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This paper is aimed to investigate the method of the research of petroglyphs in Europe. In this paper, the major contents is in the 2nd chapter, which is dedicated to the method of works applied to the site, named hilont Bego, located near of the city, Nice, France, the sacred relics of the Bronze Age, dated 1,800-1,500 B.C ... The method of the works in this site was established by the Professor Henry de LUMLEY, for the researches started in the year of 1964. We, here, can remark some of the way of the researches which is contrasted with the method of study in the Orient, characterized by the rubbed copy, majorly. The most important method of the research in the site of Mont Bego, would be the way of the scientific method which is usually seen in Europe, in the area of the academic field.

Just like other archaeological studies, the success of petroglyph researches heavily depends on precise records. Imprecise records of rock surfaces would make any interpretations of petroglyphs impossible. The existing method of petroglyph recording has been lacking objectivity and preciseness and more importantly, doing considerable damage to valuable petroglyphs with some of them irrevocably damaged already. Therefore, the recording of petroglyphs is closely linked to their conservation. One of the ways to solve the problem is non-touching method; that is not to put hands or any other objects directly on rock surfaces. One example is digital surveying which has seen rapid development recently. Another way is photographic surveying. There are many affordable and easy-to-use softwares available so that researchers can measure and record petroglyphs themselves without much cost and any damage to rock surfaces. The following is the photographic surveying method I use. 1) Install grids on rock surface. 50 centimeter by 50 centimeter is most common for each grid, but depending of the size of the rock, it can be made bigger or smaller. 2) Photos are taken at night by grid. The camera is placed at the right angle to the rock surface at a distance so that each grid comes within the viewfinder. 3) Four photos are taken for each grid. Each shooting is accompanied by artificial lighting from one of four directions; top, bottom, right, and left. 4) Since the four photos have different positions of shadows, the carved 1 ines of petroglyphs can be represented precisely. 5) Overlap the four photos and adjust the contrast using a Photoshop software with a proper filter and you can get a precise image of the rock surface. 6) Connect the photos of each grid using the photo connection function of the Photoshop. 7) In the case a precise image has not been obtained, enlarge the photo on the monitor to do some additional adjusting work manually.

Thirty years have passed since we found the petroglyphs in Korea. Since we dealt with them for the first time, a lot of researches have been piled up despite short period. Until now, many investigations into them including the chronological recording, manufacturing skills, the analysis of contents have been progressed from the archeological, theological, geological, historical, folk point of view. However, I think these researches are generally biased by phenomenology because they were, for the most part, individual investigation and study. In other words, most investigation of them seems to be only focused on the rock where pictures were carved. The important things that we must consider are a work of art when we tried to understand the spirit culture of prehistoric age's people. It's definitely true that the rock art is the most valuable thing in the place of prehistoric relics because we can examine spirit culture such as ceremony, aesthetic consciousness at that time. However, it seems that these researches mainly focused on the picture carved in the rock itself prevented us from examining them in various ways. In addition, even though the places of carved in the rock are very important relics, survey pictures and exact drawings of them which are fundamental materials for investigation are not set up. So many researchers must have their moments of quiet introspection about this. I'd like to emphasize the way of archeological investigation for development of the rock art in my thesis. I bet better results of them will come out if the researcher must consider not only aesthetic but also archeological examination. For the first stage of this, the rock art institute whose members will be participated in the investigation must be founded. After that if they utilize the results of analyses through the institute's investigation, we will see more deepen researches into the rock art.

It is often criticized as social issues to preserve culture property. Culture property is defined that it is culture remains of nation and mankind deserved to preserve. Thus, one races culture property is granted permanent preservation value as essence of race culture. Notwithstanding, the reason why nowadays these issues are often discussed is the positive value is threatened by relative concept. In here, we need to awake to our sense of culture understanding. Generally speaking, each culture properties are periodical race-sharing property as the fountainhead of race identity. Thus, it is natural that it persevered without any damage of substance or original form, not to mention the environment of properties should persevere without any damage. Facing issues of preserve culture property is the matter of understanding rather than technical or scientific problem. And these issues are solved by based on changing awareness of culture property. This article tries to examine issues of preservation from academic, law and political, administrative and social point of view and show improvement plan. Especially the solution of issues of petroglyphs preservation which is seriously concerned would be found in same system of veins.

The rock phases, site environment and damages for the selected 7 petroglyphs have been investigated for understanding the conservation. The petroglyphs were sculptured on the outcrops or talus regardless of the certain rock phase and might be considered therock surface condition and geographic situation. The engraved surfaces are generally the joint or fault planes. Those are severely damaged in general by the weathering, humankind and organisms because of abandoning naturally. Grain separation, surface exfoliation and development of onion structure are the main phenomena of the damages. Also as in the Ulsan Chunjeonri and Ulsan Daegokri Petroglyphs, groundwater leached out along the structural lineaments and soil water are the important factors on the damages. As the damages of the petroglyphs in the country are the results of the rock phases, site environments, geographic situation, weathering and organisms, for the conservation the detail investigations must be done in first. Also the conservation treatment have been done by the experiment on the rocks.

We have surveyed the dolmens in South Korea which are reported to have cup marks in previous survey reports. Even though the reports are not completely recording existence of cup marks in many cases, we have found 306 locations of dolmens with marks, 7 locations of menhirs with marks, and 23 locations where the so-called 5 star or 7 star stones are reported. Among these locations we have made actual field surveys mainly to Gyung -Sang and Gyung -Gee Provinces where dolmens with marks are found to be more concentrated. Among over 500 dolmens surveyed, 111 dolmens are found to have marks on the upper surface of the cover stone. We have measured their longitude and latitude positions, astronomical directions of the major axis of the cover stone and the location of cup marks relative to the center of the top surface. The analysis is under progress using the compiled data. The initial study indicates that there is a significant trend in the cup mark direction appearing toward the south-east direction. Some of the cup marks resemble the well-known constellations like, the Ursa Major (Big Dipper), the Pleiades cluster, etc.

Tegur Wangi Petroglyphs is located on the eastern slope of Mountain Dempo at the southwestern region of Sumatra, Indonesia. It is carved on a perpendicular rock pannel, five meter tall, four meters width, facing the north. It is made up largely with two parts. One is a human figure in the center, carrying a bronze drurn(donson drum) on his back. The other is composed of small figures and lines on the bottom of the rock pannel. The figures are mostly as small as 5 centimeters and lined very finely by engraving. The figure in the center is crouching with his face towards the west but his legs are spread as if running. He is wearing a helmet-like head gear which has petal shaped ornaments on it. l3s knees and elbows are expressed with two circles each, making the figure look like a puppet. This image is very similar to the stone sculptures found in the areas around Mountain Dempo and Lahat. Therefore, it can be assumed the center figure in Tegur Wangi Petroglyphs was carved around the same time the stone sculptures were made. The donson drum the figure is carrying on his back was patterned after a bronze artifact widely found in Southeast Asia. It is thought to have come from Indochina, or Yunnan or Guanxi in Southern China. The civilization which could make bronze and other metal objects was first introduced to Indonesia around the 5th century B.C. and lasted until the 1st century AD. Therefore, it can be suggested that the center figure was made during those several hundred years. The small figures at the bottom have their arms spread holding each others' hands. There are also heads with sunray patterns around them and fine tilting lines and dotted lines. They seem to belong to a later period than the center figure.

The Petroglyphs in ‘Manhay’ and ‘Sisikino’, the historical and cultural monuments in the circumference range of the Baikal lake, are located at the upper stream of 'Lena' and at a branch of ‘Anggara’ river. Of the pictures on the rocks in this area, contents were consistently based on the life in the environment of this boundary. That is no doubt particularly after Iron age. It was considered that some 'Manhay' pictures were drawn by the men who were the same contemporary with artists painted those of 'Sisikino'. This view was regarded the pictures such as a rider of horse in the rock art of 'Manhay' and the hunting and the appearance of the horseman with flag drawing in the middle-low parts of the 'Sisikino' pictures as having used the same style and almost same times. The ‘Sisikino’, which consists of varied and large pictures and some small carving pictures, are classified two periods as ancient and after-ages. The pictures of an ancient style were found out densely in comparatively higher alter. The other ones were spread in middle and lower. And these features, despite partly same patterns, of ‘Sisikino’ could be seen in the pictures in ‘Anggara’ and ‘Yenisey’ river. Though it was not certain that these aspects were whether a special situation of just the very local areas or the general appearance, through the our comprehensive survey, they were figured out in the pictures of soldiers dancing, of deers with drawing or carving moving cycles in its body, and of describing about a certain historical event with monumental characteristics. The purpose of our two times exploration - the activities in Siberia and Mongolia - aimed at investigating and looking for the source of our pictures on the rocks in Korea. Even Some foreign scholar often insisted a hypothesis linking the pictures on the rocks of their country with those of Korean peninsula in the relevance academy fields. Because the research data of the pictures on the rocks in each continent or area had been introduced very fragmentarily or separately so far, I reserved to raise an issue of its source till more data would have been introduced in Korea.

This report is about investigating of shaman-rock and participating in shaman-ritual helds under shaman Valentine at 'Baikal concentration exploration' held under the sponsorship of 'The society for the study of ancient Korea', from 27.july to 3.oct. 2002. We investigated shaman-rock in two region, one is located in enterance of Riv. Angara, another in island Alhone in lake Baikal. There is legend of shaman-rock in which entry from Baikal lake to Riv. Angara. The general of Baikal had wished to marry his daughter to brave guy, "Irkut". Oneday, gull was flied to the daughter and said, "There is handsome guy 'Jenisei' at west." When general was fallen a sleep, after the daughter was ran a way he threw the huge rock to her and she died. Her tears went to west and met the Riv. Jenisei. That rock is the shaman-rock. The biggest island in Baikal lake, Alhone, called 'Burhan' shaman-rock has legend after. Mankind had appeared from the rock 'Burhan' at first. This region is most dynamic area in the Baikal lake. People served at holy place to no small stone be thrown Until 18th. This rock is epitaph of water burial of great 'Zingiskhan'. There is a religious holy place to tribe Briyat on earth. Only shaman go there, another do not. It is said after shaman death, he goes to heaven and return to the rock, live with his wife in the rock in now.