This discussion was evolved around the viewpoint that the performances of the New Year required norms to adapt to nature in the age of natural force when people perceived the flow of time according to changes to natural phenomena. It was based on the assumption that folk actions summarized as Sehwa歲畵and Yonhwa年畵, which originated in "Chuncheopja春帖子" performed at an event to welcome the spring or the onset of spring event of those performances of the New Year, were behavioral correlatives from a folk or anthropological perspective. The study also investigated the patterns of Sehwa and Yonhwa by developing the discussion with a focus on the chicken, tiger, peach, "sindo神茶", "ullu鬱壘", and "chonggu鐘?". The findings were as follows: First, the chicken paintings were developed in a direction of signifying the meanings of "dispelling evil spirits" and "praying for good luck." In a word, they conveyed the meaning of "Subokbuguidanammanse壽福富貴多男萬歲" Second, the peach paintings signify perennial youth and long life and also wish for rising in the world and gaining fame. They also seem to serve the purpose of dispelling evil spirits given that they were used in "Choeyoungsamo處容紗帽". Third, the tiger paintings moved from the function of dispelling evil spirits to that of praying for good luck. In the process, "the content of wishing for great achievement" was added in them. Some Yonhwas reveal the desire for much luck with fortune. Fourth, Chuncheopja started at an event of putting up two letters of "Ui and Chun(宜and 春)" and four letters of "Sin, Do, Ul, and Lu(神, ?, 鬱and壘) on the gate. It was the origin of Chunryeon春聯. In addition, so-called letter paintings were painted as Yonhwas. As the conceptions or compositions of "Sindoullu" were created, they began to show various patterns according to social and geographical conditions. Those findings indicate that such folk events as tying a chicken onto the gate with a reed cord, painting the chicken, peach tree, and tiger, and depicting the image of a deity have close connections with "Sindoullu." Those patterns developed in a direction of expanding symbolic significance as abstract gave birth to concrete, which in turn gave birth to abstract.