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An accurate observation of a letter stone in Chunjunry is required to advance and students to participate in there. It's required to interpret the upper part animal letters of a letter stone and the lower part Amgakhwa(rock art), and to examine the relation to the surroundings situation, also to make a comparative study of another region remains. A letter stone in Chunjunry and Sesungakhwa should be construed with wider dimension. The mutual relation of Myungmun(an excellent composition) engraved on a letter stone in Chunjunry and Sesungakhwa and its meaning is required to investigate. A letter stone in Chunjunry is the remains which need to pay attention especially because they have various history cultural materials such as Amgakhwa, Myungmun, Sesungakhwa. Their mutual relation is not clear in a measure, but their value and meaning are very deep and diverse by far. Therefore, it's required to study about a maker, a period, a method, an aim, a use etc, with a synthetic, expert and systematical way.

Recent field work on archaic traces along the Canadian Pacific coastline strongly suggests a presence of Ice Age coastal migrations. However, the coastal migration of archaic Homo sapiens through the western Pacific Rim region, or from the Sunda Land to Siberia or Beringia, has not been well studied so far: Especially the East Asian Pacific region where the loss of fertile flat land was most severe in the world coastline since the last Ice Age-I may call this lost land as "No-A Land" skirting around Taiwan-E. China-S. Korea-S. Japan, Although all the traces of coastal migration in the lost No-A Land should have been destroyed, there is a faint petroglyph figure [Fig. 6] at the far upper left corner of the well-known whale petroglyphs cliff of Bangudae site in Ulsan near the eastern shore of the southern Korean peninsula, which may be an archaic Homo sapiens cultural link for the Pacific Rim coastal migrations: That is a symbol almost identical to the "Kokopelli" [Fig. 7]. In fact there are hundreds of various "Kokopelli" symbols, or the famous Humpback Flute Player symbol of ancient Americans omnipresent in the Four Corner region in North America. Kokopelli represents Medicine Man or Fertility God among various traditional meanings while Koko means "rain people" or "kachina" in Zuni and "pelli" means "hemishere" or "hump" in Hopi language. The "No-A Kokopelli" symbol represents a phallic flute-player in upright position, about 25x20 cm in size, but without humpback. We also note that, in Samguk-yusa, an old book of ancient Korean history, there is a legend on "Manpasikjok", a Magic Korean Flute [piri] which has a God-like power of healing and peace-keeping while carrying a trace of Big flood memory and fertility representation as well. The oldest Kokopelli symbol in America has been dated to be about 6,000 B. C. If I assume a coastal migration of archaic Kokopelli Homo sapiens culture, roughly speaking, the No-A Kokopelli may be 20,000 - 30,000 years old depending on the coastal migration speed. The archaeological estimations may also depend on whether we assume the flow of south Asia lineage (Vietnamese, Malays, New Guineans) to the north (Tibetans, Koreans, Siberians) or not.

The Ceonjenli rock engravings contain many drawings from three different times, which are drawings of animals presumed as from hunting period, abstract drawings from the Bronze Age when farming was a major living means and traces from Shilla of Three Kingdoms Period. When, why they were drawn for and what meaning they tried to convey. Especially, it is not an easy job to find out the symbolic meanings of geometrical drawings so that it is regretful that the studies of archeology and art history have not been given a clear explanation. Accordingly, the job for interpreting those meanings of symbols might be suited to artists. The interpreting attempt as a painter can be a way of many approaches to read abstract symbols and designs of the Chenjeonli rock engravings. When looking at the drawings of plants of Cheonjeonli limitedly among various abstract symbols as major designs, Cheonjeonli is a creature of farming age. This is shown by plant drawings, such as securing foodstuffs and good seeds, propagating, hoping to have favorable agricultural life and be looked after by nature, etc. Besides, starting from the reports on concrete evidences of agriculture in Ulsan area has strengthened the fact that the Cheonjeonli rock engravings are the reflections of agricultural age. Particularly, they show the similarity with the design of rice plants in Hamodo in China and the rock engravings on a plant god in Janggoon Cliff in Yeonoon port of China. It is important to note that these areas were engaged in agriculture and they have the same background of origination as the Cheonjeonli. Therefore, the plant drawings of Cheonjeonli are analysed based on the thinking faculties of agriculture and can be categorized in five different themes on the drawings. The images of the God of cereals can be considered in relation with worshipping plant gods, which are the personification of plants and express a hope for good harvest by leaning on divine power. The images of sprouts show the unification of an image itself with the incarnation of a fervent hope in the same manner as one can grow a hope or a dream by looking at sprouts and wild flowers at every turn of fields. The expressions of bulbous plants underground shows an issue of seeds and earth by double lining. By doing this, they did not miss the truth of reverse sides which are covered. On peach drawings a new technique is applied when expressing their inside and outside. This refreshing experience may have drawn an artist's attention to the picture plane. The images of chestnuts and acorns are well formed with their own features. Drawing lines vertically or obliquely endows the full picture plane with directional confidence, which occupies and unifies the whole in vitality. The drawings of trees express the present with the feelings of wind and growth. In addition, there are images of fields or bean sprouts. The images of the newly cultivated fields convey the power of the earth and a hope for being taken care of by nature. And the images of bean sprouts seem to reflect an interest on a new thing. The drawing of sprouting a seed of rice plant shows the meaning of a new agricultural object. Accordingly, on the drawings of Cheonjeonli rock engravings the images of plants are shown as reflection of the means of life of the time. But here one question is confronted, which is whether the geometrical and abstract designs of the Cheonjenli rock engravings are originally differentiated from others. It has been hard to find any similarity with rock engravings by pastoral tribes in northen Asia for years of the author's experiences and researches. As the study went on, the similarities between the Cheonjeonli rock engravings and the rock engravings on the southern shore areas in China were recognized not only in the images themselves but the formal logic of interpreting and expressing the images. Therefore, a conclusion can be deduced that the Cheonjeonli rock engravings were produced by a social stratum that had memories of ocean. From now on, the ocean elements of the south should draw attention to academic interests in the study of interpretation of the geometrical and abstract drawings of Cheonjeonli. Also, it can be noted that aesthetic models in different times have been reflected on various elements in Korean art. These can offer important evidences in contemplation on aboriginality of art as well as be used as new materials for pursuing Korean aesthetics. So, the necessity of the study on the Cheonjeonli rock engravings should be emphasized. The horizon of analysis on primitive art can be broaden when the study on recognizing the peculiarity of primitive thinking system different from that of western's is proceeded. In addition, the common forms of development in image descriptions are found while attempting image categorization according to the orders and methods in the Cheonjeonli rock engravings. There are formative expressions which western logic or science cannot be easily getting near. Borrowing a formative power, a unique vision is stood out with an efficient application of multiple visual points and synchronism in one picture plane ignoring time sequence. Even though the subjectivity of artists interferes in no small sum of the Chenjeonli rock engravings, they are not standardized or personalized, which preserves convictions with objectivity. On the study of interpreting Cheonjeonli rock engravings, various approaches should be tried out in the future, such as on artistic inspiration, a position of an artist, comparative analysis of myths and so on. Through these attempts and with development of deeper researches, the life and art of ancient people are expected to bear a life and breath with us, not just their own.

Various methods have been developed to preserve the cultural heritages made of wood as they are vulnerable to wear and tear. On the contrary, less efforts were made for the preservation of cultural works made of stone. The stone works are exposed to the harshness of nature like rains, winds, thunderstorms and etc, therefore it is equally important to provide same level of efforts for the preservation of stone works as well. For proper preservation of stone works, a structural study of the stone is necessary to be taken to ascertain its structural soundness. It is pity that local government agencies for cultural heritage do not have enough understanding on the deterioration of stone structure but interested only in the preservation of the 'shapes' of the cultural works. In particular, cultural properties carved on rocks such as Mayae Bulsang where Buddha images were carved on a rock need unconventional approach for preservation due to engineering geological nature of rocks. In June 2003, the Maeyae Bulsang(national treasure no.221) in Gaheung Ri, Youngjoo, Kyungsang Province had fallen down after a heavy rainfall. A survey attributed the collapse to the heavy rainfall. But the photos attached herewith show that the vertical joint existing in the granite rock were further fallen apart by the tree roots growing and pushing into the joint. It was not the rainfall but the opening of the joint that caused the collapse, which could have been avoided only if a simple remedial measure had been taken in advance. Remedial works based on geotechnical knowledge is important for the preservation of cultural heritages made on or of stones.

This paper aimed to investigate the meaning of lozenge in rock carving, named"Cheonjeonri Rock Engravings" located in Ulsan, Korea. The method in this study is realised by the measurement based upon the lozenges appeared in the stele, "Cheonjeonri Rock Engravings". And also, we have searched the meaning of lozenge through the objects in paleolithic and neolithic ages in Europe. Through this study, we conclude, the lozenge figure in Cheonjeonri Rock Carving is the relics representing the meaning of the conception which appeared in Venus figure in upper paleolithic age. As for the neolithic age's object, we mentioned the pottery marked the lozenge. Thus, the meaning of lozenge figure in Cheonjeonri Rock Engraving would be interpreted fecundity. With more objects to study in further, the theory in the above would be affirmed objectively.

Among the works (of art) prehistoric men bequeathed, rockart particularly enables people to inquire into the mental side in culture, as well as material one like hunting and fishing. For this reason, you cannot emphasize the importance too much. Especially, Cheonjeonri rockart is very important in the carved respect because it's found first in the earth. This thesis is about the meaning of the during taking a picture on the spot of Cheonjeonri rockart. It's at the lower part of rocks keeping away from the part of other drawings. It shows that it's supposed to not ruin exiting drawings. The petro-picture found newly could be classified into figure of person, figure of beast, figure of plant. The figure of person is almost horseback riding people picture. The figure of beast is almost horse drawing. The dragon picture found newly is so important because we can analyze production period of them. It might be 5-6 century. And that's not `all. We can know that about 5-6 century the people have common sense about sacred dragon's figure. I'm sure that its production techniques analysis will be important standard of some similar works' production period guess. Other than that, in order to study the petro-picture of the " Cheonjeonri rockart",it is necessary to define the thickness of the lines, the style classification and the size of each drawing and comparing and contrasting other relics that relate to the petro-picture ; to examine the time period in which it was made.

The Cheonjeon-ri rock art in Woolsan which was found in 1971 consists of many types of images or patterns and Chinese letters. It has been widely believed that the carvings such as snail-shaped and diamond-shaped images, mostly in the upper part of the rock were left by prehistorian people, especially during the Bronze age in the Korean Peninsula, while the other works and the letters, which were obviously left during Silla kingdom on its lower part. However, there are no evidence at all. The snail-shaped and diamond-shaped images, which has been understood as prehistorian drawings are historian footprints made by people of Silla kingdom as well as letters. The snail-shaped and diamond-shaped patterns begin to appear after the three-kingdom period, especially in the 5-6th centuries in the Korean Peninsula. Moreover, the snail-shaped carvings were widely used as talismans against evil or calamities in Taoism rituals. The Chinese letters on the rock shows that the royal family members of the middle Silla kingdom made occasional visits, and the royal females played a key role by hosting a certain ceromony every visit. That makes it clear that the petroglyphs in Cheonjeon-ri rock were painted in celebration of a kind of royal sacrificial rite and the royal females hosting the rites were religious priests.