wavelengths, moving waves, and waterfalls. They also showed images of tree rings, the sun and moon, flowers, ridges, whirlpools, silk threads from cocoons, water drop wavelengths, and other natural elements. This iconological analysis was divided into the original meanings of a nature-friendly world of art as well as circular images and the symbolic values of white-clad people and Korea’s ethnicity and unity. Thus, “Flow of Line” is the work with elegance, beauty, and contemplation about life resulting from Kim Baek-Bong’s love for nature. He created the circular images, yet Kim Baek-Bong’s “Flow of Line” is also meaningful to dance history as a new type of group dance combining Western dance styles and Korean traditional dance styles.