This study aimed to examine how the Eight Views from the Xiao and Xiang Rivers motif was accommodated and transformed in pansori. The Eight Views from the Xiao and Xiang motif, which was formed in China, was introduced during the Goryeo Dynasty and was widely spread during the Joseon Dynasty. The literary styles using the Eight Views from the Xiao and Xiang motif became more diverse in Korea than in China. While it is limited to paintings, Chinese poetry, and the Sa Chinese style of writing, it was expanded into Korean literature styles including sijo, lyrics, and folk songs. In addition, the Eight Views from the Xiao and Xiang motif accomplished a unique literary goal by combining with pansori. When Eight Views from the Xiao and Xiang Rivers motif was identified based on pansori five gardens, excluding <Battle of Red Cliff>, it was established in 'Imperial Tomb Dream Saseol' in <Chunhyangga>, 'Beompeejungryoo', 'The Eight Views from the Xiao and Xiang Rivers', and 'Spirit Passage' in <Simcheongga>, 'Jebinojeonggi' in <Heungboga>, and 'Gogocheonbyun' in <Soogoongga>. The following is the summary of the characteristics of the Eight Views from the Xiao and Xiang Rivers motif in these sori passages. When the Eight Views from the Xiao and Xiang Rivers motif was introduced in Korea, it was transformed in various ways and was passed on. In 'Gogocheonbyun' of <Soogoongga>, 'Jebinojeonggi' of <Heungboga>, and 'The Eight Views from the Xiao and Xiang Rivers Song' of <Simcheongga>, together with beautiful scenery, bright and leisurely elegant beauty, originally symbolized by Eight Views from the Xiao and Xiang Rivers motif, stood out. On the other hand, in 'Imperial Tomb Dream Saseol' of <Chunhyangga> and 'Beompeejungryoo' and 'Spirit Passage' of <Simcheongga>, together with sorrow through the Princesses of Xiang, frequently embodied in 'Night Rain in Xiaoxiang' of the Eight Views from the Xiao and Xiang Rivers, tragic beauty was being maximized. In the former case, 'Autumn Moon over Dongting Lake', 'Returning Sail from Distant Shore', and 'Wild Geese Alighting on Sand' motifs which contained beautiful scenery of the Eight Views from the Xiao and Xiang Rivers were used and in the tragic scenes of <Chunhyangga> and <Simcheongga>, 'Night Rain in Xiaoxiang' of the Eight Views from the Xiao and Xiang Rivers was used as the motif. Meanwhile, these Eight Views from the Xiao and Xiang Rivers motifs were individual, did not operate independently in pansori works, reiterated, and were used repeatedly. Thus, the Princesses of Xiang motif of 'Night Rain in Xiaoxiang' in <Chunhyangga> was repeated in 'Beompeejungryoo', 'The Eight Views from the Xiao and Xiang Rivers Song', and 'Spirit Passage' in <Simcheongga> and continued in the passages of <Heungboga> and <Sugoongga>. These were orally transmitted over a long period of time and had a lot to do with compiling artistic styles of pansori. However, they were the reason why the Eight Views from the Xiao and Xiang motif was widely established during the late Joseon Dynasty.