This study investigated the confluence and transformation perspectives of Hakmu-Yeonhwadae (鶴舞-蓮花臺, Crane Dance-Lotus Flower Dance) by taking a new perspective. The researcher analyzed the contents of the literature by searching for existing papers and historical data such as Uigwe (儀軌, Official Documents of Royal Events), Jeongjaemudoholgi (呈才舞蹈笏記, Choreography of Court Dance), and the iconography of historical pictures of royal events. The main results are as follows. First, Hakmu (鶴舞, Crane Dance) combined with Yeonhwadae (蓮花臺, Lotus Flower Dance) turned out to be performed in a way that directed two younger girl dancers to appear from two Lotus boxes in the texts of Gyobang-gayo (敎坊歌謠, Gyobang Song) and Hak-Yeonhwadae-Cheoyongmu-Hapseol (鶴蓮花臺處容舞合設, Convergence of Crane, Lotus Flower and Cheoyong[a man for preventing epidemics] Dance). Second, it was confirmed that the creative transformation patterns were historically revealed along with attempting to attune slight differentiations of Hakmu-Yeonhwadae. Third, Hakmu and Yeonhwadae had been performed separately and consecutively at royal court banquets since 1877 after King Jeongjo’s reign. Fourth, it was noted that there were several changes in the Jidangpan (池塘板, plate with artificial pond) and Lotus boxes in the late Joseon Dynasty. Fifth, the converged parts between Hakmu and Yeonhwadae were reinterpreted considering the symbolic and ecological meanings of cranes and lotuses from the modern perspectives for creating a new dance version.