E. P. MATOCHKINAnokhin National Museum of the Altai Republic 46 Choros-Gurkina str., Gorno-Altaisk, 649000, Russia E-mail: pallady@ngs.ru Introduction Petroglyphic monuments, which are increasingly becoming the object of analytical research, are often underestimated as works of art that can "speak" in their own specific language of artistic images. Meanwhile, many cave paintings are not devoid of aesthetic advantages, which can not be fully expressed in verbal form. It should also be taken into account that the syncretic thinking of the primitive masters was not yet separated from the emotional sphere and concrete sensory images. While admiring the way petroglyphs are created, we are somewhat aware of the essence of the pictorial context, and the harmony that connects the meaning of images with this "how". Conversely, by getting deeper into the symbolism, the pictorial language, and the way a work is embodied in composition and drawing, one can also gain a deeper understanding of the meaning of "what is said". The" magic " of petroglyphs is felt when you work with originals, and not with their drawings or reproductions. Moreover, petroglyphs are not easel works; they were created in a certain spatial environment and are designed to be perceived precisely in this natural environment and often in a certain time interval, often associated with the position of the luminaries. An unusually strong impression is left, in particular, by the Okunev stelae with their strikingly rich symbolism of images, as well as the mysterious characters of the polychrome paintings of the Karakol tomb. Something similar is experienced from the petroglyphs of the Green Lake, and this should at least be briefly mentioned, since the mysterious meaning of the drawings is inextricably linked with the emotional and spiritual world, and with the subject that archaeology deals with. Opening history About ten years ago, local residents brought a plate with petroglyphs to the museum of the Station fo ... Read more