• Journal of Popular Narrative
• /
• v.25 no.1
• /
• pp.281-313
• /
• 2019

This paper was written to investigate the narrative traits of Lee Ae-rim's Comic Books. Lee Ae-rim arrived on the scene with the boom of comic book magazines in the 1990s. Although she started her career as a Comic Book writer, she expanded her own area gradually and has been working actively as an animation director as well. The superficial characteristics of Lee Ae-rim's works can be summed up as sexuality, grotesqueness, and fantasy. In other words, Lee Ae-rim's comic books are mainly characterized by the visualization of sexual, grotesque, and fantastic shapes. Lee Ae-rim has faced challenges with her own overwhelming and compelling images like no one else. For that reason, it is true that people haven't paid careful attention to the hidden stories behind her pictures. This paper considers that looking back on the narratives that Lee Ae-rim has been interested in, from early days to recent days, that is to say, the contexts of stories, is a shortcut to reveal a point of contact between her past, present, and future. Especially, this paper focused on the properties of the circulated and repeated stories, the stories ruled by fate and coincidence, and the stories in which elements of fantasy encounter an attempt of violation. As a result, it was found that the narratives of Lee Ae-rim's comic books demand us to face suppressed desires in a new way, by wrapping up the most fundamental aspects of human being in universality and constancy with specificity and grotesqueness. The reason why Lee Ae-rim has continued the avant-garde and omnidirectional works thus far explains what our society suppresses, inversely. Moreover, the narratives of Lee Ae-rim are significant, by being devoted to the right function of art not only to disclose suppressed desires but to satisfy them. Making an in-depth investigation of the narratives of Lee Ae-rim's comic books in various contexts, this research is intended to establish a diversity of Korean comic books, by adding meaning to the creative values of individual writers.

• Journal of Practical Engineering Education
• /
• v.15 no.1
• /
• pp.119-126
• /
• 2023

Today, in order to improve fuel efficiency and dynamic behavior of automobiles, an era of light weight and simplification of automobile parts is being formed. In order to simplify and design and manufacture the shape of the product, various components are integrated. For example, in order to commercialize three products into one product, product processing is occurring to a very narrow area. In the case of existing parts, precision die casting or casting production is used for processing convenience, and the multi-piece method requires a lot of processes and reduces the precision and strength of the parts. It is very advantageous to manufacture integrally to simplify the processing air and secure the strength of the parts, but if a deep and narrow pocket part needs to be processed, it cannot be processed with the equipment's own spindle. To solve a problem, research on cutting processing is being actively conducted, and multi-axis composite processing technology not only solves this problem. It has many advantages, such as being able to cut into composite shapes that have been difficult to flexibly cut through various processes with one machine tool so far. However, the reality is that expensive equipment increases manufacturing costs and lacks engineers who can operate the machine. In the five-axis cutting processing machine, when producing products with deep and narrow sections, the cycle time increases in product production due to the indirectness of tools, and many problems occur in processing. Therefore, dedicated machine tools and multi-axis composite machines should be used. Alternatively, an angle spindle may be used as a special tool capable of multi-axis composite machining of five or more axes in a three-axis machining center. Various and continuous studies are needed in areas such as processing vibration absorption, low heat generation and operational stability, excellent dimensional stability, and strength securing by using the angle spindle.

• MISULJARYO - National Museum of Korea Art Journal
• /
• v.96
• /
• pp.239-260
• /
• 2019

This paper examines the circulation and dissemination of painting during and after the nineteenth century through a case study on the One Hundred Fans paintings produced as decorative folding screens at the time. One Hundred Fans paintings refer to depictions of layers of fans in various shapes on which pictures of diverse themes are drawn. Fans and paintings on fans were depicted on paintings before the nineteenth century. However, it was in the nineteenth century that they began to be applied as subject matter for decorative paintings. Reflecting the trend of enjoying extravagant hobbies, fans and paintings on fans were mainly produced as folding screens. The folding screen of One Hundred Fans from the collection of the Museum am Rothenbaum Kulturen und Künste der Welt (hereafter Rothenbaum Museum) in Germany was first introduced to Korean in the exhibition The City in Art, Art in the City held at the National Museum of Korea in 2016. Each panel in this six-panel folding screen features more than five different fans painted with diverse topics. This folding screen is of particular significance since the National Museum of Korea holds the original drawings. In the nineteenth century, calligraphy and painting that had formerly been enjoyed by Joseon royal family members and the nobility in private spaces began to spread among common people and was distributed through markets. In accordance with the trend of adorning households, colorful decorative paintings were preferred, leading to the popularization of the production of One Hundred Fans folding screens with pictures in different shapes and themes. A majority of the Korean collection in the Rothenbaum Museum belonged to Heinrich Constantin Eduard Meyer(1841~1926), a German businessman who served as the Joseon consul general in Germany. From the late 1890s until 1905, Meyer traveled back and forth between Joseon and Germany and collected a wide range of Korean artifacts. After returning to Germany, he sequentially donated his collections, including One Hundred Fans, to the Rothenbaum Museum. Folding screens like One Hundred Fans with their fresh and decorative beauty may have attracted the attention of foreigners living in Joseon. The One Hundred Fans at the Rothenbaum Museum is an intriguing work in that during its treatment, a piece of paper with the inscription of the place name "Donghyeon" was found pasted upside down on the back of the second panel. Donghyeon was situated in between Euljiro 1-ga and Euljiro 2-ga in present-day Seoul. During the Joseon Dynasty, a domestic handicraft industry boomed in the area based on licensed shops and government offices, including the Dohwaseo (Royal Bureau of Painting), Hyeminseo (Royal Bureau of Public Dispensary), and Jangagwon (Royal Bureau of Music). In fact, in the early 1900s, shops selling calligraphy and painting existed in Donghyeon. Thus, it is very likely that the shops where Meyer purchased his collection of calligraphy and painting were located in Donghyeon. The six-panel folding screen One Hundred Fans in the collection of the Rothenbaum Museum is thought to have acquired its present form during a process of restoring Korean artifacts works in the 1980s. The original drawings of One Hundred Fans currently housed in the National Museum of Korea was acquired by the National Folk Museum of Korea between 1945 and 1950. Among the seven drawings of the painting, six indicate the order of their panels in the margins, which relates that the painting was originally an eight-panel folding screen. Each drawing shows more than five different fans. The details of these fans, including small decorations and patterns on the ribs, are realistically depicted. The names of the colors to be applied, including 'red ocher', 'red', 'ink', and 'blue', are written on most of the fans, while some are left empty or 'oil' is indicated on them. Ten fans have sketches of flowers, plants, and insects or historical figures. A comparison between these drawings and the folding screen of One Hundred Fans at the Rothenbaum Museum has revealed that their size and proportion are identical. This shows that the Rothenbaum Museum painting follows the directions set forth in the original drawings. The fans on the folding screen of One Hundred Fans at the Rothenbaum Museum are painted with images on diverse themes, including landscapes, narrative figures, birds and flowers, birds and animals, plants and insects, and fish and crabs. In particular, flowers and butterflies and fish and crabs were popular themes favored by nineteenth century Joseon painters. It is noteworthy that the folding screen One Hundred Fans at the Rothenbaum Museum includes several scenes recalling the typical painting style of Kim Hong-do, unlike other folding screens of One Hundred Fans or Various Paintings and Calligraphy. As a case in point, the theme of "Elegant Gathering in the Western Garden" is depicted in the Rothenbaum folding screen even though it is not commonly included in folding screens of One Hundred Fans or One Hundred Paintings due to spatial limitations. The scene of "Elegant Gathering in the Western Garden" in the Rothenbaum folding screen bears a resemblance to Kim Hong-do's folding screen of Elegant Gathering in the Western Garden at the National Museum of Korea in terms of its composition and style. Moreover, a few scenes on the Rothenbaum folding screen are similar to examples in the Painting Album of Byeongjin Year produced by Kim Hong-do in 1796. The painter who drew the fan paintings on the Rothenbaum folding screen is presumed to have been influenced by Kim Hong-do since the fan paintings of a landscape similar to Sainsam Rock, an Elegant Gathering in the Western Garden, and a Pair of Pheasants are all reminiscent of Kim's style. These paintings in the style of Kim Hong-do are reproduced on the fans left empty in the original drawings. The figure who produced both the original drawings and fan paintings appears to have been a professional painter influenced by Kim Hong-do. He might have appreciated Kim's Painting Album of Byeongjin Year or created duplicates of Painting Album of Byeongjin Year for circulation in the art market. We have so far identified about ten folding screens remaining with the One Hundred Fans. The composition of these folding screens are similar each other except for a slight difference in the number and proportion of the fans or reversed left and right sides of the fans. Such uniform composition can be also found in the paintings of scholar's accoutrements in the nineteenth century. This suggests that the increasing demand for calligraphy and painting in the nineteenth century led to the application of manuals for the mass production of decorative paintings. As the demand for colorful decorative folding screens with intricate designs increased from the nineteenth century, original drawings began to be used as models for producing various paintings. These were fully utilized when making large-scale folding screens with images such as Guo Ziyi's Enjoyment-of-Life Banquet, Banquet of the Queen Mother of the West, One Hundred Children, and the Sun, Cranes and Heavenly Peaches, all of which entailed complicated patterns. In fact, several designs repeatedly emerge in the extant folding screens, suggesting the use of original drawings as models. A tendency toward using original drawings as models for producing folding screens in large quantities in accordance with market demand is reflected in the production of the folding screens of One Hundred Fans filled with fans in different shapes and fan paintings on diverse themes. In the case of the folding screens of One Hundred Paintings, bordering frames are drawn first and then various paintings are executed inside the frames. In folding screens of One Hundred Fans, however, fans in diverse forms were drawn first. Accordingly, it must have been difficult to produce them in bulk. Existing examples are relatively fewer than other folding screens. As discussed above, the folding screen of One Hundred Fans at the Rothenbaum Museum and its original drawings at the National Museum of Korea aptly demonstrate the late Joseon painting trend of embracing and employing new painting styles. Further in-depth research into the Rothenbaum painting is required in that it is a rare example exhibiting the influence of Kim Hong-do compared to other paintings on the theme of One Hundred Fans whose composition and painting style are more similar to those found in the work of Bak Gi-jun.

• Journal of Korean Society of Forest Science
• /
• v.76 no.2
• /
• pp.109-118
• /
• 1987

The purpose of this study was to investigate the inhabiting ecology of wild birds using artificial nests in Gyeongnam province. The sort of birds, the utilization of artificial nests by the materials, by the sites and by the forest type, and other inhabiting ecology of birds were investigated from 1984 to 1986. The results obtained were as follows; 1. Wild birds in surveyed areas were classified into 20 families and 35 species. Among them the birds inhabiting the artificial nests were 6 species and those using them most frequently were Parus ater (17.2%), P. major (16.7%) and P. palustris (12.2%). 2. The artificial nests installed on the top and at the toot of the mountain were chiefly utilized by P. ater and P. major, but the artificial nests in park area were mostly used by Passer montanus and Sturnus cineraceus. 3. Sixty-one percent of the artificial nests were utilized by the birds; 45.5% were used for breeding and 15.6% were inhabitation only. 4. When different nest materials and shapes were tested, mixed nests (sawdust and cement) were used most frequently, and C type. (Diamond shape) of wood nests was used more frequently compared with the A (Roof shape) and B (Box shape) types of wood nests. Meanwhile, the birds prefered the 3cm hole size (81.1% of utilization) to 4cm of hole (57.8%) and 5cm of hole (24.4%). 5. The artificial nests constructed in mixed forest were more frequently inhabited (73.3%) by the birds than coniferous forest (68.3%) and broad-leaved forest (63.3%). 6. The period of egg-laying in Parus species was from late April to early May, while Eophona migratoria, Lanius bucephalus, Motacilla alba and Passer montanus laid eggs generally in the middle of May. 7. Parus species, Passer montanus and Motacilla alba laid one egg every day for 5-10days, but Eopphona migratoria laied 4 eggs in 7 days and Lanius bucephalus laid 5 eggs in 4 days. The incubation period of Parus species was 16-18 days, while the others were about 11 to 14 days. 8. Thirteen days after the hatch of Parus major, chicks reached 13.9g of body weight, 72.0mm of wing-length and 20.9mm of tarsus length. P. montanus chicks reached 20.3g of weight, 66.2mm of wing-length and 20.2mm of tarsus length during the same period. 9. Food item of feeding chicks almost consisted of creatures (98.2%) with following composition; 55.2% of insect larvae, 37.2% adult insects, 2.8% of pupae and 2.8% of spiders. Vegetable items were 2% only. Among those creature food items, 95.2% were insect pests to forest.

• Journal of Korean Society of Forest Science
• /
• v.32 no.1
• /
• pp.36-63
• /
• 1976

The purpose of this study is to elucidate the genetic variation of the natural forest of Pinus densiflora. Three natural populations of the species, which are considered to be superior quality phenotypically, were selected. The locations and conditions of the populations are shown in table 1 and 2. The morphological traits of tree and needle and some other characteristics were presented already in our first report of this series in which population and family differences according to observed characteristics were statistically analyzed. Twenty trees were sampled from each populations, i.e., 60 trees in total. During the autumn of 1974, matured cones were collected from each tree and open-pollinated seeds were extracted in laboratory. Immediately after cone collection, in closed condition, the morphological characteristics were measured. Seed and seed-wing dimensions were also studied. In the spring of 1975, the seeds were sown in the experimental tree nursery located in Suweon. And in the April of 1976, the 1-0 seedlings were transplanted according to the predetermined experimental design, randomized block design with three replications. Because of cone setting condition. the number of family from which progenies were raised by populations were not equal. The numbers of family were 20 in population 1. 18 in population 2 and 15 in population 3. Then, each randomized block contained seedlings of 53 families from 3 populations. The present paper is mainly concerned with the variation of some characteristics of cone, seed, needle, growth performance of seedlings, and chlorophyll and monoterpene compositions of needles. The results obtained are summerized as follows. 1. The meteorological data obtained by averaging the records of 30 year period, observed from the nearest station to each location of populations, are shown in Fig. 3, 4, and 5. The distributional pattern of monthly precipitation are quite similar among locations. However, the precipitation density on population 2, Seosan area, during growing season is lower as compared to the other two populations. Population 1. Cheong-song area, and population 3, Pyong-chang area, are located in inland, but population 2 in the western seacoast. The differences on the average monthly air temperatures and the average monthly lowest temperatures among populations can hardly be found. 2. Available information on the each mother trees (families) studied, such as age, stem height, diameter at breast height, clear-bole-length, crown conditions and others are shown in table 6,7, and 8. 3. The measurements of fresh cone weight, length and the widest diameter of cone are given in Tab]e 9. All these traits arc concerned with the highly significant population differences and family differences within population. And the population difference was also found in the cone-index, that is, length-diameter ratio. 4. Seed-wing length and seed-wing width showed the population differences, and the family differences were also found in both characteristics. Not discussed in this paper, however, seed-wing colours and their shapes indicate the specificity which is inherent to individual trees as shown in photo 3 on page 50. The colour and shape are fully the expression of genetic make up of mother tree. The little variations on these traits are resulted from this reason. The significant differences among populations and among families were found in those characteristics, such as 1000-seed weight, seed length, seed width, and seed thickness as shown in table 11. As to all these dimensions, the values arc always larger in population 1 which is younger in age than that of the other two. The population differences evaluated by cone, seed and seed-wing sizes could partly be attributed to the growth vigorousity. 5. The values of correlation between the characteristics of cone and seed are presented in table 12. As shown, the positive correlations between cone diameter and seed-wing width were calculated in all populations studied. The correlation between seed-wing length and seed length was significantly positive in population 1 and 3 but not in population 2, that is, the r-value is so small as 0.002. in the latter. The correlation between cone length and seed-wing length was highly significant in population 1, but not in population 2. 6. Differences among progenies in growth performances, such as 1-0 and 1-1 seedling height and root collar diameter were highly singificant among populations as well as families within population(Table 13.) 7. The heritability values in narrow sense of population characteristics were estimated on the basis of variance components. The values based on seedling height at each age stage of 1-1 and 1-0 ranged from 0.146 to 0.288 and the values of root collar diameter from 0.060 to 0.130. (Table 14). These heritability values varied according to characteristics and seedling ages. Here what must be stated is that, for calculation of heritability values, the variance values of population was divided by the variance value of environment (error) and family and population. The present authors want to add the heritability values based on family level in the coming report. It might be considered that if the tree age is increased in furture, the heritability value is supposed to be altered or lowered. Examining the heritability values studied previously by many authors, in pine group at age of 7 to 15, the values of height growth ranged from 0.2 to 0.4 in general. The values we obtained are further below than these. 8. The correlation between seedling growth and seed characteristics were examined and the values resulted are shown in table 16. Contrary to our hypothetical premise of positive correlation between 1-0 seedling height and seed weight, non-significance on it was found. However, 1-0 seedling height correlated positively with seed length. And significant correlations between 1-0 and 1-1 seedling height are calculated. 9. The numbers of stomata row calculated separately by abaxial and adaxial side showed highly significant differences among populations, but not in serration density. On serration density, the differences among families within population were highly significant. (Table 17) A fact must be noted is that the correlation between stomata row on abaxial side and adaxial side was highly significant in all populations. Non-significances of correlation coefficient between progenies and parents regarding to stomata row on abaxial side were shown in all populations studied.(Table 18). 10. The contents of chhlorophyll b of the needle were a little more than that of chlorophyll a irrespective of the populations examined. The differences of chlorophyll a, b and a plus b contents were highly significant but not among families within populations as shown in table 20. The contents of chlorophyll a and b are presented by individual trees of each populations in table 21. 11. The occurrence of monoterpene components was examined by gas liquid chromatography (Shimazu, GC-1C type) to evaluate the population difference. There are some papers reporting the chemical geography of pines basing upon monoterpene composition. The number of populations studied here is not enough to state this problem. The kinds of monoterpene observed in needle were ${\alpha}$-pinene, camphene, ${\beta}$-pinene, myrcene, limonene, ${\beta}$-phellandrene and terpinolene plus two unknowns. In analysis of monoterpene composition, the number of sample trees varied with population, I.e., 18 families for population 1, 15 for population 2 and 11 for population3. (Table 22, 23 and 24). The histograms(Fig. 6) of 7 components of monoterpene by population show noticeably higher percentages of ${\alpha}$-pinene irrespective of population and ${\beta}$-phellandrene in the next order. The minor Pinus densiflora monoterpene composition of camphene, myrcene, limonene and terpinolene made up less than 10 percent of the portion in general. The average coefficients of variation of ${\alpha}$-pinene and ${\beta}$-phellandrene were 11 percent. On the contrary to this, the average coefficients of variation of camphene, limonene and terpinolene varied from 20 to 30 percent. And the significant differences between populaiton were observed only in myrcene and ${\beta}$-phellandrene. (Table 25).

• Journal of the Korean Society of Fisheries and Ocean Technology
• /
• v.9 no.1
• /
• pp.1-18
• /
• 1973

For regulating the depth of midwater trawl nets towed at the optimum constant speed, the changes in the shape of warps caused by adding a weight on an arbitrary point of the warp of catenary shape is studied. The shape of a warp may be approximated by a catenary. The resultant inferences under this assumption were experimented. Accordingly feasibilities for the application of the result of this study to the midwater trawl nets were also discussed. A series of experiments for basic midwater trawl gear models in water tank and a couple of experiments of a commercial scale gears at sea which involve the properly designed depth control devices having a variable attitude horizontal wing were carried out. The results are summarized as follows: 1. According to the dimension analysis the depth y of a midwater trawl net is introduced by $$y=kLf(\frac{W_r}{R_r},\;\frac{W_o}{R_o},\;\frac{W_n}{R_n})$$) where k is a constant, L the warp length, f the function, and $W_r,\;W_o$ and $W_n$ the apparent weights of warp, otter board and the net, respectively, 2. When a boat is towing a body of apparent weight $W_n$ and its drag $D_n$ by means of a warp whose length L and apparent weight $W_r$ per unit length, the depth y of the body is given by the following equation, provided that the shape of a warp is a catenary and drag of the warp is neglected in comparison with the drag of the body: $$y=\frac{1}{W_r}\{\sqrt{{D_n^2}+{(W_n+W_rL)^2}}-\sqrt{{D_n^2+W_n}^2\}$$ 3. The changes ${\Delta}y$ of the depth of the midwater trawl net caused by changing the warp length or adding a weight ${\Delta}W_n$_n to the net, are given by the following equations: $${\Delta}y{\approx}\frac{W_n+W_{r}L}{\sqrt{D_n^2+(W_n+W_{r}L)^2}}{\Delta}L$$ $${\Delta}y{\approx}\frac{1}{W_r}\{\frac{W_n+W_rL}{\sqrt{D_n^2+(W_n+W_{r}L)^2}}-{\frac{W_n}{\sqrt{D_n^2+W_n^2}}\}{\Delta}W_n$$ 4. A change ${\Delta}y$ of the depth of the midwater trawl net by adding a weight $W_s$ to an arbitrary point of the warp takes an equation of the form $${\Delta}y=\frac{1}{W_r}\{(T_{ur}'-T_{ur})-T_u'-T_u)\}$$ Where $$T_{ur}^l=\sqrt{T_u^2+(W_s+W_{r}L)^2+2T_u(W_s+W_{r}L)sin{\theta}_u$$ $$T_{ur}=\sqrt{T_u^2+(W_{r}L)^2+2T_uW_{r}L\;sin{\theta}_u$$ $$T_{u}^l=\sqrt{T_u^2+W_s^2+2T_uW_{s}\;sin{\theta}_u$$ and $T_u$ represents the tension at the point on the warp, ${\theta}_u$ the angle between the direction of $T_u$ and horizontal axis, $T_u^2$ the tension at that point when a weights $W_s$ adds to the point where $T_u$ is acted on. 5. If otter boards were constructed lighter and adequate weights were added at their bottom to stabilize them, even they were the same shapes as those of bottom trawls, they were definitely applicable to the midwater trawl gears as the result of the experiments. 6. As the results of water tank tests the relationship between net height of H cm velocity of v m/sec, and that between hydrodynamic resistance of R kg and the velocity of a model net as shown in figure 6 are respectively given by $$H=8+\frac{10}{0.4+v}$$ $$R=3+9v^2$$ 7. It was found that the cross-wing type depth control devices were more stable in operation than that of the H-wing type as the results of the experiments at sea. 8. The hydrodynamic resistance of the net gear in midwater trawling is so large, and regarded as nearly the drag, that sweeping depth of the gear was very stable in spite of types of the depth control devices. 9. An area of the horizontal wing of the H-wing type depth control device was $1.2{\times}2.4m^2$. A midwater trawl net of 2 ton hydrodynamic resistance was connected to the devices and towed with the velocity of 2.3 kts. Under these conditions the depth change of about 20m of the trawl net was obtained by controlling an angle or attack of $30^{\circ}$.

• Korean Journal of Heritage: History & Science
• /
• v.41 no.2
• /
• pp.43-59
• /
• 2008

Sap(?, a funeral fan) is a funeral ceremonial object used in association with a Confucian ceremonial custom, which was crafted by making a wooden frame, attaching a white cloth or a thick paper onto it, drawing pictures on it, and making a holder for a handle. According to Liji(Records of Rites), Sap was used since the Zhou Dynasty, and these Chinese Sap examples are no big different than the Korean Sap examples, which were described in Joseon Wangjo Sillok(Annals of the Joseon Dynasty), Gukjo Oryeui(the Five Rites of the State), and Sarye Pyeollam(Handbook on Four Rituals). This study explored Sap excavated in lime-filled tombs and lime-layered tombs of aristocrats dating back to Joseon, as well as their historical records to examine Sap's characteristics according to their examples, manufacturing methods, and use time. The number and designs of Sap varied according to the deceased' social status aristocrats used mainly one pair of 亞-shaped Bulsap, and a pair of Hwasap with a cloud design depicted on it. A Sap was wrapped twice with Chojuji paper or Jeojuji paper, and for the third time with Yeonchangji paper. Then, it was covered with a white ramie, a hemp, a cotton, a silk satin, etc. Bobul(an axe shape and 亞-shape design) was drawn on both sides of Sap, and a rising current of cloud was drawn at the peripheral area mainly with red or scarlet pigments. Sap, which were excavated from aristocrats'lime-filled and lime-layered tombs, are the type of Sap which were separated from its handle. These excavated Sap are those whose long handles were burnt during the death carriage procession, leaving Sap, which later were erected on both sides of the coffin. The manufacturing process of excavated relics can be inferred by examining them. The excavated relics are classified into those with three points and those with two points according to the number of point. Of the three-point type(Type I), there is the kind of relic that was woven into something like a basket by using a whole wood plate or cutting bamboo into flat shapes. The three-point Sap was concentrated comparatively in the early half of Joseon, and was manufactured with various methods compared with its rather unified overall shape. In the meantime, the two-point Sap was manufactured with a relatively formatted method; its body was manufactured in the form of a rectangle or a reverse trapezoid, and then its upper parts with two points hanging from them were connected, and the top surface was made into a curve(Type II) or a straight line(Type III) differentiating it from the three-point type. This manufacturing method, compared with that of the three-point type, is simple, but is not greatly different from the three-point type manufacturing method. In particular, the method of crafting the top surface into a straight line has been used until today. Of the examined 30 Sap examples, those whose production years were made known from the buried persons'death years inscribed on the tomb stones, were reexamined, indicating that type I was concentrated in the first half of the $16^{th}$ century. Type II spanned from the second half of the $16^{th}$ century to the second half of the $17^{th}$ century, and type III spanned from the first half of the $17^{th}$ century to the first half of the $18^{th}$ century. The shape of Sap is deemed to have changed from type I to type II and again from type II to type III In the $17^{th}$ century, which was a time of change, types II and III coexisted. Of the three types of Sap, types II and III re similar because they have two points; thus a noteworthy transit time is thought to have been the middle of the $16^{th}$ century. Type I compared with types II and III is thought to have required more efforts and skills in the production process, and as time passed, the shape and manufacturing methods of Sap are presumed to have been further simplified according to the principle of economy. The simplification of funeral ceremonies is presumed to have been furthered after Imjinwaeran(Japanese invasion of Joseon, 1592~1598), given that as shown in the Annals of King Seonjo, state funerals were suspended several times. In the case of Sap, simplification began from the second half of the $16^{th}$ century, and even in the $18^{th}$ century, rather than separately crafting Sap, Sap was directly drawn on the coffin cover and the coffin. However, in this simplification of form, regulations on the use of Sap specified in Liji were observed, and thus the ceremony was rationally simplified.