23 10 700 https://apconf-much.org/proceedings/files/original/53ed4f22acb6422c267ded3703dc2d46.pdf 1142b40d7609cb0908dba9fe361dcb50 PDF Text Text European Ships of Discovery Filipe Castro Texas A&M University fvcastro@tamu.edu Abstract The ships and boats of the 15th and early 16th century European voyages were the space shuttles of their time, and yet we don’t know much about them because most have been destroyed by looters and treasure hunters. This paper will focus on a particular type, the caravel, and presents an overview of the early European watercraft that crossed the Atlantic and sailed along the American coasts during the first decades of the 16th century. Key words: caravel, 16th Century, Europe, ships, looting Introduction The earliest Iberian voyages into the Atlantic were carried out in the existing ships. Soon however the need to adapt the existing watercraft to the sailing conditions of the open sea triggered a process of evolution that is poorly understood, but that reflects the existing cultural, scientific and economic conditions in the Iberian kingdoms. This is an interesting process of technological evolution that is in its earliest states of investigation. The main ships of the European expansion were sailing ships, mainly caravels, naus, and galleons. Rowing ships were also used in the European factories abroad, sometimes shipped in the holds of sailing ships, and sometimes built in Africa and Asia, in the beginning according to European standards, but very soon incorporating local features as they �were understood as advantageous. This paper deals with caravels, a versatile and small ship type that is still poorly understood. Caravels Caravels are among the least understood of all historical vessels. Mentioned in hundreds, perhaps thousands of books, these ships are associated with the Iberian exploration of the Atlantic in the 15th century, and are considered the space shuttles of their time, allowing the Portuguese and Spanish explorers to sail down the African coast, and open the maritime routes to the Caribbean, the west coast of Africa, and the Indian and Pacific Oceans. A few authors have dedicated lengthy works to this ship type, such as Quirino da Fonseca (1934 and 1935), Pimentel Barata (1972), Tengarrinha Pires (1980, 1985, 1986, 1988 and 1990), Malcolm Elbl (1985), Francisco Contente Domingues (1989), or George Schwarz (2008). Their agility is legendary, and more than 150 years after the first mid-15th century references to the new exploration caravels, they are mentioned in an account of a 1597 expedition to the Azores under the Earl of Essex as fast and highly maneuverable: Whilest we thus stayed about the Rocke, ye carvalls of Lyshbourne and of the parts thereabouts would daylie come swarminge about us like butterflies soe neare us as that we might cast a stone into some of them, and yet could we never catch any one of them, soe warie and nimble they are (Gorges, 1604, transcribed by Richard Barker, 2007). These vessels probably originated in the Mediterranean. The Portuguese and the Spanish probably changed and adapted this type of vessels to the navigation along the coast of Africa. Venetian merchant and chronicler �Alvise da Ca’ da Mosto wrote in the late 15th century: ‘...essendo le caravelle di Portogallo i migliori navilii che vadino sopra il mare di vele, ed essendo quelli bene in punto d'ogni cosa che gli fa di bisogno...’ (Ramusio, 1600). Ca’ da Mosto mentions eyes painted on the bow of these caravels, something characteristic in the Mediterranean since long. He says, about the inhabitants of the African coast: ‘...e pensavano che gli occhi che si fanno a prova alli navilii fussero veramente occhi, che 'l navilio per quelli vedesse dove gli andava per mare ‘(Ramusio, 1600). This technology spread to northern Europe and the expression ‘carvelbuilt’ still refers to watercraft built with flush laid planks, nailed to preerected frames, a structural improvement that originated in the Mediterranean and spread along the Atlantic coast of Europe and into the Baltic, during the late 15th and early 16th centuries. Although much has been said and written about caravels, these vessels have never been thoroughly described in historical sources, their representations are few and impressionistic, and no ship identified as a caravel has been archaeologically excavated. Replicas have been built with mixed results, never based on solid supporting information. This paper is a tentative summary of what is known about these ships, both from documental sources, written and iconographic, and from the archaeological record. Pictures of caravels labelled as such are rare but clear enough to allow historians, already in the 19th century, to have a fair picture of what they may have looked like. Portuguese historians Quirino da Fonseca (1934) and Tengarrinha Pires (1980) inventoried representations of caravels in existence. the most important Pimentel Barata (1989) published an interesting drawing of a caravel, depicted as the signature of a caravel master from the 15th century named João de Lião, dated to �1488 according to the author. This drawing was first published by Avelino Teixeira da Mota (1971, Fig. 4) who noticed that this is the earliest drawing of a caravel, designated as such, and one of the earliest dated representations of a stern panel, which is clearly defined (Fig. 1). Fig. 1: Signature of a certain João de Lião, master of caravels, dated to 1488, on a document pertaining to the supply of hardtack to a caravel departing to Africa. (Arquivo Nacional da Torre do Tombo, CC II-I-781, in Mota 1971) Documental Evidence Before 1500 we can only guess what the word ‘caravel’ means. All we have to work with are a few textual references: medieval boats named carávos, two 12th century Italian references to a type of boat called Caravellum, one 13th century reference to caravelas in the chart of the Portuguese village of Gaia, one 14th century reference in Spain, and the 15th century caravels of the Discoveries. Auguste Jal and Corominas explored the origins of the words cáravo and qârib, both referring to small boats, sometimes coracles. As to the word caravellum, there is no way to tell what kind of boat the 1159 Genoese caravellum coopertum was. These boat type appears in two Genoese 12th century documents, the first mentioned is decked (coopertum) �serving a navis (1159), and the second (1190) is small, belonging to a caravelator, presumably working as a harbor tender (Ciciliot, 2005). Furio Ciciliot points out the fact that in the 12th century the word caravelum, referring to a small boat, is masculine, and does not become feminine until it is assimilated to a larger vessel: navis sive caravellae (Ciciliot, 2005). Historian Malcolm Elbl mentions a 1226 reference to a Portuguese caravel taken by English ships on a return trip from Gascogne (Elbl, 1985). He cites the French translation Francisque Michel’s Histoire du commerce et de la navigacion à de Bordeaux (Michel, 186). Michel mentions only ‘un navire portugais, appelé le Cardinal’ and indicates the Rotuli Litterarum Patentium (Rot. Litt. Pat., 10 Hen. III, m. 5) and the Rotuli Litterarum Clausarum (Rot. Litt. Claus., 10 Hen. III, m. 27 et 14; t. II p. 89, col. 2; et p. 119, col. 1) as her sources. The Rot. Litt. Pat., mention a ‘navem que vocatur la cardinale’ (1971, p. 36), and the Rot. Litt. Claus. Membrane 14, mentions an unrelated incident pertaining to wine trade with Bayonne (1916, 5). I could not access Membrane 27 of Henry’s 10th year, and I am not sure that all of Henry’s rolls are published. The caravels referred to in the Chart of Gaia (1255) seem to be fishing vessels, of which we know nothing. Square rigged vessels were rare in the Mediterranean between the early 6th century and the mid-13th century, and most references to caravels mention lateen sails (Bellabarba, 1999). Some authors have proposed that caravels were mentioned in Alfonso X’s Libro de las Leyes or Siete Partidas, as it is better known, written between 1254 and 1265. Most authors, however, agree that the passage in question – Partida Segunda, Titulo XXIV, Ley VII – mentions haloques, and not caravelas. �It seems that caravels are not mentioned in Portuguese documents during the 14th century. There is a reference to caravels in 1307. Malcom Elbl (1985) places it in Biscay, Spain, and cites Quirino da Fonseca. Quirino cites Auguste Jal, and places the caravels in northern Europe (1978), and Jal (1848) is silent about the place and cites Pierre Carpentier (1766), who does not place these caravels anywhere, and gives a source for it I could not find: Charta an. circ. 1307. From the mid-15th century onwards chroniclers mention caravels engaged in the exploration of the Atlantic, and later carrying Columbus into the New World. There are some documents describing caravels, the best known pertaining to the caravels Niña and India, used by Columbus in his fourth trip (Smith, 1993), or the caravelões de Arguim published by Alexandre Monteiro (Monteiro at al., 2011). Carlos Etayo transcribed a 1450 contract for the construction of a caravel for a Catalonian mariner named Gracia Amat with one central and two side rudders, and a length to beam ratio around 4/1 (Etayo, 1971). Jacques Paviot and Erich Rieth published a paper relating the construction by Portuguese shipwrights of two caravels in Brussels, in 1438 and 1439, for the Duke of Burgundy, Philippe le Bon (Paviot and Rieth, 1989). Bibliographic research in Italy, where caravels probably originated, is scarce. Lucien Bash refers to 24 caravels sent by the Republic of Venice in 1490, with 24 men each, and 30 caravels in 1499 with capacities between 100 and 400 botte (Bash, 2000). A botta was close to half a Portuguese tonel, if we are to trust a 1519 document mentioned by Lane (1964): ‘Per lettere di Sibilia delli 9 ditto erano avvisi, come a di 6 era venuta una caravella di portata de 60 tonelle, videlicet 120 botte, a qual era stata a discoprire le Indie (Mexico)…’(Fulin, 1881). �Although Portuguese and Spanish historians combed the most important European archives more than one century ago (Domingues, 2004), almost nothing is known about caravels. Around 1600 we have the first lists of timbers for the construction of a caravel in the Lisbon National Library manuscript known as Livro náutico (Anonymous, c.1590), dated to the 1590s, and two cryptic regimentos by Manoel Fernandez, dated to 1616 and illustrated, but difficult to understand because the drawings are not always represented in the same vertical and horizontal scales (Fernandez, 1616). Iconography is scarce and doesn’t shed light on the most important questions. For instance, they do not tell us whether the early Portuguese 15th century caravels had a stern panel and a central rudder. Around 1500, when we have the first images and descriptions, caravels seem to be small ships of 15 to 50 tons, built with flush-laid planking, rigged with one, two, or three masts, all mounting lateen sails. Sometimes they appear with a foremast rigged with a square sail (Fig. 2). Generally, the mainmast is placed on the center of the keel, and the second and third masts are stepped abaft it, with a small stern castle and no forecastle, a stern panel and a central rudder. �Fig. 2: Presumed representations of caravels in the Livro da fortalezas of Duarte d’Armas, circa 1509. (Armas 1509/1997) Central rudders first appear in Denmark, in the 12th century (Hocker and Dokkedal, 2001). The earliest explicit reference to a central rudder is probably Gracia Amat’s contract, in the middle of the 15th century. Stern panels appear in the iconographical record after 1475, and at least in the in 15th century iconographical record, central rudders seem to be characteristic of square-rigged ships. As it often happens, the word caravel designated a wide range of watercraft, even in the 16th century: caravelas latinas, caravelas de Alfama, caravelas redondas, caravelas de armada, and caravelões. In some cases, we have a fair idea about the main differences between them, and in other cases circumstantial evidence allows some provisory hypothesis. Below are presented short description of what each type may have looked like. �Caravelas latinas As already mentioned, during the 14th century they are not mentioned in Portuguese documents. In the mid-15th century caravels appear as lateeners with a capacity around 50 tonéis and crews between 20 and 25 men. It looks like small caravels with 2 or 3 masts with lateen sails endured for over one century without much change. But we don’t know what characteristics defined a caravel, or what separated a caravel from the other lateeners of their time. Fig. 3: Representation of a caravel in the Retábulo de Santa Auta, dated to c. 1517. (Photo: author) Quirino da Fonseca mentions Braancamp Freire describing 54 caravelas leaving Lisbon in 1488 and 1489, with capacities varying between 15 and 50 tonéis (Fonseca, 1935). This range of capacities is compatible with other accounts, some written much later. In 1571, in A vida e feitos de el-rei D. Manuel, D. Jerónimo Osório, describes caravels as rather small vessels. These caravels don’t have tops (cestos de gávea), nor their yards make right angles with their masts, but hang, inclined, secured under the masthead, and the base of the sail is triangular and almost touches the bulwarks. The yards, which �are fastened to the ship’s bulwarks, are as thick as topmasts in their lower part and have smaller sections upwards (Fonseca 1935). Sometimes these small two- and three-masted lateeners are referred as typically Portuguese, but José Luis Casado Soto found references to 125 caravels in the Registro General del Sello in the Archivo General de Simancas between 1476 and 1496, and they seem to come from all over the Iberian Peninsula. His figures show that 45% of the caravels registered were from Andalusia, 21% from the Cantabric region; 19% from Portugal, 12% from the Mediterranean, and 3% from France, England and the North Sea (Soto, 1991). There is no mention of any possible difference between them. Were Cantabrian and Andalusian caravels much different from each other? How different were they from the Portuguese ones? Or how did the Portuguese ones differed from each other? We have a long way to go before we can say that we understand this ship type. Iconography can provide some clues if we are to trust the illustrations in the Atlas of Georg Braun (1541-1622), published between 1572 and 1617 (Fig. 4). The quality of the illustrations in Braun’s Atlas is known, including the figures in local dresses. It is not uncommon for painters and illustrators to register in the mapmaker’s guilds and work on map illustrations when they and an opportunity (Binding, 2003 and Unger, 2010). The ship illustrations in Braun’s Atlas seem to be reliable as well, and vary from city to city. Although no systematic study of the Atlas’ ships has been done yet, the caravels represented in several Portuguese and Spanish cities, in Iberia or around the world, seem plausible and accurate, and consistent with the descriptions below. �Fig. 4: Caravels: presumably Portuguese at São Jorge da Mina (leaf) and presumably Spanish at Santander (right). (After the 1572 edition of Braun and Hogengberg’s atlas) Caravelas de Alfama Paulo Monteiro found this reference in a Spanish late 16th century document: ‘(…) Tambien se quedan despalmando dos caravelas pequenas destas que aqui llaman de Alfama que las pide el Almirante para llevar consigo…’ (Monteiro pers. comm. 2009). Were at least some of the Spanish caravels larger than the Portuguese ones? José Luis Casado Soto mentions a witness account of Columbus’ second voyage, Pedro Mártir de Anglería, who claims that Columbus took 17 vessels: 3 large cargo ships with tops, 12 caravels, and 2 large caravels, with masts large enough to support tops. Nothing is said about their rigging arrangements. Were these typically different from those of the Portuguese caravels? Caravelas redondas Navarrete calls caravelas redondas ‘castellanas’. They have three masts, the foremast mounting a square sail and the main and mizzen masts mounting lateen sails. Quirino da Fonseca cites him: “caravels were divided into Portuguese and Castilian, the first exclusively lateen-rigged, could sail cinco ou seis quartas (56˚ to 67˚) into the wind, facilitating the Portuguese routes to the African gold mines. Castilian caravels used in their seas with square sails, or better, with a square sail on the foremast.” �Quirino also refers to a 1512 letter from D. Fernando to Pedrarias Davilla in Panama: ‘Yo vos mando que … se hagan luego tres o cuatro carabelas, al modo de Andalucía, las dos, e las otras dos, pequeñas, latinas, como las de Portugal...’ (Fonseca 1935). In Columbus’ Diario de a bordo, transcribed by friar Bartolomé de las Casas, the entry for August 9, 1492, famously mentions the explorer decision to change the rigging of his caravel Pinta: ‘y adobaran muy bien la Pinta con mucho trabajo e diligencias del Almirante, de Martin Alonso y de los demás; (…) Hicieran la Pinta redonda, porque era latina;’(Colón, 1991). In the 14th century Mediterranean it was common to rig two-masted cargo vessels with a square sail on the foremast and a lateen sail on the mizzen. Sergio Bellabarba called this rigging arrangement quadra-latina and proposed two possible roots for the development of three-masted, shiprigged vessels, one from the two-masted lateeners and one from the onemasted square-rigged cogs, both common merchant ships in the mid-14th century Mediterranean (Bellabarba, 1999). According to Bellabarba’s plausible theory, both ship types at some point may have adopted a quadra-latina rigging arrangement, the two-masted lateeners by changing to a square mainsail, the cogs by adding a lateen-rigged mizzen mast. The earliest representation of a ship-rigged three-masted vessel dates to 1409 and appears in a Catalonian document. It shows a cocca with a quadra-latina rigging arrangement to which a foremast was added, mounting a square sail (Mott, 1997). Caravelas redondas seem to have evolved in a similar way. It looks like they were two-masted lateeners – which show the mainmast always stepped on the middle of the keel – with a third mast, a foremast stepped far forward. This type of vessel is �represented in Braun and Hogenberg’s Civitates orbis terrarium, especially in Spanish harbors. (Fig. 5) Fig. 5. Lateeners in Lisbon, c. 1530 (detail from the Leiden view of Lisbon, COLLBN J.29-15-7831-110-30) Two documents dated to 1498 (before Columbus’ fourth voyage) contain the inventories of the rigging of two caravels, Santa Clara, or Niña (60 toneles – probably not the Niña of the first voyage – and Santa Cruz, or India, built in Hispaniola during the second voyage with the remains of the ships lost in the hurricane that swept La Isabela in 1495. Both these caravels had four masts, and both had square sails on the fore and main masts, and lateen sails on the mizzen and bonaventure. Additionally Santa Cruz had a bowsprit and a spritsail; and Santa Clara has ‘dos botalos vno del trinquete y otro de la cont[ra]’ (Smith, 1993). Gaspar Correia states that Vasco da Gama sailed to India in 1502 with ‘cinco caravelas latinas, que mandou muito bem concertar’ and ‘iam com velas redondas armadas, para com elas navegarem quando cumprisse’. He does not mention how many masts these ships had, and the representations we have date to around 1565, more than half a century later. �Large cargo ships – naus or naos, caracche, or hulks, as they were known in the Atlantic, Mediterranean, and Baltic – tend to have three masts and square sails on the bowsprit, fore, and main masts, and a lateen sail on the mizzen mast. When a fourth mast appears, in the late 15th century, square sails are always present, either on the fore and main masts, or only on the foremast. The first type of rigging is common on larger vessels, such as galleons, developed around 1500, or on the Spanish caravelas redondas, such as the Santa Clara and the Santa Cruz. The second type, with square sails only on the foremast, is typical of the Portuguese caravelas de armada. Caravelas de armada It is curious to notice that in the 1550s Fernando Oliveira is skeptical about the qualities of the caravelas de armada. In his Arte da guerra no mar he states: ‘A mim me pareceu sempre, que caravelas de armada, não eram tão boas como são gabadas, por serem um género de navios misturado e neutro, e as partes que tomam de cada um dos outros géneros serem as piores’ (Oliveira, 1555). Later, in his Livro da fábrica das naus, Oliveira states: ‘Aqui me lembra e quero o dizer, antes que me esqueça, que nunca me pareceu bem, fazer da caravela navio redondo, diga cada um o que quiser, que tudo será afeiçoado’ and ‘porque, mudando-se a forma da vela, cumpre mudar-se a fábrica do fundo, a qual já não pode ser mudada’ (Oliveira, c. 1580). In the middle of the 16th century these caravels were purposely built with a forecastle and four masts, rigged with square sails on the foremast and lateen on the remaining three, and later would be as large as 180 tonéis. �As mentioned above, there are two regimentos for the construction of these caravels in Manoel Fernandez treatise (1616), and they both have two decks. We have their main dimensions:  Folios 16 and 107: The caravel with 11 rumos (17m) of keel has 23.2m of length overall, a max beam of 6.42m, a depth of hold of 4.1 m, and a flat amidships of 2.05m.  Folio 24 (and 108?): The caravel with 12 rumos (18.5m) of keel, has 25.5m of length overall, a max beam of 7.19m, a depth oh hold 4.40m, and a flat amidships of 2.31m. These caravelas de armada have length to beam ratios of 3.61 and 3.55 respectively, values that are compatible with the extensive iconography, often with reliable, albeit impressionistic, characteristics. Caravelões It seems that the smaller caravels were sometimes referred to as caravelões (Pico, 1955). Alexandre Monteiro transcribed two early 16th century documents relating to caravelões de Arguim that describe 3masted vessels with bowsprits, square sails on the fore and main masts, and a lateen sail on the mizzen (Monteiro et al., 2011). Both caravelões have hatch covers, so there is no doubt about the fact that they were decked, as it should be expected in ships that are engaged in oceanic trips. One of these caravelões had a crew (companha) of nine: pilot, six sailors, and two apprentices. This information gives us a hint of the ship’s dimension, if we are to believe Fernando Oliveira, who one generation later, in the mid-16th century, states that crews should be calculated as follows:  Up to 10 tonéis: 2 sailors, 1 apprentice;  10 to 20 tonéis: 3 sailors, 1 apprentice;  20 to 30 tonéis: 4 sailors, 2 apprentices; � Above 30 tonéis: add 1 sailor / 4 tonéis and 1 apprentice / 3 sailors. According to Oliveira, both the master and the pilot must be counted as sailors, thus suggesting a ship with a capacity around 42 tonéis (Oliveira, 1555). One of these documents (1508) is particularly interesting because it refers a bowsprit, fore and mainmasts, and a bonaventure mast with its yard. Although there is no mention of a mizzen mast and yard, there is one mizzen sail, and one mizzen halyard (ostaga). It is not clear whether this is a mistake, or there were caravelões with 4 masts (Fig. 2). Conclusion The sample of shipwrecks of probable Iberian origin is small and the preservation is often poor. Moreover, it is impossible to say for sure that these archaeological remains are even remotely related to caravels. The size, shape, structure, construction sequence, and rigging of the Iberian caravels of the 15th and 16th centuries are far from well-understood. In spite of the many excellent historical publications available for almost one century in certain cases, we have more doubts than certainties when it comes to reconstruct these mysterious ships. Most data on caravels and other small vessels dates to the end of the 16th and beginning of the 17th centuries, more than a century after the first voyages into the Atlantic. A small sample of measurements from contracts and technical texts suggests that all caravels, even the Portuguese caravelas de armada, were small vessels, that they all relied primarily on lateen rigs, and that by the 16th century they all had stern panels and central rudders, no forecastle, one to four masts with a minimum of two lateen rigged masts, a low sterncastle, and no topmasts. For the Iberian Peninsula all caravels had length to beam ratios between 3 and 4, tonnages between 50 and 150 toneles, corresponding to lengths overall between 15m and 25m. �The archaeological record suggests that vessels of this size had similar basic construction features and scantlings. In other words, that there was an ‘Iberian way’ of designing and building small ocean-going vessels, of which some were possibly caravels. However, only the full publication of a much larger sample of shipwrecks will help shed light on this subject. References Anonymous, c. 1590. O Livro Náutico (codex 2257). 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The Hereford Times Limited, London. Rotuli Litterarum Patentium, 1971, Patent Rolls of the Reign of Henry III (AD 1225-1232). Kraus Reprint, Nendeln. �Schwarz, G., 2008. The History and Development of Caravels. M.A. Thesis, Texas A&M University. Smith, Roger C., 1993. Vanguard of Empire. Oxford University Press, New York. Soto, José Luis Casado, 1991. Los barcos del Atlantico Iberico en el siglo de los descubrimientos. Aproximacion a la definición de su perfil tipológico, In B. T. Ramírez (Ed.), Andalucia, America y el mar: Actas de lsa IX Jornadas de Andalucia y America, Diputación de Huelva, Sevilla. Unger, Richard, 2010. Ships on Maps. Palgrave Macmillan, New York. Biography Filipe Vieira de Castro is Professor of Anthropology, holds the Frederick R. Mayer II Fellowship of Nautical Archaeology, and is the Director of the Ship Reconstruction Laboratory at Texas A&M University. He has a degree in civil engineering from Lisbon’s Instituto Superior Técnico, a Master of Business Administration from the Catholic University of Lisbon, and a PhD in Anthropology from Texas A&M University. He has conducted field work in Portugal, Panama, Puerto Rico, Brazil, Italy, and Croatia, and his main interests are the history of wooden shipbuilding technology and European seafaring in the late medieval and early modern periods. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2017 Session 6: History and Current Trends of Underwater Archaeology around East Asia Description An account of the resource East Asia is extremely rich in underwater cultural heritage, such as conventional shipwrecks under the sea, submerged settlement sites on the bottoms of inland lakes and rivers, or prehistoric shell mounds along coastal zones. For instance, the medieval or post-medieval aged wrecks and their cargos have recently been discovered one after another in the waters, or the underwater cultural heritage or seascape of stone tidal weir is a common cultural trait to the Ryukyu archipelago, western Japan, southern Korea, mainland China, and Formosa, which surround the East China Sea or a northern part of the Asian Mediterranean. No East Asian nation has ratified the UNESCO 2001 Convention, partly because it does not exactly correspond with oriental philosophy, it does not properly resolve the controversial issues upon sovereign immunity of warship wrecks, and so forth. Occasionally, the principle of preservation in situ in the convention has not been the first choice as Asian waters have poor water clarity generally. Nevertheless, each country has already moved forward with its own underwater archaeological policies and projects both on governmental and grassroots levels. Some activities are in close cooperation with foreign institutions or universities. In East Asia, document-based historical study or terrestrial archaeology has a long tradition, which has had a noteworthy impact upon underwater archaeology and its methodology. Even in this region as well as in other Pacific areas, contrariwise, the technological advancement in underwater survey has remarkably been made recently; using remote-sensing with satellites, robotics for ROVs or AUVs, or 3D photogrammetry by computer software mitigates or cancels the limitations regarding accessibility and working time caused by underwater environment. The tie between such modern technologies and archaeology has minted new applications and perspectives of underwater cultural heritage study. The multi-disciplinary or holistic approaches are increasingly more and more necessary among Asian researchers. Creator An entity primarily responsible for making the resource Akifumi Iwabuchi Tokyo University of Marine Science and Technology, Japan Kotaro Yamafune APPARATUS, LLC, Japan Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource European Ships of Discovery Description An account of the resource The ships and boats of the 15th and early 16th century European voyages were the space shuttles of their time, and yet we don’t know much about them because most have been destroyed by looters and treasure hunters. This paper will focus on a particular type, the caravel, and presents an overview of the early European watercraft that crossed the Atlantic and sailed along the American coasts during the first decades of the 16th century. Creator An entity primarily responsible for making the resource Filipe Castro Publisher An entity responsible for making the resource available The Museum of Underwater Archaeology Date A point or period of time associated with an event in the lifecycle of the resource 11/24/2017 Rights Information about rights held in and over the resource Filipe Castro Asia-Pac Session 1 2017 https://apconf-much.org/proceedings/files/original/15c86d3d8f69546a25fd2f6985e84956.pdf c1660bdd220e4aab7f83daa0900d6312 PDF Text Text Underwater Archeological investigation of Bushehr coastlines in Persian Gulf Hossien Tofighian Iranian center for archaeological research (ICAR) htofighian@yahoo.com Ramin Adibi Archaeological Maritime Landscape Online Magazine Ramin.adibi2012@gmail.com Abstract: When the Research Department of the University of Medical Sciences of Bushehr was studying marine biomedicine around the Bushehr peninsula they inadvertently discovered some pottery fragments. They then reported it to the Bushehr province Cultural Heritage organization. In the summer of 2016, the underwater archaeology group of the Iranian Center for Archaeological Research (ICAR) surveyed the Bushehr coastlines for a month. During this field research, we identified and recorded the distribution of Sassanid pottery over approximately one kilometer square in the seabed around the Bushehr peninsula. Based on findings of pottery assemblages consisting of fragments of food storage vessels, Torpedo amphora, and turquoise ceramic glaze; it was assessed that this archaeological site represents the cargo of a shipwreck which sank in shallow water near the coastline. Over time, the cargo then spread across the seabed. We can observe the shipwreck processing in this case. At the first season of this field research, we could not identify the remains of the shipwreck hull but lots of fragments of torpedo shaped ceramic vessels were recored. Relative dating proved that all of the ceramic findings are related to the Sassanid era (224 to 651 CE). The quantity of sherds found proved that this is in fact a shipwreck site. Identification of the archaeological sites with torpedo shaped ceramic vessels distributed around the Persian Gulf indicate that regional maritime trade was widespread, in particular the Sassanid wine trade, and that seafaring practices were occurring in one of the ancient canals of Indian ocean. In this article, we explain about underwater archaeological investigations of Bushehr coastlines and outstanding ceramic findings including torpedo shaped ceramic vessels and turquoise �ceramic glaze wares that were used in maritime trade in the Persian Gulf during the Sassanid and early Islamic periods.. Keywords: Persian Gulf, underwater archaeology, Bushehr port, Sassanid era, torpedo – shaped ceramic and turquoise ceramic glaze. 1. Introduction The Persian Gulf (also Persian Sea), is a crossroad connecting all civilizations,which is also a place of shipwrecks. Over recent years and as a consequence of underwater archaeological investigations in the northern shores of the Persian Gulf, a number of historical areas and wrecked ships have been identified (Tofighian, 2014, 2014a, 2014b, 2016, 2017). Bushehr Port is one of those underwater archaeological areas in which historical ships have wrecked. This area has a special significance for researchers. During the field study, a number of dragon-shaped jars, pottery containers, glazed pottery parts, and a stone anchor were found. This underwater area, which was first identified by researchers of the Marine Medical Center affiliated to the Bushehr University of Medical Sciences, is within 500 meters of the shoreline of Bushehr Port and from the Customs wharf to the building of Bushehr City Council. The site covers a spread of pottery containers at a depth between 3 to 6 meters. Before starting underwater investigations, the objects found were documented by the Marine Medical Center affiliated to Bushehr University of Medical Sciences. Given that some part of the explored pottery containers had been identified by researchers of the Marine Medical Center, no information of exact location of the underwater objects was at hand, but big jars for water and food storage informed the researchers that a ship had wrecked on the seabed. Only does the diversity of the explored containers and their abundance show the existence of a large and important underwater archaeological site. In addition, big jars of water and �food storage signify the existence of a shipwreck in the seabed. The efforts exerted by a group conducting underwater investigations and explorations were successful in spite of difficult conditions caused by insufficient underwater visibility and significant destruction having imposed to the underwater area. As a result, underwater archaeologists succeeded to explore a number of dragon-shaped jars and turquoise glazed pottery in the seabed . 2. The research area Bushehr Port is the capital of Bushehr Province, one of the Iranian southern provinces. "Nadir Shah Afshar" re-boomed the current Bushehr port in 1736. The name of this port was "Rishahr" in the ancient times. The foundation and construction of this port date back to "Ardeshir" I of the Sassanid. The resources referring to "Ardeshir" the Unifier mention a port called "Bokht Ardeshir". Those resources, along with other documents, show the significance of the Persian Gulf for the early Sassanid kings. The significance of Bushehr Port was so great that "Bokht Ardeshir" was connected by a road to Kazeroun and Shiraz through which exported goods were transported to other areas. But the current Bushehr Port with a history of 300 years was founded by Abu Mahiri, the son of Shaikh Nasser Khan Al-Mazkur (the shipmaster of Nadir Shah and the founder of Al-Mazkur dynasty) in 1735. The reason for the foundation of this city was that Nadir Shah wanted to construct a port in the south of Iran and establish navy. This port became so prosperous that was considered as rival to Basra (Fig. 1 & 2) Traces and works dating back to pre-history (such as "Tal sabz or Tal Pitel", the Elamite period (Lian), and the Sassanid and Islamic periods can be observed in Bushehr Peninsula. The Castle and Port of "Rishahr", the Sassanid Cemetery in "Shoghab", and the Sassanid "Hezar Mardan" Port are some of the monuments in this �area. The underwater ancient area studied in the present research is located at a distance of 500 meters from the shoreline of Bushehr Port and between the customs dock and the building of Bushehr City Council. This area is located at a depth of three to six meters under the sea covering an area about 700 meters along the shore and an approximate width of two hundred and fifty meters on the sandy bed of shallow body of water of Bushehr Peninsula. This area has been severely destroyed because of its proximity to the shore and the expansion of customs docks on the one hand and military maneuvers on the other hand . Fig.1 Location of Bushehr and the surrounding archaeological site. (Tofighian, 2016) �Fig.2: Location of the Underwater Archaeological site (Tofighian, 2016) 3. Methodology The explored underwater objects are the most important instruments for underwater investigations (Maarleveld, 1987: 35). But in investigating shores of Bushehr Port, lowest light and water clarity was available for divers. The area for investigations identified by the research team of the Marine Medical Center (Fig. 3) was drawn on a base map. This area with seven hundred meters long and two hundred and fifty meters wide was investigated. To begin underwater investigations, the team had to identify the starting and ending points on the seabed. With regard to permanent water movements, identification of the points were possible only via a few floating watermarks attached to heavy weights. The starting point of the investigation was recorded by GPS on a boat and the first buoy was fixed �in the area. To start underwater investigations, the two following methods were employed: Fig.3: The underwater archaeological team. (Tofighian, 2016) 1 .The beginning and the end of the area was determined by two buoys (watermarks). Then, the investigators started searching along the rope and after finishing this search round, the two buoys were displaced in the width direction of the area and the other part of the seabed as searched . 2 .Appropriate spots of the study area were recorded by buoys and GPS. Then, a rope was fastened to a buoy and divers started searching around this point in circularly. After completing each round, the radius of this circle got opener and a larger area was investigated. With regard to severe underwater streams, diving was impossible without the rope and buoys. In the second method, the second part of the area was conducted and all investigated spots were recorded via GPS and drawn on the basemap . In modern methods, the seabed are scanned via devices and techniques such as Sonar; then the obtained pictures are interpreted on a monitor via which underwater topologies and cultural phenomena are identified. �Nowadays, Iranian archaeologists have no access to efficient and advanced underwater equipment . For better understanding of the conditions of the shores of the study area and the possibility of identifying the potential shipwreck with regard to the shallow body of water, the investigators imaged the study area employing a quadcopter. Imaging from a low height in the shallow shores of the area and with regard to possible penumbras can be effective on identifying the traces of docks and debris of historical harbors. Thus the investigators tried to identify possible evidence and historical findings via the quadcopter. However, the taken pictures were not effective on underwater archaeological investigations in Bushehr shores. In addition, the study area was investigated via the Sonar Scanner Finger Feeder installed on a boat. But due to smoothness of sandy shallow seabed in Bushehr shores, the pictures obtained from Sonar were not effective. Therefore, the only possible method for investigating those shores was that professional divers search the seabed with under the supervision of the Marine Medical Center of Bushehr. This method was also conducted with difficulties . 4. Findings The results obtained from survey investigations of the dispersion of broken and intact pottery as well as the stone anchor indicate the existence of an area belonging to a shipwreck in the shallow part of Bushehr Peninsula. The objects were obtained in different time intervals and no unity was found among them. The dragon-shaped pottery containers were in fact middle-sized jars with horizontal handles and a number of turquoise glazed jars as well as a number of small deposited containers made dating the site possible (Fig. 4-6 ( �Fig. 4 (left): The remains of torpedo amphorae in shallow water around the southern of Bushehr Peninsula. (Tofighian, 2016) Fig. 5 (below): The remains of second torpedo amphorae in shallow water around the southern of of Bushehr Peninsula. (Tofighian, 2016) Fig 6 (above): Glazed pottery, recovered from the southern coast of busher. (Tofighian, 2016) �Dragon-shaped pottery jars dated back to late Parthian period to Sassanid period as well as the two first centuries of the Islamic period in maritime trading of the Persian Gulf for shipping valuable liquids such as olive oil, salty fish, wine, and seeds from Iranian ports to Arabian ports of the Persian Gulf, the Indian subcontinent, East Asian and East Africa with bitumen-painted inside surfaces for making them water-resistant. In addition, turquoise and green glazed pottery, as the most significant pottery of the Sassanid period, were observed among the explored objects which in addition to historical Iranian ports and areas of the Persian Gulf, have been found Arabic shores, East Africa, Indian subcontinent, and East Asia. It shows the expansion of the trading network of the Sassanid era in the Persian Gulf . One of the most important findings obtained from archaeological investigations in the shallow bodies of water in Bushehr Peninsula was a piece of oval rock with three holes (Fig.7). Unfortunately, no trace of a shipwreck was observed. Thus only its severely destructed and sporadic shipments were identified. Doing complementary investigations can significantly contribute to better understanding of the real nature of this underwater area . �Fig .7: A stone anchor with three holes from Bushehr. (Tofighian, 2016) Analysis and comparison of the pottery explored from the underwater area in Bushehr Port A large variety of pottery related to the Sassanid period were identified in the areas around the shores of the Persian Gulf. The most important explored pottery were the elegant orange painted pottery (Namard), grey small pottery, kneading pottery, big ornate jars and jugs for water and food storage, and more frequently, dragon-shaped and glazed pottery. Pottery with honeycomb decorations are other types of the Sassanid potteryobserved frequently in Siraf, but dating those potteryhas been doubted by a number of archaeologists (Simpson, 1992: 296 .) In archaeological investigations and identifications of the shores of Bushehr Port, three intact dragon-shaped jars with bitumen glaze inside them and a more number of broken pieces of dragon-shaped jars were explored. In this investigation, a number of glazed pottery containers dating back to the Sassanid era were explored as well. Dragon-shaped �pottery explored in Bushehr Port are comparable with the instances obtained from the Sassanid areas of the northern and southern shores of the Persian Gulf. In addition, the number of Monochrome glazed pottery containers can be observed among the underwater findings of shores of Bushehr Port. This type of Sassanid pottery is comparable with a lot of pottery obtained from Sassanid areas of the Persian Gulf as well as other areas summarily discussed as follows. 4.1 Dragon-shaped pottery One of the most important findings of the studies conducted on the pottery is that all pottery obtained from northern and southern shores of the Persian Gulf, the Indian subcontinent, and East Africa have been originally Iranian. This pottery is mainly dragon-shaped (Simpson, 1992: 291). The clay of those pottery in which bind materials such as abundant sand and fine dense sand grains are used are yellow or fallow. The external surface of containers are decorated and the inside surface is bitumen-glazed (Connan et al. 1998). Another main characteristic of this pottery type is its coils, cylindrical body without a neck, and a long and hollow insole (Adamz, 1970: 100). This pottery type is also called Torpedo Fuse Point. The bottom of this dish is called Spizfuss (Finster & Schmidt, 1976: 92) All in all, dragon-shaped jars (Torpedo) refer to those jars that have sharp bases and relatively open mouths. They were appropriate for carrying liquids in maritime trading. Those jars were made in different dimensions. Their inside surfaces were all bitumen-glazed in order that nothing can penetrate into the containers and spoil liquids. The arrangement of amphora were very easy because of sharpness of their bases, openness of their mouths, and the lack of necks in such a way that they did not shake by ships’ shaking. According to archaeological studies, dragon-shaped jars in the Persian Gulf date backs the early Parthian period to the early �Sassanid period and the two first Islamic period (about one thousand years) (Simpson, 1992: 291) This pottery of has been identified in most parts of northern and southern ports in the Persian Gulf as well as trans-coastal areas such as areas in "Bandar Rig", "Mahrouyan", "Siniz", "Hezar Mardan", "Gurestan Shoghab", "Rishahr", and southern shores of Bushehr Peninsula such as areas of "Jalali", "Siraf", historical shop of Siraf, and Nay "Band" Bay. In addition, some samples in trans-coastal areas such as Shush, Mianab Plain of Shushtar, Galalak of Shushtar, a sample in Museum of Ancient Iran, two samples in the Museum of London, and other samples of dragonshaped jars are comparable to those explored from underwater areas of Bushehr Peninsula (Tofighian, 2014). In southern shores of the Persian Gulf such as areas of Maliha, Eddor, Sohar, Jazirat al-Ghanam, Qana in Yemen, Kush and Al-Qosur in Kuwait, East Africa, and Indian subcontinent, dragon-shaped jars were explored (Tofighian, 2014). 4.2 Turquoise monochrome glazed pottery Well-baked glazed pottery with pepper paste and cream color made of binders of sand and better glaze is one of the main characteristics of the Sassanid pottery mainly made in Mesopotamia and Khuzestan (Mason & Keal 1991: 52). Glazed pottery of the Sassanid period, particularly turquoise pottery, are mostly observed in the Persian Gulf ports of the Sassanid and early Islamic periods. In "Mahrouyan" (Tofighian & Esmaeili, 2010: 275), the area of "Jaborj" near "Genaveh Port", "Rishahr", "Najiram (Bataneh)" (Tofighian, 2009), Siraf and a number of areas in "Hormozgan" such as "Ramchah", "Rigo", and "Soza" in "Qeshm" Island (Khosrowzadeh, 2006), instances of the Sassanid turquoise pottery were explored. In shores of the Persian Gulf, East Africa, and East Asia, some instances of monochrome glazed pottery have been explored. They can �be comparable with the glaze pottery explored in underwater areas of Bushehr Port . 5. Conclusion By doing underwater archaeological investigations and explorations of shores of Bushehr Peninsula, the following results were obtained: in shallow water in opposite Bushehr Port, an ancient site at a depth of 3 to 6 meters was identified. During investigations and with regard to exploration of dragon-shaped jars used for carrying wine, it was identified that the site is probably the place of an ancient shipwreck . In addition, investigations conducted on the broken and intact pottery as well as a stone anchor, the following results were obtained: a .Three intact dragon-shaped jars in different sizes in which were bitumen-glazed were explored. In addition, more numbers of broken pieces of dragon-shaped jars indicate a large number of jars in the explored area. In fact, the large number of dragon-shaped jars in those shores have been explored by local fishers. This jars can belong to the identified ancient area in Bushehr Peninsula . b. A big glazed jar with turquoise green, some smaller jars mainly with pale glaze, and some unglazed small to moderate jars with four handles were explored . c. A large number of broken and deposited pieces were also explored. The diverse shapes of those broken jars show the abundance of pottery containers in that historical wrecked ship. d. A stone anchor with three holes on its body were explored as well. This anchor remained in the seabed because of its high weight and big size . �According to initial studies on the pieces of explored pottery, especially turquoise green dragon-shaped ones rooted in the Sassanid period, dating this area may refer to the Sassanid and early Islamic periods. According to the evidence obtained from the stone anchor, small and moderate containers for food and water storage, and identification of a diverse number of dragon-shaped jars, the explored area may belong to maritime a cargo ship having been wrecked in that site. A large number of the jars were arranged in the cargo carrying valuable liquids such as oils and wine from Iranian ports to other destinations. Better understanding of this area and access to their real identity require more field studies in future . References Ataei, M. T. (2005). An Archaeological report on Rishahr shore in Bushehr Peninsula. Journal of Archaeology, 1(1); 85-93. Daryaei, T. (2004). The Sassanid kingdom. M. Saghebfar (Trans.). Tehran: Qoqnoos Publication . Daryaei, T. (2007). The Persian Gulf maritime trade at the end of the ancient period. H. Kian Rad (Trans.). Irnonology Foundation. Pp. 97-122 . Estakhri, A. E. (1989). Ways and nations. I. Afshar (Trans.). 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M., 1966, Archaeological report of cemetery of Shaghab, report submitted to the Center of Iranian Cultural Heritage and Tourism Organization. Simpson, St.J. 1992 “Aspect of the arcgaeology of the sassanian period in Mesopotamia” oxfored university,. Stern.B, & etc., From Susa to Anuradhapura: reconstructing aspects of Trade and Exchange in Bitumen- Coated Ceramic vessels between Iran and Sri Lanka from the Third to the Ninth Centuries AD. Archaeometry, 50, 3 (2008) 409–428. Tomber.R, 2007, Rome and Mesopotamia importers into India in the first millennium AD, Antiquity, 81 (314) pp 972-986. Will, E.L. 1986. The Roman shipping Amphorae from Arikamedu “ALA Abstracts 11.AJA 91. Wheeler. M, 1946. “Arikamedu: an Indo – Roman trading station on the east coast of India, pp 17- 124. Whitehouse.D. A Williamson, 1973, Sasanian Maritime Trade, Iran, vol 11:29-49. Biography Hossein Tofighian Ph.D., A member of faculty and assistant professor of Research Institute of Cultural Heritage & Tourism (RICHT). His field of study is about Sassanid period around Persian Gulf. He has been working on maritime archaeological studies in Iran particularly underwater cultural heritage of Persian Gulf for 15 years. Ramin Adibi M.A., M.A. in archaeology and a member of 'PADI', focused on Caspian Sea as "maritime archaeological studies", especially about Maritime Cultural Landscape of Caspian Sea. Runs a magazine called "Archaeology of Maritime Landscape". � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2017 Session 5: Iran's Maritime Cultural Landscape Description An account of the resource The country of Iran benefits from having a long coastline. Sea spaces and coastlines were attractive settlements for humans throughout history. These extensive maritime landscapes have resulted in interactions between human and sea along the northern (Caspian Sea) and southern (Persian Gulf and Sea of Oman) coastlines of Iran. Iran’s rivers and lakes contain a great deal of evidence of human habitation and interaction. Due to the country’s long history of maritime culture, we can also observe sea effects on coastal communities in Iran. Maritime archaeological studies in Iran, however, are at a nascent stage. In the 1990’s, a small group of archaeologists from the Iranian Center for Archaeological Research (ICAR) investigated in the north of Persian Gulf to decode its unknown history. In 2000, the first coherent and planned activities of that group produced the "Underwater Surveys around the shores of Siraf Port in Bushehr Province". After that, the team surveyed "Bandar-e Rig"(Rig port), Portuguese castles in Siraf port, Southern Shores of the Bushehr Peninsula in the Persian Gulf. The team has worked on sites from "Shushtar’s Band-e Mizan"(Shushtar barrier), "Takht-e Suleiman" Lake, and the Amir Abad and "Zaghmarz" shipwrecks; the "TammÄ«sheh and Gorgān" Underwater Walls, and the "Ghorogh" and "Rudsar" shipwrecks. These projects were published in Persian by a domestic magazine. The team then prepared and distributed a booklet titled of "Iran, Underwater Cultural Heritage and It's Share in Maritime Archeological Studies" for the annual meeting of States Parties of The UNESCO Convention on the Protection of the Underwater Cultural Heritage in 2016. Next, UNESCO and ICHTO held "Training Workshop on Underwater Archaeology with a Focus on the UNESCO 2001 Convention" in Iran. These activities are continuing and we hope for some continued progress in maritime archaeological studies and international cooperation. Creator An entity primarily responsible for making the resource Hossien Tofighian Research Institute of Cultural Heritage & Tourism (RICHT), Iran Ramin Adibi Higher Institute of Marlik University, Iran Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Underwater Archeological investigation of Bushehr coastlines in Persian Gulf Description An account of the resource When the Research Department of the University of Medical Sciences of Bushehr was studying marine biomedicine around the Bushehr peninsula they inadvertently discovered some pottery fragments. They then reported it to the Bushehr province Cultural Heritage organization. In the summer of 2016, the underwater archaeology group of the Iranian Center for Archaeological Research (ICAR) surveyed the Bushehr coastlines for a month. During this field research, we identified and recorded the distribution of Sassanid pottery over approximately one kilometer square in the seabed around the Bushehr peninsula. Based on findings of pottery assemblages consisting of fragments of food storage vessels, Torpedo amphora, and turquoise ceramic glaze; it was assessed that this archaeological site represents the cargo of a shipwreck which sank in shallow water near the coastline. Over time, the cargo then spread across the seabed. We can observe the shipwreck processing in this case. At the first season of this field research, we could not identify the remains of the shipwreck hull but lots of fragments of torpedo shaped ceramic vessels were recored. Relative dating proved that all of the ceramic findings are related to the Sassanid era (224 to 651 CE). The quantity of sherds found proved that this is in fact a shipwreck site. Identification of the archaeological sites with torpedo shaped ceramic vessels distributed around the Persian Gulf indicate that regional maritime trade was widespread, in particular the Sassanid wine trade, and that seafaring practices were occurring in one of the ancient canals of Indian ocean. In this article, we explain about underwater archaeological investigations of Bushehr coastlines and outstanding ceramic findings including torpedo shaped ceramic vessels and turquoise ceramic glaze wares that were used in maritime trade in the Persian Gulf during the Sassanid and early Islamic periods. Creator An entity primarily responsible for making the resource Hossien Tofighian Ramin Adibi Publisher An entity responsible for making the resource available The Museum of Underwater Archaeology Date A point or period of time associated with an event in the lifecycle of the resource 11/24/2017 Rights Information about rights held in and over the resource Hossien Tofighian Ramin Adibi Asia-Pac Session 5 2017 https://apconf-much.org/proceedings/files/original/c8e5c13965c4d991464e08c65b44d44a.pdf 26e99bc89039296bb4cd1fcfa2b07bac PDF Text Text An Introduction to the Maritime Construct of Khashabat in the Persian Gulf Mostafa Karimi University of Tehran Email: karimi_282@yahoo.com Abstract The history of maritime routes and communications in Iran dates back to a long time ago. In ancient times, to prevent dangers for their ships such as water thinness and thawing near coasts, the shallow depths and narrowness of rivers at the mouth of seas, Iranians installed a mechanical device called khashabat or Khushab (lighthouse). This maritime device has been made out of teak wood in the form of a catapult and imperfect pyramid. The height of a khashabat was about 40 meters above the sea level. Its materials were pottery and stones. The watches on a khashabat were deployed in four-arched chambers on its top. The significance of the khashabat was because of natural disasters, the invasion of pirates, and expiration of their fuel. Historical resources indicate that khashabats or lighthouses in the sea exited until the 13th century. The present study is aimed at investigating functions and significance of khashabats in traditional cruise and the reasons for their construction. In addition, places where this Iranian technology and engineering were used are introduced. Key words: Khashabat, the Persian Gulf, navigation, maritime hazards, lighthouse. Introduction The history of technology is just a small part of the profile of the human civilization in their temporal visions, but it is an important part of human culture and civilization as well. Therefore, investigating the history of Iranian technology is very significant. Iranian culture is very rich in terms of maritime technology and shipbuilding. Waters of the Persian Gulf, Oman Sea, Indian Ocean, and rivers in the southwest of Iran have been scenes for people’s navigation since the ancient times. �According to myths, Jamshid Jam, from the Pishdadian Dynasty, built the first ship. He also established the first “maritime rituals” and other national rituals for leading people toward seas and navigation. He then started sailing and navigation in seas*** and sailed from one country to another.1 (Ferdowsi, 1966:27) According to Ferdowsi’s narration, after the transfer of government from Pishdadian to Kianian dynasties, occurrences of events changed from Sarandib to Hamavaran. During his travel to Iran, Kay Kavus passed Zabol (Nimrouz) and reached Makran coasts and decided to suddenly invade Hamavaran: “Key Kavus ordered the army to play drums and proceeded from Nimrouz*** Then he, the King of the world, became happy He deployed his army toward Turan and China*** and then he invaded Makran.2 Then the king ordered shipbuilders to build boats and ships. The king and his army boarded and passed seas a thousand miles until they reached a land. Key Kavus ordered shipbuilders to build abundant ships and boats***and then he deployed his army to invade The people of Hamavaran were informed that*** Key Kavus and his army were invading from the Makran Sea”.3 Sailing in Iranian waters was common in the Phoenician, Elamite, Achaemenid, Parthian, and Sassanid times, as well as during the Islamic era. With a glance at the sailing tradition, shipbuilding and using maritime devices have been common in Iran since the ancient times. Many maritime and shipping instruments were created by Iranians, and some other instruments were used by Iranian sailors who traveled to other lands in the ancient era. Compasses, steerages, depth finders, distance finders, measurement tools, flyers (drawings), electric pellets, and khashabats (marine lights) were among instruments innovated by Iranians �(Nourbakhsh,2003:75 and 81, Raein,1976:288-289). The present study aims to investigate the functions and applications of khashabats, as one of the most important innovations and instruments of Iranian sailing in the shipping industry of those periods based on historical resources. a. What is a Khashabat? The word “khashabat” (‫ )خشبات‬which is the plural form of “khashaba” (‫)خشبه‬ means sea minarets. They are in a place behind Abbadan (Dehkhoda, 1998:9802). A khashaba literally refers to a piece of wood. It also refers to a ship metaphorically. But generally in resources such as Murravej ulZahab of Masoudi and other geographical resources, the term khashabat refers to a minarets of wood established as a wooden scaffold in the sea, and the fire was lit on the top of it in a small chamber. As a result, it led ships toward safe passages. It in fact was equivalent to a lighthouse in the modern shipping era. Nowadays there are some maritime guides-being lit at night by wires and power- which are called “Bayeh”, but they are floating in the sea (Hadi, 1992:180). b. Navigating and trading in the Persian Gulf The maritime routes of the Persian Gulf is the most ancient connecting maritime routes in the world. They have been connecting Central Asia to the Middle East since several thousand years. Since the very ancient times, Chinese, Indonesian, and Malayan, and Indian, and African, goods have been shipped with the efforts exerted by Iranian sailors to ports in the Persian Gulf such as Bayan (Lian), Oboleh, Riv Ardeshir, and Forat Mishan ports and were unloaded there from where those goods were transferred to Palmira and Syria. Sometimes windships headed toward their destination through the bay in the west of Iraq and stretched out to �Al-Hirah and unloaded their goods near that city which was the dock of caravans from Badia –al-Arab. Since that time, the Persian Gulf, as currently known for its oil reservoirs all over the world, has been famous for connecting trade routes in the east to the west of the ancient and modern world (Rasaei, 1972:42). c. Reasons for the advent and construction of khashabats To build a light to guide ships in dangerous and difficult passages, human beings thought of fire and light; therefore, lighting and igniting wood were some strategies for guiding ships and fleets. Then, human beings succeeded to use viscous black liquid, also called petroleum (from Greek: petra: "rock" + oleum: "oil".) for igniting fires in seas. However, since this liquid was flammable, it was poured in special containers or holes were delved in heights and it was poured into those holes and ignited (Rasaei, 1972:40) Indeed the geographical situation of soils in the head of the Persian Gulf was not like the present time. In the ancient time, downstreams of the Euphrates, Tigris, and Karun rivers were separately poured into the Persian Gulf; as a result, salty water of the sea spread out the surrounding lands through bays stretched out near Basra even in the Sassanid era (Rasaei, 1972:42). In addition, the Persian Gulf is more roaring than other seas because of its shallow depth and its rugged submarine topology. The Persian Gulf joins the Indian Ocean (Eghtedari, 1966:10). Thus the ancient Iranians thought of finding safer routes for facilitating navigation, preventing damages to ships, and guiding ships toward northern parts of the Persian Gulf. As a result, they constructed a type of maritime guide board called “khashabat” in historical resources. In addition, in the guidebook of Rani Kia Tan, written between 785 to 805 AD, it is mentioned that Iranians constructed special towers in the Persian Gulf and ignited them at night for guiding ships and boats. The flammable �materials used for igniting those towers were unknown but they could be wood or petroleum (Hadi, 1992:170). Professor Hadi Hassan quoted from Hiret Veracqui, the author of the book the Chinese and Arab Trade in the Twelfth and Thirteenth Centuries that a ship is made out of wood and a shipmaster is a human, as there are land mice, there are water mice as well, and there are bandits as there are pirates. In addition, there are other hazards such as typhoons and rocks. Therefore, there were some decorated columns in the Persian Gulf which were ignited in order to guide ships toward true destinations” (Hadi, 1992:171). According to Muqaddasi, in 985 AD around Basra, people constructed chambers on palm trees and ignited fire in them in order to prevent the crash of ships with rocks. But since it was difficult to navigate in that area, ships sailed mostly in days in such a way that shipmasters climbed decks and watched the horizon. Then, they transferred their commands to helmsmen to steer ships. However, when their ships got away from coasts and reached the sea, they had to steer their ships via the sun, the moon, and stars (Muqaddasi, 1897:17).Those khashabats were established and worked until the thirteenth century. The most important reasons of constructing khashabats can be as follows: 1. Specific geographic features of the north of the Persian Gulf; 2. The sea level rise in the Persian Gulf in the bay stretching out Basra and the shallow depth of water; 3. Prevention from big ships’ grounding in muds which the Tigris, Euphrates, and Karun rivers carried from mountains and embedded at the mouth of the head of the Persian Gulf; 4. Determination of the shipping routes in shallow areas of the Persian Gulf at night; and 5. Protection of commercial goods exported from or imported to the area. �d. Geographic range of khashabats in the Persian Gulf In this section, the study is to investigate in which areas of the Persian Gulf khashabats were employed. Distribution of khashabats in the Persian Gulf until the 13th century Darius the Great ordered that the first lighthouse be installed at the mouth of Indus River under the supervision of Scylax. When Nearchus, Alexander’s Admiral, sailed into the Persian Gulf in 326 BC, he was astonished by great lighthouses. As a result, he praised the miracles he had observed in the area in his travelogue. According to Nearchus, Iranians’ lighthouses were installed in different parts of the Persian Gulf (Nourbakhsh, 2003:77). The Persian Gulf was considered as a part of the fourth gulf of the Bahr ul-Azam Sea. In the book Hudud al-Alam, The Persian Gulf is described as “a gulf with narrow width which stretches out Indus River” (Sotoudeh Ed, 1960:12). Muqaddasi writes in the book Ahsan al-Taqasim that khashabats’ origin is thought to be from Basra. They are very shallow and dangerous. Wood columns were installed and chambers were built on top of them. At night, the fireplaces were lit to warn them not to approach. Muqaddasi writes also that a captain once said that there were a lot of calamities there; his ship grounded several times. Only one ship out of 40 ones can return from there (Muqaddasi, 1982:18). Nasir Khusraw who voyaged to Mahrouban Harbor via Basra in a ship in 1051 observed khashabats and attributed their constructions to ancient kings. He narrated that when they voyaged from Basra in May 1051, firstly they boarded a boat and voyaged for four miles to reach Abbadan (Abadan). Abbadan was close to the sea as an island with two branches. As they approached and anchored, they saw some towers and asked �natives what were they? They answered them that those towers are khasbabats (Ghobadiani, 1976:161). Soleiman Sirafi writes in the book Sequence of Histories (Silsilat ulTwarikh) that the beginning of the Persian Gulf was the area of khashabats of Basra. That area covered Basra, Oboleh, and Bahrain. Then, there was Laravi Sea beside which there were khashabats of Saymur, Subareh, Taneh, Sandan, and Konbayeh regions which were parts of India and Indus River. The beginning of the Perisan Gulf there was maritime rugged topologies around Basra where khashabats or konkalas had been installed. Those khashabats were constructed out of wood in order to be guides for sailors and helmsmen. The distance from the beginning of the Persian Gulf to the Oman Sea is about 300 miles. In addition, the distance from Persian coasts to Bahrain is about 300 miles (Sirafi, 2002:160). In his observations of the Persian Gulf from 947-956, Masoudi describes its range as follows: “the beginning of this sea starts from Basra, Oboleh, and Bahrian where areas of khashabats of Basra are located. Therefore, the beginning of the Persian Gulf is from khashabats of Basra, also called Konkala, that are signs made out of wood and installed in the sea. The distance form this area to Oman Sea is about 300 miles” (Masoudi, 1864:147). According to the above discussions, it can be concluded that marine lights were mostly employed at the head of the Persian Gulf. In most historical and geographical resources, the area of using khashabats were Basra, Oboleh, Abbadan (Abadan), Mesopotamia4 (Hamavi,1987:239), Bahrain, Mahrouban, Siraf, and even Masqat, and Sohar5 in Oman and at the mouth of Indus River. All in all, it can be claimed that khashabats were constructed and established at the mouth of big rivers ending in Persian Gulf from where muds and sediments entered the sea and resulted in �creating bays. In the Persian Gulf where the Tigris, Euphrates and Karun rivers reaches each other, a relatively big bay is emerged. As a result, the sea becomes shallow. This issue results in problems for ships. Iranians solved this problem in the Persian Gulf using khashabats. [Fig. 1] Fig.1: Geographic range of khashabats in the Persian Gulf. e. The structure and features of khashabats Nasir Khusraw who visited khashabats, describes their structures: “[t]heir columns are four big teaks like catapults with wide bases. Their heads are narrow. Their heights above sea level are about four feet. On their tops, there are stones and pottery containers fastened to each other with wood. They are called khashabats6. Some people say that they were constructed by a merchant and some others say they were constructed by a king. Nevertheless, they both had intentions: to save ships from getting stuck in sediments of that area, and secondly to warn them of pirates. When we passed by khashabats, we saw a Nabeh without any dome. After that, were reached Mahrouban” (Ghobadiani, 1976:163). �Hafiz-i Abru describes khashabats as follows: “khashabats exist near Abbadan- around Basra- where marshes and drainage of the Euphrates and Tigris rivers poured into the sea. The distance from Abbadan to that place is about six miles. The depth of the body of water in that area is shallow; thus ships may be in danger. In those locations, timbers have been raised up as catapults. The bases of those khashabats are reinforced with a lot of pieces of wood. There are domes of pieces of wood for watches to ignite fires on the top of those khashabats. Those khashabats cannot be seen in days because their distances is very far from the coast. The mouth of the Tigris River is the border where ships must not trespass” (Hafiz i-Abru, 1996:239). As discussed, the structural features of khashabats can be explained as follows: - Each khashabat (lighthouse) had four bases made of wood7. Wood has been used as one of the materials in Iranian buildings since the ancient time. Wood was used in chambers of royal emirates in Shush and Persepolis in the Achaemenid era (Farsahd, 1987:730). - In the design of khashabats, the quadrangular bases were underwater. As they went up, the quadrangular got smaller, that is to say their heads were smaller than the bases. This design was adopted for the increase in the strength and resistance against typhoons8. - Their heights were 40 meters above the sea level. - On the top of them, there were dome shaped and pottery-roofed cubicles for watches. - In their cubicles, there were places for igniting fire. - The distance of one khashabat with another was in such a way that when one of them was out of sight, another appeared. f. The function and significance of khashabats in navigation With regard to descriptions and explanations of Muqaddasi, Nasir Khusraw, Soleiman, and Sirafi, Hafiz i-Abru, and other historians and geographers, it can be inferred that khashabats and lighthouses were of two types which in spite of commonalities in goals and duties, they had �different functions. Apparently, one type of khashabats were merely used for watches; therefore, ignition in them seems unlikely because the fire for guiding ships must have been very big to be seen by captains. On the top of that type of khashabats, there were some tombs and chambers as shelters for watches. The significance of khashabats type one is in their determination of shallow places of a body of water and the existence of underwater big rocks. In addition, sailors and watches in those khashabats were responsible for transferring news about the coming of ships to officials in ports or in case of observing pirates, they informed military bases to fight them. Therefore, khashabats had military functions as well. [Fig. 2] Fig. 2: The khahsbats type one. (Artwork: Nahid koohi) �But the khahsbats type two were lacking in chambers and tombs because fire was ignited on the top of them. However, there were some officers responsible for igniting fire at night. The significance of this type of khashabats was for nights because the ignited fires were for guiding ships in order to find their ways at night and in mists, while khashabats type I were used in days. Nevertheless, these two types both had common function of indicating shallow places of a body of water and guiding ships. [Fig. 3] Fig.3: The khahsbats type two. (Artwork: Nahid koohi) As a result, in can be concluded from the above discussions that khashabats were considered significant in the ancient navigation. Ferdowsi describes khashabats in Shahnama that: �“Come to explain you what are khashabats***a wise man has established them in waters… When a ship observe them from a distance***and see fires blazing out of them... It follows the right direction as fires show***and the shipmaster thinks so.” Therefore, khashabats have been very significant for maritime transportations and the development of business and trades in the Persian Gulf in that the economic life of people living in ports and harbors of the Persian Gulf ranging from the eastern coasts of the Tigris River to Makran plains and Baluchistan, and from the western bank of the Tigris River to southern coasts of the Persian Gulf and around Arab Peninsula as well as those who were known as Babylonian, Sumerian, Arabic, Zangi and Yemeni having lived in other parts of the region all needed the sea and maritime business. As a consequence, residents in the coasts of the Persian Gulf have always intended to find routes, instruments, and technologies for ships to navigate as rapidly and safely as possible, and one of those technologies was khashabats. Conclusion According to information obtained from writings and observations of historians and geographers, navigation has been a dangerous profession when ships are approaching coasts of the Persian Gulf. Therefore, in the ancient times (the Achaemenid and specially Darius the Great), Iranians constructed constructions made of wood and ignited fires for signing the ships and warning them of dangerous and shallow parts of the body of water in coasts. In navigation of the previous centuries, this type of construction has been called khashabat. Those khashabats played a significant role in navigation of the ancient sailors in that their structure acted as lighthouses for the current sailors and helmsmen. The distance �of those khashabats from each other was as far as when one got out of sight, the other appeared. The most reasons and goals of constructing those towers were as follows: 1. To guide ships at night by igniting fires on the top of them because when the sea level went up in shallow lands, there was a danger that ships got stuck in sediments of that area; 2. When sailors saw lights in darkness, they could find their ways among mists and darkness; 3. They were used for watching and determining routes for ships in days. As observed, lighthouses and maritime signs have been one of the innovations of ancient Iranians; therefore it can be assured that current advanced lighthouses and maritime sings mixed with modern technologies and completed with modern advances are rooted in Iranians’ intelligence used in the Persian Gulf. EndNotes 1 ‫گذر كرد از آن پس به كشتي بر آب *** ز كشور به كشور برآمد شتاب‬ 2 - ‫ شاه گيتي فروز‬،‫بزد كوس و برداشت از نيمروز *** شده شاد دل‬ 3 ‫ز ايران بشد تا به توران و چين *** گذر كرد از آن پس به مكران زمين‬ ‫بي اندازه كشتي و زورق بساخت *** بياراست لشكر بدو در شناخت‬ ‫خبر شد بديشان كه كاوس شاه *** برآمد ز آب زره با سپاه‬ 4 - An island where Abadan is in its west beside the Aravand River. It was called Mesopotamia. “Mesopotamia means in between rivers and it is a kind of island in lower parts of Basra of which Abadan is a part”. 5 - Iranians called it “Mazun” in the ancient times. 6 - Khashbab 7 - They were mostly made of palm trees. 8 - Its design were in the form of current towers. Bibliography: Dehkhoda, A. A, 1998. Persian Dictionary of Dehkhoda. M. Moein and S. J. Shahidi (Eds.). vol. 7. University of Tehran Press, Tehran. Eghtedari, A, 1985. Form the Persian Gulf to the sea of china. Iran Transportation Research and Publishing Company, Tehran. �Eghtedari, A, 1966. The Persian Gulf. Franklin Publishing House, Tehran. Farshad, M,1987. History of engineering in Iran. Amir Kabir,Tehran. Ferdowsi, A,1966. Shahnama. J, Mohl (Ed.). vol. 1. Franklin Publication, Tehran. Ghobadiani, N,1976. Nasir Khusraw’ travelogue. M. Dabir Siaghi (Ed.). University of Tehran, Tehran. Hafiz i-Abru, Sh,1996. Geography of Hafiz i-Abru. Vol. 1. Miras Maktoub, Tehran. ……….1960.The whole world from the east to the west. M. Sotoudeh (Ed.). Tehran University Press,Tehran. Hadi, H, 1992. The story of Iran's shipping from ancient times to the sixteenth century. O. Eghtedari & A. Eghtedari (Ed.). Astan Quds Razavi Publishing House, Tehran. Hamavi, Y,1987. Dictionary of countries. Vol. 5. Dar al-Beirut Publication,Beirut. Masoudi, A, 1864. Murravaj ul-Zahab. Dominard (Ed.). vol. 1. Paris Raein, E,1976. Iranians’ navigation Vol.1. Javidan,Tehran. Rasaei, F,1972. 2500 years on the seas. Peik Darya, Tehran. Sirafi, S,2002. Sequence of histories: news from China and India. Asatir, Tehran. Masoudi, A,1864. Murravaj ul-Zahab. A. Payandeh (Trans.). Translation and Publishing Agency ,Tehran. Muqaddasi, A,1982. The best divisions in the knowledge of regions (Ahsan al-Taghasism fi Maretaf al-Aghalim). Vol. 1. Company of Authors and Translators, Tehran. Muqaddasi, A,1897. The best divisions in the knowledge of regions (Ahsan al-Taghasism fi Maretaf al-Aghalim). Ranking. B. (Trans.). Calcutta. �Nourbakhsh, H,2003. Navigation in Iran. Institute for Cultural Research, Tehran. Kheir Andish, A. & Tabriz Nia, M,1993. Research on the Persian Gulf (vol. 6). First edition House of Book, . Tehran. Biography Mostaf Karimi holds an M.A. in history, focussing on Persian Gulf Studies. Graduating from the University of Tehran, his dissertation title is “The historical process of maritime culture in the Persian Gulf". He is currently a lecturer at the University of Tehran. He is the author of "Maritime Culture of The Persian Gulf" and Co-author of the encyclopedia of the Persian Gulf. He has written several articles about the Persian Gulf for international and domestic magazines. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2017 Session 5: Iran's Maritime Cultural Landscape Description An account of the resource The country of Iran benefits from having a long coastline. Sea spaces and coastlines were attractive settlements for humans throughout history. These extensive maritime landscapes have resulted in interactions between human and sea along the northern (Caspian Sea) and southern (Persian Gulf and Sea of Oman) coastlines of Iran. Iran’s rivers and lakes contain a great deal of evidence of human habitation and interaction. Due to the country’s long history of maritime culture, we can also observe sea effects on coastal communities in Iran. Maritime archaeological studies in Iran, however, are at a nascent stage. In the 1990’s, a small group of archaeologists from the Iranian Center for Archaeological Research (ICAR) investigated in the north of Persian Gulf to decode its unknown history. In 2000, the first coherent and planned activities of that group produced the "Underwater Surveys around the shores of Siraf Port in Bushehr Province". After that, the team surveyed "Bandar-e Rig"(Rig port), Portuguese castles in Siraf port, Southern Shores of the Bushehr Peninsula in the Persian Gulf. The team has worked on sites from "Shushtar’s Band-e Mizan"(Shushtar barrier), "Takht-e Suleiman" Lake, and the Amir Abad and "Zaghmarz" shipwrecks; the "TammÄ«sheh and Gorgān" Underwater Walls, and the "Ghorogh" and "Rudsar" shipwrecks. These projects were published in Persian by a domestic magazine. The team then prepared and distributed a booklet titled of "Iran, Underwater Cultural Heritage and It's Share in Maritime Archeological Studies" for the annual meeting of States Parties of The UNESCO Convention on the Protection of the Underwater Cultural Heritage in 2016. Next, UNESCO and ICHTO held "Training Workshop on Underwater Archaeology with a Focus on the UNESCO 2001 Convention" in Iran. These activities are continuing and we hope for some continued progress in maritime archaeological studies and international cooperation. Creator An entity primarily responsible for making the resource Hossien Tofighian Research Institute of Cultural Heritage & Tourism (RICHT), Iran Ramin Adibi Higher Institute of Marlik University, Iran Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource An Introduction to the Maritime Construct of Khashabat in the Persian Gulf Description An account of the resource The history of maritime routes and communications in Iran dates back to a long time ago. In ancient times, to prevent dangers for their ships such as water thinness and thawing near coasts, the shallow depths and narrowness of rivers at the mouth of seas, Iranians installed a mechanical device called khashabat or Khushab (lighthouse). This maritime device has been made out of teak wood in the form of a catapult and imperfect pyramid. The height of a khashabat was about 40 meters above the sea level. Its materials were pottery and stones. The watches on a khashabat were deployed in four-arched chambers on its top. The significance of the khashabat was because of natural disasters, the invasion of pirates, and expiration of their fuel. Historical resources indicate that khashabats or lighthouses in the sea exited until the 13th century. The present study is aimed at investigating functions and significance of khashabats in traditional cruise and the reasons for their construction. In addition, places where this Iranian technology and engineering were used are introduced. Creator An entity primarily responsible for making the resource Mostafa Karimi Publisher An entity responsible for making the resource available The Museum of Underwater Archaeology Date A point or period of time associated with an event in the lifecycle of the resource 11/24/2017 Rights Information about rights held in and over the resource Mostafa Karimi Asia-Pac Session 5 2017 https://apconf-much.org/proceedings/files/original/20b6a705c96d1cd0d76c6ad13e98aaac.pdf f694b4626b1d71023545a1c4b620f34c PDF Text Text A survey on a petroglyph illustrating a watercraft at the hinterland site of Dehtal Mina Safah S iraz University Shadi Kalantar Tehran University Abstract: Dehtal is an important hinterland site, located 170 km away from the shores of the Persian Gulf in Bastak County, Hormozgan province. Dehtal is a petroglyph site possibly dating to the pre-Neolithic, according to various sources of evidence such as stone tools found within the Bastak area and the Dehtal plain. The petroglyphs themselves, however, more likely date to the 3rd millennium BC. According to historical written sources, the Bastak area was located on the road linking the so-called Silk Road to the East Asia-Persian Gulf maritime trade routes. One of these petroglyphs, which is located beside a seasonal river, illustrates a watercraft. The image shows a round-hull, double-ended craft with two masts and a long saturi (bowsprit). A long saturi is a characteristic feature of a “boom” ship. Booms were used for long-distance voyages within Indian Ocean and they are still in use today but now work with engines. Firstly, this article attempts to discern the shipbuilding details of the watercraft depicted in comparison with other ship illustrations as those found in the Maqamat al-Hariri and the vessel depiction uncovered by Whitehouse at Siraf. Secondly, we will discuss Dehtal as a passage from Persian Gulf to so-called Silk Road with a focus on archaeological reports and historical written sources. Introduction: This article firstly, introduces a hinterland rock art site named Dehtal dated back to a period from the Paleolithic Age to the Islamic era. This site took its name from the nearby village with the same name. Secondly, a petroglyph illustrating a watercraft that is situated within the Dehtal site �will be introduced and a typology of the craft will be discussed by comparing it with other similar watercraft illustrations. Regarding a long Saturi (bowsprit) showed in the watercraft illustration and due to this fact that such a long saturi is a characteristic of Boom ship, it is believed that the namely illustration shows a Boom ship. There is no evidence for dating the petroglyph, however, we will try to estimate it. Thirdly, the paper will discuss the reason why a Boom ship has been drawn in an inland desert. Rock Art site of Dehtal Not far from the ancient village of Dehtal in Godeh area, a rock art site of the same name has been located. Dehtal is in Bastak County at 170 kilometers north of the Persian Gulf and 110 kilometers south of Lar (Movahhed, 1970). The pictures of this site include all the categories of rock arts; human, animal, and plant motifs and symbols. Most of the motifs in the Dehtal site have been carved on circle or oval rocks made of limy sandstone with an average diameter of one meter and a height of half meter from the ground level using Petroglyph technique in an abstract style. Due to the climatic conditions of the area - high temperature difference between day and night, and extreme heat during spring and summer - some of the carved stones have been broken and divided into two halves. There has been no research done as to the makers of Dehtal petroglyphs. The measure of erosions and the repeat of drawings on over each other can be a sign of the importance of this site to the aboriginal inhabitants or being on the way of ancient roads for centuries. So, the scattered stones of Dehtal probably were a suitable bed for transferring the thoughts and rituals of inhabitants or recording observations by passengers. According to archeological findings and historical data derived from the Godeh area and Dehtal sites, the Dehtal �petroglyphs can be dated to a period between the Paleolithic Age to the Islamic era (Fig.1). Fig.1: A Landscape of the Dehtal site. (Authors) Bastak: History and historical Geography Dehtal is located in Bastak province, regarding this, we will have a look at the historical geography of Bastak in this part. It could help for understanding the land and marine trade roads which connected this site to the internal regions of Iran and shores of Persian Gulf as well as the probable role of the commercial caravans in making the figures of Dehtal. Bastak is one of the southern regions of Iran plateau placed between Bandar Lengeh, Hormozgan and Larestan. In fact, Bastak, as the gate of Fars to Persian Gulf, was on the way of commercial caravans from the past. So, it has had the considerable economic position. Also, Bastak always has involved in the trade and policy of the Persian Gulf. It has been the center of governing the extensive district between Lar province and Persian Gulf over the time, especially late three hundred years (Movahed, 1970). �According to the historical sources, like Farsnameh Naseri, Bastak is a new name for a bigger zone called Jahangireh (Fasaii, 1988). In fact, it was a part of the ancient Irahistan. It is a name recorded for Larestan within the sources of fourth to seventh H.D and encompassed the hinterlands between Siraf and modern Bandar Abas (Vosoughi et al., 2008). On the basis of the record of Farsnameh Ibn Balkhi, the rulers of Irahistan had never been the subordinate of the central government, unless there was a powerful governor in Fars (Ibn Balkhi, 1995). Bastak as a Carrefour: The ancient roads in Bastak and Irahistan region can be summarized as following: 1- A caravan road started from the nearby ports of Persian Gulf and after passing Kachouyeh, Kemshak, Tarakameh and Lamerd reached Jahrom and continued to Shiraz. This way has been used in flourishing of Kish Island. 2- The second road also started from the close ports of Kish Island and get to the Larestan with passing Jenah and Kouhaj. There are traces of caravanserais and reservoirs along this way. 3- The third road came from Lar to Tadrouyeh and finally ended to Ilud. Also the roads of Bastak to Bandar Lengeh, Lar, Faramarzan, Godeh, Rouydarat, Lamzan and Dezhgan are documented in 1970. All of these routes from Bandar Lengeh to Bastak and Lar, the similar caravanserais with a distance of three Farsang (6 myl) can be seen are mostly named Shah A'basi (Movahed, 1970). (Fig.2) �Fig.2: Three main ancient roads in Bastak and Irahistan region. (Authors) But Bastak is located on the most important route of the ancient world; the Southern route of the Silk Road and the Sea Route of the Spice Road (Adviyeh Sea Route). This south way separated from the east-west main route of Silk Road passing Rey and Isfahan, reached to Shiraz and finally after passing Irahistaan and Bastak regions ended at the port of Kish. Then, it joined the Sea Road of Spice, connected the east and the south of Asia through the Persian Gulf to the Europe and the Mediterranean's shores. During this route traded different goods such as silk, spice, pearl and so on (Reza, 1997). (Fig.3) �Fig.3: Route 1. Part of the South way of Silk Road. Route 2. Continuance of the Silk Road to the Persian Gulf. Route 3. Part of the Sea Road of Spice (Adviyeh Sea Route). (Authors) The important rivers of Bastak region are Shoor Galedar and Mehran. These rivers originates from around the Galedar desert and finally flows into the Persian Gulf (Movahhed, 1970; Vosoughi et al., 2008). The Shoor River streams into Godeh region, where the Dehtal site located in. This is a rich area in archaeological terms, containing prehistoric, historic and Islamic sites. Larestan and Bastak's regions are pointed during the Achaemenid period under the names of Yaoutiya, Tāravā and Praga/Forag in Daryush's manuscript at Biston (paragraph 5, 7, column 3) (Sharp, 2005). Yaoutiya was probably in the south-east of Fars, i.e. contemporary Larestaan (Fry, 2003). It is the territory that Vahizdata rioted and named himself Bardia. Finally, he defeated against the arm of Daryush in Tāravā and beside Praga, a town and mountain in Yaoutiya respectively (Sharp, ibid). Tāravā located at the east of Larestan on the commercial route of �Hormoz toward Kerman and Darab, and Praga is a region in the north of Taram, East of Larestan and North-east of Bastak most probably (Vosoughi et al., 2008). After the invasion of Arabs to this region, the name of Praga changed to Farag or Forag, while it has been recorded Praga in the geographical books of the initial times of Islam like Farsnameh Ibn Balkhi (Ibn Balkhi, 1995) Another historical name which could be adopted with the sphere of Bastak is Apostana. This name has been mentioned in the book of Aryan, as the anchorage of the navy of Nearchus, the admiral of Alexander at 325 B.C (Arrian, VIII, p. 38). We have to notice that the first part of the word "Apostana" can be "Ab" which means water and the second part is "stan" that means the place. So, Apostana can be "Abestan" which means the “land of water” with its native accent Bostaneh or Bostano. One of the features of this place mentioned in history of Aryan is being a center for hunting pearls (pearl diving). This indication directs us to two ports with the name of Bostano. One near the Asalouyeh port and another one close to Bandar Lengeh (Zarinkoob, 2008). The last one located at the east of Bastak, exactly beside the place of entrance of Shoor River to Persian Gulf. After this time, there is no exact data from the history of Bastak region until 656 H.D. But undoubtedly, the existent ports and roads in the sphere of this area have had an important role in the economy of governments over this gap. After the invasions of Mongols to Baghdad, some of Arabs emigrates to Bastak and its environs from Basreh and some Persian Gulf ports (Salami Bastaki, 1991). The rulers of Irahistan and Bastak didn't totally accept the obedient of the central government. Unless a powerful governor appeared in Fars, like getting power of A'zad dowlah Deylami and its campaign to Irahistan for �subduing the people of this region in the second half of fourth century (Ibn Balkhi, 1995). Also, the independent power of Larestan and Bastak have been overthrown by Shah A'bas Safavi at 1009 H.D, due to kicking out Portuguese from Gheshm and Hormuz Islands (Movahed, 1970). The tribe of Ghavasem or Al Ghasem converted to a power at Jolphar, contemporary Ras al-Khaimah, and started robbery of the ships on Persian Gulf at the end of Safavid period. For a while they suppressed by Nadershah Afshar. After his death Bani Moen, Mashayekh (ruler) of Gheshm and Hormouz, resisted against them, but finally they had to get help of the ruler of Bastak (Bani A'basiyan Bastaki, 1339: 125-127). Along 1161 and 1162 H.D, in the time of the reign of Shahrokhshah in Khorasan, the south part of Iran got into the invasion of robbers and revolt of nomads like other regions. In this condition, Mohamd Khan Bastaki, the ruler of Bastak, stood up against these attacks. Finally these conditions due to supervision of the governors of Bastak and Laar on the ports like Kong, Lengeh and Abasi, and even surveillance on far islands like Gheshm and Kish (Bani A'basiyan Bastaki, 1960). In the time of Karim Khan Zand (18th century) and with his sentence, a large area from the North shores of Persian Gulf, Bandar A'bas and Minab to Lar with some south islands ruled by governors of Bastak (Salami Bastaki, 1991). In the time of Qajar (18th -20th century), Bandar Lengeh became the most important port of Persian Gulf against the commercial stagnation of Bandar A'bas and Boshehr. So Bastak raised up and developed with locating on the way of the caravan road from Bandar Lengeh to Shiraz (Movahed, 1970). In the reign of Pahlavies (20th century), Bastak and its subsidiaries were still part of Larestan province �(Vosoughi et al., 2008, vol.1, p. 106). Gradually, Bastak separated from Larestan and changed its ranges in divisions of 1981 and 2004 (Ibid). The Petroglyph: The petroglyph depicts a starboard side of a double ended, almost belly shaped watercraft (Fig.4). Double-enders are the most primarily hull shape of the Western Indian Ocean crafts (Agius, 2008; McGrail, 2001). Early pre-historic watercrafts depicted on Mesopotamian and Elamite seals and seal impressions are double-ended as well.1 Also, dhows are still in use in the Persian Gulf, except Ghanja and Baghla, which are mostly double-ended (Al Bastaki; Paris, 1886). It can be said that prior to the 16th -17th century A.D, the transom stern was non- existent within Persian Gulf (Agius, 2008, Hourani, 1951). Fig.4: The petroglyph in situ on the right (Hamzeh Qobadian) and its drawing on the left. (Authors) The craft illustration shows two horizontal parallel curved lines on its hull, the three lines between the curved lines could be consider as planks, so, the craft is obviously timber-made not reef-bundled (Fig.4). Furthermore, the curved lines caused a perspective in the illustration of hull and makes it more tangible. Plus to the horizontal lines, there are two vertical lines on the outside of the hull that perpendicularly cut the horizontal lines which �probably showing that joint planks were used to make the craft. Since antiquity, Persian Gulf`s ship builders` ideal timber has being Saj (Tectona grandis), it can be bent and joined to the frames, following the curves of the ship`s sides and it is also long- lasting (Agius, 2008). The depicted craft, has two masts. According to Bozorg, 10th century AD, (Nakhoda Bozorg- Ibn-Shahriyar-e- Ramhormozi, 1969) 50 span of a hand of timber was needed to build a mast.2 Each hand span is about 23 cm. (Agius, 2008), so, we can estimate that a mast was more than 100 m. heighted. As it is mentioned above, this vessel is double- masted, if each mast be more than 100 m, then relative to the height of the masts, its hull – from bow to stern- must be approximately 100-150 m. so, she must be a seagoing ship not a boat! Undoubtedly, Bozorg exaggerates in recounting the stories but he is often honest in giving technical information. It is said that a medieval double-masted craft required crews of 200 (might be exaggerated) and modern ones draw about 240 kg with crews of thirty (Whitehouse, 2009). It can be noticed from the masts and jack- yards that the craft has lateen sails and it is believed that lateen sail is a characteristic feature of medieval watercrafts of the Western Indian Ocean (Hourani, 1951). Lateen rigs are triangular and set along the craft. It permits to sail fore and aft (parsa, 2012). The most characteristic feature of this craft is its long Saturi (bowsprit) which typically represents a Boom ship; the only water craft of Persian Gulf that has such a long saturi (about 4-5 m.) is the Boom (Agius, 2008; Eghtedari, 1966; Parsa, 2012). (Fig.5) The boom distinguishes to two different types: for voyage, or for fishing and pearl diving (Parsa, 2012). The voyage one is bigger with two or three �masts (Eghtedari, 1966). The hull of a Boom, just similar to namely petroglyph, is belly shaped and double ended which makes the craft safer against the waves of seas and oceans. Also, its long saturi and masts obviously show that a boom has giant rigs which makes the craft highspeeded (Parsa, 2012). (Fig.5) Fig.5: a modern double-masted Boom ship on the right (Ethnological Museum of Kong, Iran) and a Saturi of a modern Boom in Abadan, Iran. (Authors) Unfortunately, no more technical detail, such as being swan or nailed, rudder, deck, anchor and etc., could be obtained from the petroglyph. But, according to the characteristics discussed above (the long saturi, belly shaped and double ended hull, being timber- made and double- masted), it can be understood that the illustration represents a for- voyage Boom ship. The most famous and certain illustration of Boom ship is the ones in Maqamat-al-Hariri (13th century) which will be discussed subsequently. (Fig.6) �Fig.6: Two Boom ships in two different versions of Maqamat of Al-Hariri, the one on the left is archived in the Bibliothèque Nationale de France, Paris (Al-Hariri, 1237). The middle one archived in the Library of the Academy of Sciences, St Petersburg (Agius, 2008) and the right one is a graffito engraved in Siraf, Iran. (Whitehouse, 2009). On the left side of the scene, there is a man / woman depicted riding a horse (?). On the right, just under the hull of the ship, a fish can be seen. The depiction of horseman is not obvious because of the erosion, neither the fish (fig.4). The scratched lines of all described illustrations, ship, horseman and the fish are in a same color and it shows their concurrency (scratched lines of the petroglyphs in Dehtal turns darker over time). It seems that this scene aims to recount a story of voyaging on the seas to a port in South of Iran and then riding to a central city of Iran. Comparative Consideration: Maqamat Al-Hariri: There are two miniatures of two different versions of Maqamat which are believed to illustrate Boom ship (Fig.6), one at the National Library of France, Paris (Hourani, 1959) and one at the Library of the Academy of Sciences, Saint Petersburg (Agius, 2008). They both are obviously double �ended with a long saturi and they both are evidently timber-made just like what we see in the namely petroglyph. There is no doubt that the Maqamat`s miniatures are more detailed rather than Dehtal`s petroglyph, and the rudder, crews and even paddles can be seen but, the mutual features between Dehtal`s petroglyph depicting ship and Maqamat`s miniatures illustrating ships are firstly, the long saturi, secondly, being double- ended. Unfortunately, there are only a few pictorial evidences of medieval ships within Iran and archaeological evidences of Perso- Arabian ships are even less than pictorial evidences. One might say there are lots of illustrated ships between Iranian miniatures but we should keep this fact in our mind that these miniatures generally recount Iranian myths which are believed to have been happened in the past, so, the artists just tried to copy the antiquity depictions of watercrafts and rarely useful information of Iranian medieval ships could be driven from these miniatures; In fact, it is highly recommended to Iranian medieval artists to copy their ancestors (Beig-eAfshar, 1969). Furthermore, these miniatures were mostly done by royal artists who were inhabitants of inland Iran and so far away from seas and ships. Ship Graffito of Site “K” in Siraf: Another pictorial evidence of Iranian shipbuilding is the graffito that David Whitehouse engraved at site “K” of Siraf3 (Fig.6). This is dated back to the 10th -11th century and it is tree-masted. As it is mentioned before, a modern two-masted vessel of Persian Gulf draws 240 tonnes and requires crews of thirty (Whitehouse, 2009), so, a tree-masted craft must be even greater than a two- masted one! The ship shown in the graffito is doubleended as well as the other watercrafts that are so far introduced in this article, but unlike the others, nor saturi neither timber planks can be �recognized in this graffito because of the erosion. Furthermore, its hull obviously is not belly shaped! Belitung ship wrecked: Archaeological evidences of Perso-Arab ships are really rare. But, in 1998, a wrecked ship has been found in Belitung, Indonesia by local divers. The vessel was carrying the Changsha wares which were in operation during the Tang dynasty (618-907 A.D). Belitung ship is believed to have a length overall of 18 meters. Flecker (2001) deduced that Belitung ship was designed for carrying light cargo and she has not being deep-drafted! Unfortunately, no bowsprit could be recognized in Belitung wrecked, solely it is mentioned that its stern was vertical (ibid). So, it seems not to be much similarities between Dehtal ship petroglyph and Belitung ship wrecked. Dating of Dehtal Ship Petroglyph: Maritime trade since Neolithic era within Persian Gulf is proved but, archaeological and pictorial evidences show that the watercrafts that were used in pre-historic era have being reed-bundled not timber-made (Carter, 2006), so, pre-historical water crafts could not be comparable with Dehtal`s ship petroglyph. Furthermore, the Achaemenids (550- 330 B.C) adapted Phoenician ships which were totally different from the water craft that we discuss in this article4 (Hassan, 1928). According to Vosoughi (2016), the history of maritime trade between Iran, under the name of An-Xi and Far East goes back to the Parthian empire (247 B.C- 224 A.D). In that time, because of the unsecurity of the inland Silk Road caused by Central Asian tribes, Parthians decided to sail to Far East. During Sasanian period (224- 651 S.D), Iranians were named Possǔ �by Chines and they have been sailing from Persian Gulf to China and back (Whitehouse and Williamson, 1973). Archaeological evidences such as Sassanian glass vessels found in ports of Japan evidently proves maritime trade between Sassanians with Far East (Priestman, 2016). To conclude, we can`t date this petroglyph as early as pre-history, because it is obviously timber- made, on the other hand, while we have no pictorial or archaeological evidence of Partho- Sasanian ships, we can`t deduce that exactly since when Boom ships were used. The oldest evidences of Boom are the miniatures of Maqamat (13th century AD) and Booms are still in use but they work with engine! We can`t deduce that exactly since when Boom ships were used in Persian Gulf; so, it looks impossible to present a dating. Conclusion: As it is argued above in” The Petroglyph part”, namely illustration depicts a double-ended, belly-shaped hall watercraft which is timber-made and has two masts and jack-yard. But the most important feature of the depicted craft is its long saturi (bowsprit) which is the characteristic of Boom ships. So, it can be concluded that the petroglyph depicts a Boom ship. The oldest depiction of Boom are two miniatures in Maqamat AlHariri (13th century AD) and she is still in use in Persian Gulf but works with engine. Dehtal is an inland rock art site situated in Bastak province and Bastak was located 170 km. away from the sea on the passage that connected so-called Eastern-Western Silk Road to the Persian Gulf- Far East Maritime route. The petroglyph scene that is discussed in this article (including a ship and a fish under it on the write and a horseman on the �left), probably, recounts a story of a passenger who traveled from somewhere in the East to a port in northern shores of Persian Gulf, then maintained his/her way to the North by riding on back of a horse and on his/her way, passed from Dehtal. Unfortunately, there is no evidence that helps us with relative dating but forthcoming studies of the authors of this article on absolute dating of the lichens may be useful. Endnotes 1 For more information about watercrafts depicted on Mesopotamian seals and seal impression see: Qualls, C., 1981. Boats of Mesopotamia Befor 2000 B.C, PhD Thesis, Colombia University and Makela, t.t., 2002. Ships and Shipbuilding in Mesopothamia (CA. 3000-2000 B.C), MA Thesis, Texas A&M University, Texas 2 The height of the mainmast is a little bit less than the length of the craft (Eghtedari, 1966). 3 For more information about the dhow`s graffitos around the Persian Gulf see: Cooper et al., 2015. Boat and ship engravings at Al Zubareh, Qatar: the dhow exposed? Proceedings of the Seminar for Arabian Studies 45: 35-48. 4 For more information about iconography of ships of eastern Mediterranean ships see: Wachsmann, 1998. Seagoing Ships and Seamanship in the Bronze Age Levant, Texas A&M University Press, London. References Agius, D.A, 2008. Classic Ships of Islam from Mesopotamia to the Indian Ocean. Brill, Leiden. Boston. Al- Bastaki, M.A., unknown date. Sailing Boats in the Gulf Area. RTA, Dubai. Arrian, 1996. Anabasis Alexandri, Indica. Translated by E.Iliff Robson, vol. 2, the Loeb Classical Library, Cambridge (mass) and London. �Bani A'basiyan Bastaki, M., 1960. Tarikhe Jahangireh va Bani A'basiyan Bestak. Bastak. Beig-e- Afshar, s., 1963. Qanun Al- Sover, Translated by Adel Qaziov, Academy of Sciences of the Soviet Republic, Baku. Carter, R., 2006. Boat Remains and Maritime Trade in the Persian Gulf During the Sixth and Fifth Millennia BC. Antiquity, Vol. 80:52-63 Eghtedari, a., 1966. The Persian Gulf. Sina Library Publication, Tehran. Fasaii, H. H., 1988. Farsnameh Naseri. Corrected and grazed by M. Rastegar Fasaii, vol 2, Amirkabir, Tehran. Flecker, M., 2001. A Ninth-Century AD Arab or Indian Shipwreck in Indonesia: First evidence for direct trade with China. World Archaeology, Vol. 32, No. 3: 335-354 Fry, R., 2003. The ancient history of Iran. Translated by M. Rajab Niya, Sherkat Entesharat Elmi va Farhangi, Tehran. Hasan, h., 1928. A History of Persian Navigation, Methuen & Co., LTD, London. Hourani, G.F., 1951. Arab Seafaring in the Indian Ocean in Ancient and Early Medieval Times. Princeton University Press, New Jersey. Ibn Balkhi, 1995. Farsnameh. M. Rastegar Fasaii (eds.), Bonyade Fars Shenasi, Shiraz. McGrail, S., 2001. Boats of The World from the Stone Age to Medieval times. Oxford University Press, New York. Movahed, J., 1970. Bastak va Khalij Fars. Tehran. Paris, V.A., 1886, Collection de Plans ou Dessins de Naviers et de Bateaux Anciens ou Modernes Existants ou Disparus. Impimeur-Libraire de Bureau des Longitudes et de L`Ecole Polytechnique, Paris. Parsa, A., 2012. Southern Sails: Sailing in Persian Gulf and Indian Ocean. Farhang-e Nashr-e No, Tehran. Priestman, S., 2016. The Silk Road or the Sea? Sasanian and Islamic Exports to Japan, Journal of Islamic Archaeology, Vol.3: 1-35. �Reza, A., 1997. The role of Iran in Silk Road until the end of Sassanian era. Iranshenakht, Vol. 5: 198-211. Salami Bastaki, A., 1991. Bastak dar gozargah tarikh. Bastak. Sharp, R.N., 2005. The inscriptions in Old Persian cuneiform of the Achaemenian emperors. Pazineh, Tehran. Shahriyar-e-Ramhormuzi, B., 1969. The Wonders of India. Translated by M. Malekzade, Entesharat-e Bonyad-e Farhang-e Iran, Tehran. Whitehouse, D., 2009. Siraf: History, Topography and Environment. The British Institute Persian Studies: Archaeological Monograph, London. Whitehouse, D., A. Williamson, 1973. Sasanian Maritime Trade, Iran, Vol. 11: 29-49 Vosoughi, M.B., 2016. Heritages of Iranian Sailors in China, Entesharat-e Miras Farhangi, Tehran. Vosoughi, M., et al., 2008. Tarikhe mofasale Larestan. Vol.1, Nashr Hamsayeh, Tehran. Hariri, A., 1236-1237.Les Makamat. Exemplaire orné de peintures exécutées par Yahya ibn Mahmoud ibn Yahya ibn Aboul-Hasan ibn Kouvarriha al-Wasiti, Bibliothèque nationale de France, Paris. Zarinkoob, R., 2008. Re-knowing an Achaemenid's port in Persian Gulf. Khalij Fars: Farhang and Tamadon, Moasseh Tahghighat va Tosee Olom Ensani: 270-276. Biography Mina Safa graduated with B.A. degree in Archaeology and with M.A. degree in History of Ancient Iran from University of Tehran. She received a Ph.D. degree from Shiraz University in History of Iran after Islam. Her initial interest in the field is around Art History of the Middle East, particularly around three thousand B.C. She follows the cultural, commercial, and political relations between neighboring civilizations and their roles in making a final format of artistic objects and thoughts. Until now, She worked on rock art of Homyan and Mirmelas (two ancient sites �of west Iran) and the Deh-Tal rock art site, as well as studying the artifacts of Jiroft (an old civilization of south Iran). Shadi Kalantar is a MA student of archaeology at Tehran University and at the moment working on a thesis titled “Identification, Classification and Typology of the Water-Crafts Illustrated on the Proto-Elamite and Elamite (3200 BC- 7th Century BC) Seals and Seal Impressions with a Focus on their Functions” and I benefit supervising and advising of Dr. Shahrokh Razmjou and Prof. Philip Castro. She is also a former member of Iran national Canoe/Kayak team. Because of this background, in her early undergraduate years, she was interested in ancient boatbuilding and subsequently, nautical archaeology. Soon after, Shadi started scuba diving and studying nautical archaeological methods. Her focus, currently is on pictorial evidences of watercrafts (rockreliefs, seal impressions, petroglyphs and miniatures) around the Persian Gulf and Western Indian Ocean as well as ethno-archaeological studies on boat/ship building. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2017 Session 5: Iran's Maritime Cultural Landscape Description An account of the resource The country of Iran benefits from having a long coastline. Sea spaces and coastlines were attractive settlements for humans throughout history. These extensive maritime landscapes have resulted in interactions between human and sea along the northern (Caspian Sea) and southern (Persian Gulf and Sea of Oman) coastlines of Iran. Iran’s rivers and lakes contain a great deal of evidence of human habitation and interaction. Due to the country’s long history of maritime culture, we can also observe sea effects on coastal communities in Iran. Maritime archaeological studies in Iran, however, are at a nascent stage. In the 1990’s, a small group of archaeologists from the Iranian Center for Archaeological Research (ICAR) investigated in the north of Persian Gulf to decode its unknown history. In 2000, the first coherent and planned activities of that group produced the "Underwater Surveys around the shores of Siraf Port in Bushehr Province". After that, the team surveyed "Bandar-e Rig"(Rig port), Portuguese castles in Siraf port, Southern Shores of the Bushehr Peninsula in the Persian Gulf. The team has worked on sites from "Shushtar’s Band-e Mizan"(Shushtar barrier), "Takht-e Suleiman" Lake, and the Amir Abad and "Zaghmarz" shipwrecks; the "TammÄ«sheh and Gorgān" Underwater Walls, and the "Ghorogh" and "Rudsar" shipwrecks. These projects were published in Persian by a domestic magazine. The team then prepared and distributed a booklet titled of "Iran, Underwater Cultural Heritage and It's Share in Maritime Archeological Studies" for the annual meeting of States Parties of The UNESCO Convention on the Protection of the Underwater Cultural Heritage in 2016. Next, UNESCO and ICHTO held "Training Workshop on Underwater Archaeology with a Focus on the UNESCO 2001 Convention" in Iran. These activities are continuing and we hope for some continued progress in maritime archaeological studies and international cooperation. Creator An entity primarily responsible for making the resource Hossien Tofighian Research Institute of Cultural Heritage & Tourism (RICHT), Iran Ramin Adibi Higher Institute of Marlik University, Iran Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A survey on a petroglyph illustrating a watercraft at the hinterland site of Dehtal Description An account of the resource Dehtal is an important hinterland site, located 170 km away from the shores of the Persian Gulf in Bastak County, Hormozgan province. Dehtal is a petroglyph site possibly dating to the pre-Neolithic, according to various sources of evidence such as stone tools found within the Bastak area and the Dehtal plain. The petroglyphs themselves, however, more likely date to the 3rd millennium BC. According to historical written sources, the Bastak area was located on the road linking the so-called Silk Road to the East Asia-Persian Gulf maritime trade routes. One of these petroglyphs, which is located beside a seasonal river, illustrates a watercraft. The image shows a round-hull, double-ended craft with two masts and a long saturi (bowsprit). A long saturi is a characteristic feature of a “boom” ship. Booms were used for long-distance voyages within Indian Ocean and they are still in use today but now work with engines. Firstly, this article attempts to discern the shipbuilding details of the watercraft depicted in comparison with other ship illustrations as those found in the Maqamat al-Hariri and the vessel depiction uncovered by Whitehouse at Siraf. Secondly, we will discuss Dehtal as a passage from Persian Gulf to so-called Silk Road with a focus on archaeological reports and historical written sources. Creator An entity primarily responsible for making the resource Mina Safah Shadi Kalantar Publisher An entity responsible for making the resource available The Museum of Underwater Archaeology Date A point or period of time associated with an event in the lifecycle of the resource 11/24/2017 Rights Information about rights held in and over the resource Mina Safah Shadi Kalantar Asia-Pac Session 5 2017 https://apconf-much.org/proceedings/files/original/b4f701055fe57ab42712a2cfcae5f19a.pdf 4f75de46e0df9e700df7b591bb621353 PDF Text Text Boat and ship Archaeology in Gilan Province (Iran) Hossien Tofighian Iranian center for archaeological research (ICAR) htofighian@yahoo.com Ramin Adibi Archaeological Maritime Landscape Online Magazine Ramin.adibi2012@gmail.com Abstract Gilan province is one the northern states of Iran which is located in south west of Caspian Sea and has relatively long coastlines. According to historical and geographical location of Gilan, in 2017, Maritime archaeology group of Iranian Center for Archaeological Research (ICAR) decided to do a project as "Archaeology of maritime landscapes of Gilan Province". Main goal of perform this project was identifying immaterial and material of maritime culture across of Gilan province maritime landscape. Our Research area was from "Astara" county to "Rudsar" county in Gilan province. We were surveying about navigation and Boatbuilding in rivers, Lagoon and coastlines of Caspian Sea. For example: in "Estil" Lagoon in Astra county we observed a kind of Simple Watercraft which is more look like to a Dugout canoe. During this project, we observed and investigated about wooden boats with simple construction in different sizes that locals called "lutka/lodka" or "Nodonbal". Nowadays, fishermen use flatbottomed, double-ended vessel (in local dialect called "karaji") that linked to past period. So we were investigating on remains of "Ghorogh" wooden shipwreck in "Talesh" County and wooden shipwreck "Lalehrūd" in "Rudsar" County. We visited Traditional Wooden Boat Factory and interviewed with locals. This article based on desk and field research on traditional and historical boat and ship in each city of Gilan province. Key Words: Caspian Sea, Gilan province, boat and ship. 1. Introduction According to Iran Cultural Heritage, Handicrafts and Tourism Organization (ICHTO) is responsible for Cultural heritage in Iran. Recently, in 2017 Iranian Center for Archaeological Research (ICAR) issued a license titled �as "Archaeological survey of maritime landscapes of "Gilan" Province relying on pervious assessments and some Main principles of Convention on Protection of Underwater Cultural Heritage and identifying potentials in order to do future protection measures. "Hossein Tofighian" is the director of archaeological survey. The main goals of the Project were: 1. In Situ Preservation, as first option. 2. Obey legal protection of archaeological sites. 3. Organizational and archaeological monitoring in order to avoid of material culture for further degradations. 4. Necessary measures about protection of sites. 5. Making Reports and documents of archaeological finds. 6. Support ratification and compliance with the UNESCO 2001 Convention on the Protection of the UCH. 7. Protect underwater cultural heritage for future generations. We used "Christer Westerdahl's approach" - the Maritime cultural Landscape - that published in international journal of nautical archaeology in 1992 for Maritime archaeological surveys in Gilan province. Because his approach, we can get to our holistic understanding about this subject. Our Research area was from "Astara" county to "Rudsar" county in Gilan province. We were surveying about shipwrecks, local maritime culture, navigation and Boatbuilding in rivers, Lagoon and coastlines of Caspian Sea. This article derived from this project and shipwreck as a time capsule and dating instrument mixed with historical report. 2. Maritime Archaeological studies in Caspian Sea Based on Encyclopedia of Lakes and reservoirs: "The Caspian Sea is the largest closed water body in the world. Five states are situated on its banks: Russia, Azerbaijan, Islamic republic of Iran, Kazakhstan, and Turkmenistan. The area of the sea at present equals to 0.4 million km �making 18% of the total area of lakes of the Earth. The volume of water equals to 79,000 km. The maximal extension of the sea from north to south equals to 1,200 km, its width varies from 200 up to 450 km, and the greatest depth equals to 1,025 m. The Caspian Sea accepts water of 130 rivers from the catchment area which is approximately ten times greater than its own one (3.5 million km2) ( Fig. 1). The main feature of the hydrological regime of the Caspian Sea is significant fluctuation of its level which is the reason of significant damages and ecological accidents" (Bolgov, 2012) and This is why various archaeological monuments were inundated by the Caspian Sea water (Okorokov, 1993). Caspian Sea and its coasts have many important aspects such as Strategic, Environmental, social and economic (fisheries, transportation and tourism) factors. In these days, we should have added maritime archaeological significance to the Caspian Sea. Fig. 1: Caspian Sea; (Rucevska and Simonett, 2006) �There are some of historical and considerable reports that mentioned to the Caspian Sea, include: Herodotus (5th cen. BC), Ptolemy (AD 2 cen.), Estakhri (AD 10th cen.), Masʿudi (AD 10th cen.), Al-Idrisi (AD 12th cen.) , Abu Zeyd al-Balkhi (AD 9th cen.), Adam Olearius (1599-167), Jan Janszoon Struys (1630-1694), Captain John Elton(1751), Jonas Hanway (1712-1786), Guillaume-Antoine Olivier (1756-1814), Pierre Amédée Jaubert (1779–1847), James Baillie Fraser (1783-1856), charles ferancis Mackenzie (1788–1862), bohler(1853-?), Grigoriy Valerianovich Melgunov (his travel to southern coast of Caspian sea:1858-1860), Jakob Eduard Polak (1818-1891), Madame Carla Serena (1824-1884), Ernest Orsolle (1858-?), Henry Binder (1886-?), Frederick Charles Richards (1878–1932), Wipert von Blücher (1883- 1963) and etc. (Zonn and et al.,2010; Nikouyeh, 2007). Also, we have many reports from Medieval Islamic travel writers about Relations between "RUS" and Iran on that time when Volga maritime route was open. Some of these writers include: "AlMas‘udi, Ya'qubi, Yaqut al-Hamawi, Gardezi, Al-Muqaddasi, Ibn Rustah, Ibn Khordadbeh, ibn athir al jazari", particularity "Ahmad ibn Fadlan" and current western scientists' researches such as Thorir Jonsson Hraundal are very important for our maritime archaeological researches. Also, in 1870, Naser al-Din Shah Qajar in "Ruznameh-ye safar-e Gilan" mentioned a list of many different types of watercrafts which are located in southern of Caspian sea called: "karaji"(a kind of barge), "Navid"(kind of watercraft),"ka(e)šti ātaši"(a kind of Steamboat), "Nāv"(a kind of cruiser), "ka(e)šti bozorg tojjāri"(a kind of Merchant vessel), "ka(e)šti muzik"(Musical watercraft), "ka(e)šti boxār bozorg v kuča(e)k" (Big and small Steamboat ), "Qāyeq lotke/Lodka"(a kind of Russian boat), "ka(e)šti dudi"(a kind of Steamboat) and so on. �Maritime Archaeological researches on coastal and marine regions of the southern part of the Caspian Sea do not date back to long ago. For example, a couple of them are as follow: In the early eighteenth century, several Russian scholars wrote their observations of stone structures in the coast of Baku. In 1840, an attempt to locate the submerged town was undertaken. It did not succeed, although two Russian naval brigs took part. In 1933, the Azerbaijan Academy of Sciences conducted underwater investigations in the area by "I. M. Djiafar-Zade" and "E. A. Pakhomov". Totally, 636 frieze fragments with tile decorations were raised and their inscriptions deciphered. In 1961, the Leningrad Branch of the Institute of Archaeology headed by L. N. Gumilyov started exploration of the underwater part of "Derbent" Fortress. The expedition examined about 300 m of the fortress wall underwater. These investigations confirmed the abrupt variations of the Caspian Sea-level (Okorokov,1993). According to "Viktor Kvachidze" says: "in 1968, I had the idea to create an underwater archaeological expedition in conjunction with the Azerbaijani History Museum and the first dive was organized in 1969" (Kvachidze, 2006). The expedition lifted a lot of very valuable material culture from the seabed some of them included: The remains of settlements of "Bandovan I" and "Bandovan II", swallowed by the Caspian Sea. They were found in ancient channels and on the bank of the Kura River. Bandovan I, is ruins of "Gushtaspi" city, which existed in the 11th-13th centuries, and "Bandovan II" is ruins of "Mugan" city (9th12th centuries), too (Ibrahimov, 2016). In 1982, underwater specialists examined a ship which sank with the Russian Army treasury in the Bay of Baku at the beginning of the 19th century (Okorokov, 1993). In 2000, a fishing company observed the wrecked body of an old ship and some objects such as samovars, porcelains and some hardware artifacts obtained from there. Objects obtained from the shipwreck of "Amir Abad �of Lahijan" confirmed the issue that the vessel had been a “cargo ship”. These retrieved artifacts from the vessel were made in Russia include porcelains made in "Kuznetsov Factory" (Mirsalehi, 2001). In 2003, it was reported a shipwreck appeared in the north of "Zaghmarz" Village in 17 Km away from the north of "Neka" Town (Sourtchi, 2004). In 2006,"Zhenya Anichenko" published a report of her short research trip to Azerbaijan. She wrote reasons of this short scientific trip: collecting additional data about "Sababyil" submerged Castle based on writings of middle-age historians, investigating submerged lands, Caspian Sea archeological potentials and the history of this region (Anichenko, 2006). Between 2007 and 2009, Julian Jansen Van Rensburg et al, investigated "Tammīsheh" and "Gorgān" Underwater Walls (Rensburg and et al, 2013). In 2013, the recording form of "Ghorogh" shipwreck on Talesh coastlines prepared and submitted to Cultural Heritage Administration of Gilan Province. In 2016, remains of wooden ship appeared to seem that belong to the Afsharid Era, has recently explored on "Rudsar" coasts in "Gilan" Province (Alizadeh, 2015) (Fig 2). In 2016, the divers of the Russian Geographical Society’s (RGS) expedition found an object, which looked like an anchor in the Caspian Sea near the coast of Derbent. Presumably, it belongs to one of the ships flotilla of the Peter the Great, the press-secretary of the Tatarstan branch of the Russian Geographical Society "Irina Sadykova" says (RIA Dagestan, 2016). �Fig. 2 (left): Maritime archaeological researches around the Caspian Sea (Authors,2017) 3. Study area Gilan is one of the Circum-Caspian Iranian provinces (Ostan). This province is situated on north of Iran and located in southwestern shore of the Caspian Sea. Gilan has about 14044 kilometers extent area and population – 2.4 million people with 16 Counties (in Persian: Shahrestan). Gilan connects to the Caspian Sea in north, to the Mazandaran Province in east, to the Ardabil Province in west, to the Zanjan and Qazvin Provinces in south. It also has borders with the Republic of Azerbaijan in the north as well as Russia via the Caspian Sea. The main city is Rasht and The main river is the "Sefid Rud" (Zonn and et al.,2010) (Fig 3). It has the best type of weather and climate in Iran with a moderate and humid climate that is known as the moderate Caspian climate. The effective �factors on such climate include the Alborz mountain range, direction of the mountains, the height of the area, and the Caspian Sea, vegetation surface, local winds, as well as the altitude and weather fronts (Kazemi Rad and Mohammadi, 2015). Our Research area was from "Astara" county to "Rudsar" county in "Gilan" province. We were surveying about local maritime culture, navigation and Boatbuilding in rivers, Lagoon and coastlines of Caspian Sea. Fig. 3: Location of "Gilan" Province. A: "ASTARA"; H: "HAŠTPAR" (Ṭāleš ); BA: "BANDAR-E ANZALĪ"; Lh: "LĀHIJĀN"; Lr: "LANGARUD"; Rs: "RUDSAR" (Authors,2017) 3.1 ASTARA In 1843, "Keith Edward Abbott" mentioned: "Astara" as "dehkade dahne kenār" which is situated in the mouth of the "Astara River". Also, Astara hasn't any harbor and cargo of ships were unloaded via boat nearby Astara water (Sotuda, 1995). There are many subjects about maritime archaeological and ethnographical studies in Astara. One of them is "Estil Lagoon". We observed a kind of Simple Watercraft which is more look like �to a Dugout canoe (Logboat) around the Lagoon (in local dialect called "Lodka"), Also, traces of axe observed on hull's Dugout canoe (Fig4). Undoubtedly, dugout canoe is one of the oldest vessels (Okorokov, 1995). According to Sean McGrail (2004): “Dugout canoe are shell-built". The technique of Dugout canoe building as: "The trunk of a heavy tree was carved out with a crude stone knife or axe: the men would then plug up both ends of the hollow trunk with some form of boarding" (Agius, 2008:123). The use of this boat building technique, dated back to Mesolithic (McGrail, 2001:11). It should be noted that boats are first known among settled peoples-farmers and fishermen. Hunters seem to have confined their water transport to occasional ‘vessels’, such as tree trunks, and primitive rafts. To have confined their water transport to occasional ‘vessels’, such as tree trunks, and primitive rafts. Many such these Dugout canoe observed and recorded in Russia, Ukraine and Latvia (See, Okorokov, 1995; Burov, 1996). During our investigation in study area, we observed and recorded plank boats with simple construction in different sizes that locals called "lutka/lodka" or "Nodonbal" or "Karaji". �Fig. 4: A. Esteel lagoon Map. (Gharibkhany,2009); B. Estil Lagoon Dugout canoe. (Authours); C. Small Canoe. ( Holmes, 1845) 3.2 HAŠTPAR (or Šahr-e Ṭāleš “Ṭāleš City”) A city in the western part of "Gilān" Province, center of the "šahrestān" (sub-provincial district) of "Ṭāleš" (or Tāleš). The city is located at lat 37°48′ N, long 48°55′ E, at the head of the delta of the "Kargānrud" River (Bazin, n.d.). Natural dynamic of "Talesh" coast area has caused “unstable conditions” in this region during different periods. Hence, “several water level fluctuations” in the Caspian Sea has led to “emerging or submerging of the neighbor lands."Kargan-Rud" constitutes the biggest Caspian Sea water basin in Western Gilan. It should be noted that there is considerable wooden shipwreck in Ghorugh Village of Talesh County. Here is the exact location of this vessel, according to geographic coordinate system. It is located on the latitude of 37°51´20.88"N and longitude of 48°57´27.77" E with the elevation of -28 below the sea surface. The shipwreck is accessible through "Anzali-Talesh-Astara" road. In this area, the forest is closer to the shoreline, as if the sea and �the forest are intertwined. At the present, only some parts of the vessel’s keel and hull are remained. it is more than 28 meters long and about 6 meters wide. It is not clear yet what method used for construction of Ghorogh's hull. However, according to observations, a complex method, strong timbers and wooden pieces used to construct this vessel. Also, long and robust metal nails were used to fasten the wooden elements. The ship’s file is prepared for national registration. It is probable this vessel played an important role in wood trade during the Qajar era between Iran and Russia. In 1880, "Aḥmad Ibn-x̮udāwirdī Lankarānī" in "Ax̮bārnāma"; tārix-i Tālišān az salṭanat-i Nādir Šāh tā salṭanat-i Muḥammad Šāh Qāǧār" said: "There was a naval warfare between Iranian Navy and Stepan Razin". Also he mentioned: "There were some exchanges cargo such as Timbers and Cereals from Gilan to Russia". Also, we were investigating on remains of "Ghorogh" wooden shipwreck in Talesh County by helishot and Details of shipwreck were mapping (Fig 5.). In these days, Fishermen use flat-bottomed double-ended vessels (in local dialect called "karaji") in this area linked to past period. Those watercrafts look like flat-bottomed double-ended vessels were using in 18 and 19 centuries. �Fig. 5 (left): Photo and drawing of "Ghorogh" shipwreck. (Authors, 2017) 3.3 Anazali A city and sea port as well as an Iranian naval base on the Caspian Sea in Gilan Province (Zonn and et al., 2010). After the 1979 Iranian revolution, the name of the place reverted to its original name of "Anzali". In 1860, "Grigoriy Valerianovich Melgunov" reports: "The Melgunov party aboard the "Lankoran/ Lankara" arrived off Anzali at half past the hour of eleven in the morning on October 7, 1860. The “famed tower” of Anzali was in plain view. The breeze did not permit the ship to draw any closer and so the ship dropped anchor at some distance from the shore. The local karaji came out competing among themselves to reach the ship, hoping to sell their goods to the passengers and crew and provide transportation back to shore. As it turned out, on that day, only two passengers were due to disembark at Anzali, and there was no cargo to land. Even though it was called a “town,” Melgunov observed, Anzali consisted of two villages, one at each side of the straits that separated the sea from the lagoon. Tiny sea shells, reeds, and shifting sand bars marked the southern approaches �to Anzali. On each side of the straits stood a tower set in about a mile from the water’s edge. The tower on the west or northern part of Anzali stood some 94 feet tall and the smoke from its signal could be seen as far east as "Piri Bazar". Anzali itself consisted of some 200 houses and 160 shops, 2 bathhouses, 3 mosques, and 3 shrines. Each house boasted a garden often bearing citrus trees. In the southern part of the lagoon lay "Miyanposhteh" Island, mostly covered in reeds. The inhabitants wove straw goods, grew silk and melons, and drove "karajis". The ships from Baku and Astrakhan, chiefly carrying consignments of coal and petroleum, would anchor offshore opposite the Russian trading houses, as Anzali itself did not have much of an anchorage. Melgunov observed that Anzali had the Caspian’s worst harbor; its bottom was rocky and storms arose in its vicinity without much warning. Steamers were prohibited from approaching the shore and were obliged to anchor some three miles off. The trade of Gilan, including Rasht and Anzali, according to Melgunov, consisted chiefly of silk and fisheries. The silk, in particular, was exported to such destinations as Constantinople in Turkey, Marseilles in France, and Russia. Among the foreign trading houses active in Gilan at the time were Riley and Company, which dealt in silk; the House of Diner, belonging to a Swiss entrepreneur; and the Kavkaz and Mercury Steam Navigation Company (Mirfendereski, 2001). During archaeological survey around the Anazli, we observed a few Shipbuilding factories where they are still building wooden fishing vessels in different size for navigating �in the sea and river (Fig 6). It should be noted that, today, a number of such these factories were decreased than previous periods. Fig. 6: Small Shipbuilding factory. (Authors, 2017) 3.4 Lahijan A city in the province of Gilān, located at 37°12′ N, long 50°0′ E, to the east of the lower reaches of Safidrud at an altitude of 4 m. (Bromberger, 2012). Around the coastline of Amirabad village in Lahijan that connect to Caspian Sea found the remains of wooden shipwreck. According to artifact recovered confirms the vessel has used as a cargo ship. The objects recovered from the vessel are mainly made in Russia and include some porcelain objects made by Kuznetsov Factory (Fig 7) (Mirsalehi, 1380). the porcelain factory took its name from the merchant and founder Terenti Kuznetsov. He established the factory in 1832 in Dulyovo [present Likin-Dulyovo]. Soon after, the factory’s �products became very popular and products exclusively produced since that time, they were known as “Imperial Porcelain Factory” in Russia. Kuznetsov porcelain designed and produced based on Eastern and Western tastes; so it had many customers. The factory had a wide range of products. For example, it produced 150 different types of lunch, tea and coffee sets and about 370 types of cups and various types of teaspoons, butter dishes, fruit dishes, sugar bowl, ashtrays, candlesticks, money boxes and other products (Torchinsky, 2010). The ship’s cargo recovered in 2001 and part of the cargo is currently displayed on Lahijan Anthropology Museum. Fig. 7: The cargo and hull of the Amirabad shipwreck. (Mirsalehi,2000) 3.5 Langarud A city and sub-provincial district (šahrestān) in Gilān located at lat 37°11′ N, long 50°09′ E on the Langarud River, which cuts through the city. From 1611 to 1899, Anthony Jenkinson and other Englishmen report: “Langroe (Langerud) is situate in low, swampy ground, and at the time of Gmelin's �visit, was in a ruined state; nothing but a few reed hovels were to be seen, and a half -ruined bridge and a masque. It was near here that the remains of the ship built by John Elton for Nadir Shah were to be seen. — Holmes' Sketches on the Shoi'es of the Caspian. (Jenkinson et al.,n.d ). "(t)he city owes its fame to the commercial and administrative functions it has performed throughout history. Located in the heart of a region that produces rice and silk, with the nearby quarter of Čamḵāla functioning as its commercial port, Langarud witnessed strong growth late in the 19th and early in 20th century when Iran’s trade with Russia and Europe was flourishing (Fig 8)(Bazin and Bromberger n.d). Chaf and Chamkhaleh is a city in the Central District of Langarud County, in Gilan Province northwest of Iran. The city is located on the Caspian Sea. In this area, we visited a Traditional Wooden Boatbuilding Factory, which they are building in different sizes that locals called "lutka/lodka" or "Nodonbal"(Fig 9). Fig. 8 (left): River landscape of Langarud. ( Holmes, 1845) and Fig 9. Traditional Wooden Boat Factory in Chaf and Chamkhaleh (Authours, 2017) �3.6 Rudsar A city and sub-provincial district (šahrestān) in eastern Gilān. The city is located at lat 37°08′ N, long 50°18′ E, at the place where the Caspian coastal highway crosses the small river Rudsar or Kiārud, 14 km southwest of Langarud (Bazin, n.d.). River "Shalman Rud" passed through Rudsar and flows into the Caspian Sea. Around the river where "Lalehrūd or Allah Rūd" village is suited; there are remains of a grounded wooden shipwreck. It is very significant for archaeological research. There are some clues in historical accounts on this matter, for example: "Jonas Hanway" reports as titled "an historical account of the British trade over the Caspian Sea": "Elton with locals built many warships for Nader Shah in a place that called "Langroud". It should be noted that the site of shipwreck is near to this location. Maybe this shipwreck belongs to Afsharid Era? Also, we were investigating on remains wooden shipwreck's Lalehrūd Rud in Rudsar County. Group members were recording all details' shipwreck in a special recording form (Fig. 10). We got some wooden samples from shipwrecks for dendrochronological studies. In relation to this matter, we are staying in touch with international scientists. �Fig 10. Rudsar shipwreck. (Authours,2017) 4 Conclusion Unfortunately, over several Decades of forming maritime archaeological studies in the world in this area of Iran is intact and need more maritime archaeological survey. In the nascent stage of maritime archaeological survey in Gilan province, we tried to identify maritime archaeological potentials and some historical accounts that mentioned to maritime spaces of Gilan province. It should be noted that in this paper we tried to mix historical accounts with archaeological records to clarify dating maritime culture heritage, but there are many hypotheses about seafaring in this area based on archaeological records. According to historical accounts, it is clear to us, there were seafaring activities in the Caspian Sea region since AD 9th century contemporary with Opening "Volga maritime trade" route until today. Also, it is noticed that, different kinds of watercrafts from shell-built to skeleton-built were used in this area. �Unresolved hypotheses of this issue move forward us to use of Multidisciplinary Studies and international contacts. References Agius, D. A. (2008). Classic ships of Islam from Mesopotmia to the Indian Ocean.berlin: LEIDEN. Boston. Alizadeh, R. (2015). The wreck of a Russian ship was explored in Rudsar. Retrived from Mehr News Agencey, 2015. News number: 2953226. Anichenkoa, Zh. (2006). Underwater Archaeology in the Caspian: Past, Present and Hopefully Future. 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Ax̮bārnāma : tārix̮-i Tālišān az salṭanati Nādir Šāh tā salṭanat-i Muḥammad Šāh Qāǧār. Editor: Hossein Ahmadi, Center for International Research and Education of the Ministry of Foreign Affairs, Tehran, 2004. McGrail, S.( 2004). Boats of the World: From the Stone Age to Medieval Times. Oxford: Oxford University Press. �Mirfendereski, G. (2001). A Diplomatic History of the Caspian Sea: Treaties, Diaries and Other Stories. New York: PALGRAVE. Mirsalehi, M. (2001). Reports of the shipwreck off the coast of Amirabad. Rasht: Cultural Heritage, Handicrafts and Tourism Organization of Gilan Province. Unpublished. Nikouyeh, Mohmoud, the guilan at the travelogues of foreigner exploration. Rasht: Farhang Elia. Okorokov, A. V. (1995), Archaeological finds of ancient dugouts in Russia and the Ukraine. International Journal of Nautical Archaeology, 24: 33– 45. doi:10.1111/j.1095-9270.1995.tb00709.x Okorokov, A.V. 1993. Development of underwater archaeological investigations in Russia and the former Soviet Union. The International Journal of Nautical Archaeology, 22(3), pp. 270-269. Qajar, Naser al-Din Shah (1831-1896). Ruznameh-ye safar-e Gilan. Emendation and annotation: Manouchehr Sotodeh, Jahangiri art and cultural institution, gilan, 1988. Rensburg, J. v., Caputo, F., Omrani Rekavandi, H., Sauer, W. E., Shabani, B., & Ratcliffe, J. (2013). The Underwater Survey of the TAMMĪSHEH and Gorgān Walls. Oxbow. British Institute of Persian Studies Monograph, 425. Riadagestan. (2016, September 29 ). Anchor of sunken ships flotilla found in the Caspian Sea. Retrieved from REPUBLICAN INFORMATION AGENCY Dagestan: http://www.riadagestan.com/news_en/society/anchor_of_sunken_ships_ flotilla_found_in_the_caspian_sea_/ Rucevska, I., & Simonett, O. (2006). Vital Caspian Graphics 2 : Opportunities, Aspirations and Challenges. Zoï Environment/GRIDArendal. Sotuda , Manučeher,(1995). Az Āstārā tā Estārbād I: āṯār wa banāhā-ye tāriḵi-e Gilān Biapas, Tehran: publication of Ministry of Culture and Islamic Guidance. �Sourtchi, Saman. (2004). Archaeological studies on the ship aground on the coast of the Caspian Sea. Sari-Mazandaran: Archives Cultural Heritage and Tourism Organization of Mazandaran Province. Torchinsky, O. (2010). Kuznetsov's "Porcelain Empire". Retrieved 14 Agust, 2015, from lastochka-fromrussiawithlove: http://lastochkafromrussiawithlove.blogspot.com/2010/01/kuznetsovs-porcelainempire.html Westerdahl, C. (1992), The maritime cultural landscape. International Journal of Nautical Archaeology, 21: 5–14. doi:10.1111/j.10959270.1992.tb00336.x Zonn , I. S., Kostianoy, A. G., Kosarev, A. N. & Glantz, M. H., 2010. The Caspian Sea Encyclopedia. Berlin : Springer-Verlag Berlin Heidelberg. Biographies Hossein Tofighian Ph.D. is a member of faculty and assistant professor of Research Institute of Cultural Heritage & Tourism (RICHT). His field of study is about Sassanid period around Persian Gulf. He has been working on maritime archaeological studies in Iran particularly underwater cultural heritage of Persian Gulf for 15 years. Ramin Adibi M.A. has a M.A. in archaeology and a member of 'PADI', focused on Caspian Sea as "maritime archaeological studies", especially about Maritime Cultural Landscape of Caspian Sea. Runs a magazine called "Archaeology of Maritime Landscape". � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2017 Session 5: Iran's Maritime Cultural Landscape Description An account of the resource The country of Iran benefits from having a long coastline. Sea spaces and coastlines were attractive settlements for humans throughout history. These extensive maritime landscapes have resulted in interactions between human and sea along the northern (Caspian Sea) and southern (Persian Gulf and Sea of Oman) coastlines of Iran. Iran’s rivers and lakes contain a great deal of evidence of human habitation and interaction. Due to the country’s long history of maritime culture, we can also observe sea effects on coastal communities in Iran. Maritime archaeological studies in Iran, however, are at a nascent stage. In the 1990’s, a small group of archaeologists from the Iranian Center for Archaeological Research (ICAR) investigated in the north of Persian Gulf to decode its unknown history. In 2000, the first coherent and planned activities of that group produced the "Underwater Surveys around the shores of Siraf Port in Bushehr Province". After that, the team surveyed "Bandar-e Rig"(Rig port), Portuguese castles in Siraf port, Southern Shores of the Bushehr Peninsula in the Persian Gulf. The team has worked on sites from "Shushtar’s Band-e Mizan"(Shushtar barrier), "Takht-e Suleiman" Lake, and the Amir Abad and "Zaghmarz" shipwrecks; the "TammÄ«sheh and Gorgān" Underwater Walls, and the "Ghorogh" and "Rudsar" shipwrecks. These projects were published in Persian by a domestic magazine. The team then prepared and distributed a booklet titled of "Iran, Underwater Cultural Heritage and It's Share in Maritime Archeological Studies" for the annual meeting of States Parties of The UNESCO Convention on the Protection of the Underwater Cultural Heritage in 2016. Next, UNESCO and ICHTO held "Training Workshop on Underwater Archaeology with a Focus on the UNESCO 2001 Convention" in Iran. These activities are continuing and we hope for some continued progress in maritime archaeological studies and international cooperation. Creator An entity primarily responsible for making the resource Hossien Tofighian Research Institute of Cultural Heritage & Tourism (RICHT), Iran Ramin Adibi Higher Institute of Marlik University, Iran Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Boat and ship Archaeology in Gilan Province (Iran) Description An account of the resource Gilan province is one the northern states of Iran which is located in south west of Caspian Sea and has relatively long coastlines. According to historical and geographical location of Gilan, in 2017, Maritime archaeology group of Iranian Center for Archaeological Research (ICAR) decided to do a project as "Archaeology of maritime landscapes of Gilan Province". Main goal of perform this project was identifying immaterial and material of maritime culture across of Gilan province maritime landscape. Our Research area was from "Astara" county to "Rudsar" county in Gilan province. We were surveying about navigation and Boatbuilding in rivers, Lagoon and coastlines of Caspian Sea. For example: in "Estil" Lagoon in Astra county we observed a kind of Simple Watercraft which is more look like to a Dugout canoe. During this project, we observed and investigated about wooden boats with simple construction in different sizes that locals called "lutka/lodka" or "Nodonbal". Nowadays, fishermen use flatbottomed, double-ended vessel (in local dialect called "karaji") that linked to past period. So we were investigating on remains of "Ghorogh" wooden shipwreck in "Talesh" County and wooden shipwreck "LalehrÅ«d" in "Rudsar" County. We visited Traditional Wooden Boat Factory and interviewed with locals. This article based on desk and field research on traditional and historical boat and ship in each city of Gilan province. Creator An entity primarily responsible for making the resource Hossien Tofighian Ramin Adibi Publisher An entity responsible for making the resource available The Museum of Underwater Archaeology Date A point or period of time associated with an event in the lifecycle of the resource 11/24/2017 Rights Information about rights held in and over the resource Hossien Tofighian Ramin Adibi Asia-Pac Session 5 2017 https://apconf-much.org/proceedings/files/original/0360e971ac74b77dcc466348b9e4824f.pdf c15fdc94be37a269470b756649233bc8 PDF Text Text Forgotten Past? Alternative Forms for Museological Approach to interpret Egypt's Maritime Heritage Nevine Nizar Zakaria Abstract In the past decades, Ministry of Antiquities (MA) has invested many efforts in excavating underwater archeological sites, and mapping them to reveal the navigation routes during ancient times. Remarkable discoveries have been made by the European Institute of Underwater Archeology (IEASM) as well as others archeological projects on Egypt's coasts. Despite this wealth of Egypt's maritime history and intellectual resources, it lacks a Maritime Museum till present or even an exhibition gallery dedicated to elucidate maritime' legacies to the local community. It also lacks a special legal placement for Maritime cultural heritage with scientific management principles oriented towards interconnects the society, local governing authorities and museums professionals with cultural purposes to promote and preserve Maritime History of Egypt. Maximizing awareness is the key element to preserve and publish the Maritime Heritage. So, How to make it accessible to the public? How to foster this richness past in the minds of young generations? This paper presents approachable alternative forms to ensure effective engagement with the public and develop new strategies for sustainable future of Egypt's UCH. Key words: Egypt, UCH, public engagement Introduction Maritime history of Egypt dates back to thousands of years where Egypt was at the center of the global commerce and at the axis of trade routes linking Asia, Europe, and Africa. It's blessed with a rich maritime history and diversity of underwater archeology holds the memories of our nation's past and the legacy of Egypt's history that still preserved beneath the sea. Hence, this paper is rooted in several interconnected purposes and concerns contribute to developing understanding of maritime Egypt which is crucial for preserving and promoting the tangible and intangible of �maritime cultural of Egypt as living heritage. The central aim of this paper is to propose new alternative approaches to go beyond to raise interest among the public with maritime cultural, and foster the involvement of local community in an awareness-raising process lead to major endearment towards shaping the national identity of Egypt maritime. The framework is consisting of three main sections 1) elucidate the historical value and cultural significance of Egypt maritime; 2) define how maritime cultural interpreted in the Egyptian antiquities museums; 3) setting up new effective solutions for imparting knowledge and information of Egypt's maritime and encourage interaction and engagement among the public. 1) The Cultural Setting The cultural setting of maritime Egypt is commitment to two main factors; a) maritime material cultural that's derived from the human interaction with the seas, Nile river, lakes, etc (which is known today as maritime archeology); b) underwater archeology that is relate to the archeological sites submerged beneath the water in old times (Bass, 2013), taken into consideration that most of Egypt' underwater archeological sites of the Mediterranean Sea were originally maritime sites ( served as trading ports) before disappearance in the waters due to seismic factors and geological subsidence (Stanley, et al., 2007). A) Cultural significance of Maritime Egypt 'When the Nile covers the land, only the towns are visible above the water, and they look like nothing so much as the Aegean islands. The rest of Egypt becomes open sea, with only the towns rising up out of it'. (Herodotus II.97). On the geography of the country, the Greek historian Herodotus (c. 484425 BC) called Egypt 'the gift of the Nile' (Herodotus, 1998). Egypt's �landscape is determined by the presence of the Nile River, the largest river in the world, stretching from Africa to the Mediterranean Sea, and unquestionably most important element for the geography of both ancient and modern Egypt (Rice, 2003, Shaw and Nicholson, 1995). In addition to the riverine environment of Egypt, it has a special geographical location overlooking the Mediterranean Sea by the north and Red Sea by the east. With this unique nature, Egypt is considered in its role as seafaring nation influencing and interaction with others through well-established shipbuilding technology that permitted the Egyptians to sail round-trip journeys as early as ancient times. (Ward, 2012). The wealth of maritime Egypt materials (textual, iconographic, and archeological) comes from the ancient Egyptian cultural, which is called 'Pharaonic Egypt' [ Fig. 1] with many historical and archeological evidences provide significance data on the ancient Egyptian maritime activities and tasks; diversity of ships and boats representations, seafaring, sea power and naval forces operations, nautical expeditions, shipbuilding technology, models of boats left in tombs, full-size boats buried in the ground, mariners with their nautical titles, nautical themes within religious practices and much more meaningful resources reveals to what extent and variety the maritime influences on all levels of the ancient Egyptian civilization and penetrated in every aspect of its culture. �Fig. 1: Chronological Periods of Egypt. An asterisk (*) used to refers the periods mentioned in text. This has been formulated with references to: Shaw. G. J., The Pharaoh. Life on court and on Campain, London, 2012. Shaw, I., the Oxford History of Ancient Egypt, Oxford, 2000. The petri Museum's Digital Egypt for Universities: http://www.ucl.ac.uk/museums-static/digitalegypt/chronology/index.html accessed on 10th of July 2017 �It is worth mentioning that Egypt maritime had direct impact on the formation of the Egyptian state in Pharaonic times, as the earliest kings used maritime forces not only to facilitate communication and trade within Egypt and its neighbors, but also to conquer their enemies, threaten their rivals, and to consolidate their power (Gilbert, 2008). Egypt's shipbuilding technology was well-developed by late Naqadah II period (Vinson, 2009) indicate considerable navigation linked Egypt with Asia to the east and Sudan to the south. Great innovation in nautical technology was promoted by Predynastic period, in which Egyptian kings sent mining expeditions involving maritime forces along the Nile and cross the Red Sea to the south of Sinai (Gilbert, 2008). [Fig. 2] Fig. 2: Major trade routes used by Egyptian seafarers for mining and trade missions cross the Nile and the Red Sea's coastline during the Early Dynastic and Old Kingdom periods. (Gilbert, 2008) The seafaring activities is documented since old Kingdom and continued throughout ancient Egyptian History referring to maritime Egypt contact with the Late Bronze Age civilizations of the Eastern Mediterranean and �Aegean (Vinson, 2009). The Egyptians seafarers used both the Red and the Mediterranean seas for military expeditions to protect Sea Power ashore, as well as tribute and trade expeditions to obtain valuable products (Gilbert, 2008). [Fig. 2] Broad seagoing ships are seen in Queen Hatshepsut's expedition to Punt (probably the Horn of Africa) [Fig 3] provides clear evidences of seagoing ships arriving at Punt through the Red Sea. (Ward, 2012, Vinson, 1994, Landström, 1970). Fig. 3: Queen Hatshepsut's expedition to Punt commemorated in reliefs on her Funerary temple at Deir el Bahri, it is portray eight seagoing ships arriving at Punt loading with products. (Vinson, 1994) Close relationship between both Egyptian and Greek Civilizations initiated in the Saite period through maritime trade cross the Mediterranean Sea admitted Greek and Phoenician traders into Egypt (Goddio. and MassonBerghoff, 2016) up to the trading point of Naukratis at the east Delta. (Vinson, 2009) [Fig. 4] .After Alexander death 332 BC, the New city of Alexandria turned into one of the most important commercial port and �cultural centers of the Hellenistic Mediterranean (Vinson, 2009, Vinson, 1994). Fig. 4: Map of Egypt and the Eastern Mediterranean illustrate the Greek cities and Island involved in the foundation of Naukratis according to Herodotus. (Goddio and Masson-Berghoff. 2016) The eastern trade was facilitated by the construction of a canal linking the Nile to the Red sea. subsequently, an open-water trade route between Egypt and India has been established by the Roman period "the Red SeaIndian Ocean route" turning Egypt into nexus of a far-flung international maritime system that tied the Mediterranean to distant ports in East Africa, Arabia, and India (Vinson, 2009, Meyer, 1992). (A) Underwater Heritage Beyond the evidences offered by the representations and epigraphy of ancient Egypt maritime, enormous numbers of archeological remains �submerged beneath the waters of the Mediterranean Sea and Red Sea, contribute information on new archeological sites with all its harbours, temples and towns that still preserved under the sea. In addition to large number of shipwrecks that's still lie on the seabed of both Mediterranean Sea and Red Seas. Hence, Egypt's Underwater cultural Heritage (UCH) have been stepped in the beginning of the twentieth century with individual amateur efforts reflect the growing interest in Egypt's underwater archeology especially in Alexandria (Khalil and Moustafa 2002). In late 1996, the foundation of the Department for Underwater Antiquities (DUA) supervised by Ministry of Antiquities (MoA) to survey and carry out topographical study for the submerged landscape in collaboration with international institutions (Abdel-Maguid, 2012). This has been resulted in the discovery of many new underwater archeological sites in the Mediterranean Sea, the Red Sea, the Nile, and Lake Qarun, spans the history of different periods including the Pharaonic, Hellenistic, Roman, Byzantine and Islamic periods (Abdel-Maguid, 2012, Khalil and Moustafa 2002 ). Major efforts are promoted by the Institut European d’Archeologie SousMarine (IEASM) in co-operation with MoA to allocate, identify and excavate the major ancient sites that vanished into the Mediterranean, specifically in the Eastern Harbours of Alexandria. It led to the rediscovery of two ancient sunken cities; Thonis-Heracleion and Canopus. (Goddio and Masson-Berghoff, 2016). Excavations uncovered monumental building, heads of Pharaohs, sphinxes, basins, columns, stelae, sizable assemblage of pottery and coins, and other significant colossal artifacts (Goddio and Masson-Berghoff, 2016, Goddio, 2007). �Archeological remains submerged in Red Sea indicate the wealth of UCH of the Red Sea with considerable efforts invested by the Institute of Nautical Archaeology (INA-Egypt) and In Situ Institute working alongside with DUA to revealing and surveying Red Sea underwater heritage (Abdel-Maguid, 2012). 2) Define and assess the presentation of maritime materials in the Egyptian Antiquities Museums This approach is largely depends on How maritime Egypt exists within the narrative structure and communication styles of the Egyptian Antiquities museums? And how the social interaction formulation exists both within and beyond the museums walls? In fact, the answers to these questions have direct impact on the content, context and consequences of interpreting maritime heritage of Egypt. Accordingly, we need first to examine the current museums setup that provides any context relate to maritime aspects of Egypt and obtain baseline information upon which we could define the missing aspects, subsequently generate creative solutions to messages communication and interpretation for the maritime heritage of Egypt. Egypt has different types of museums, ranging in size and activity from main national museums to small provincial museums. They vary too in their purpose, their collections, the ways of display, and the public they seek to serve. According to the programme set by the Ministry of Cultural and the Supreme Council of Antiquities (later MoA) in 2005, the Egyptian museums subdivided into five main categories; (1) Regional civilization museums (2) Site museums (3) Specialized museums (4) Graeco-roman, Coptic and Islamic museums (5) Main national museums (Hawass, 2005). �However, this classification did not support the national identity of the Egyptian heritage. Doyon classify the full range of Egyptian museums by subject- type using the five basic distinction of archeology (from prehistoric to Islamic), history, art, ethnography, and natural history (Doyon, 2008). Compared with the classification and types of museums that are seen nowadays around the world, there is a specific type for maritime history and nautical activities specialized in displaying ships, navies, military use of the sea and all that is related to any human activity at the sea. (Bass, 2013, Neill and Krohn, 1991). In this view, and despite the wealth of Egypt's maritime history and the massively intellectual resources, it lacks that type of maritime museum or even a comprehensive gallery disseminates the cultural identity of Egypt maritime and its legacies to the local community with well-constructed interpretive model. Although that a wide range of archeological objects of ships, boats, and other related materials can be seen broadly in many galleries at the Egyptian museums, but the composition of the archeological displays does not elucidate the maritime heritage of Egypt at any level or reflect the historical and geographical significance of the Egyptian civilization that rely heavily on the development of the maritime and the utilization of the sea power (see Gilbert, 2008). In researching the presentation of permanent displays for boats and ships among the Egyptian museums, two main museums become evident. One is Solar Boat Museum (Cheops) at Giza that displaying full-size vessel from ancient Egypt used for religious purposes. The other is that the local regional museum of Suez; the Suez National Museum which tells the �history of Suez Canal at ancient times, and displaying a round 1500 archeological artifacts span the full order of Egyptian history from prehistoric period till modern times with themes highlight on the Suez as an important port and navigational link at ancient Egypt, in addition to remarkable collection for boats accompanied with with maps and illustrations. Both museums are classified as Archeological museums (Doyon), and the thematic archeological exhibits are avoiding constructing narrative that would inform the public about the existence of distinctive maritime cultural in Egypt, moreover they have yet to produce any educational programmes communicate the maritime pasts to the public. Hence, it should be mentioning that, there is a series of exquisite touring exhibitions for Egypt's sunken treasures occurred throughout the last decade till present on loans to different destinations; France, United Kingdom, Spain, Italy, Switzerland, United states of America, Japan, presenting objects of underwater excavations of IESAM in collaboration with MoA (Goddio and Masson-Berghoff. 2016, Goddio and Clauss 2004). A variety of remarkable collections ranging between 250-500 underwater objects on displays in diverse venues all over the world attracting millions of visitors with focused scope on the lost world of the pharaohs beneath the sea and the relevant aspects of maritime Egypt. A good example is the Sunken Cities Exhibition at the British Museum in 2016. The Exhibition's narrative aimed to explain the encounter between ancient Egypt and Greek with understanding of the deep and meaningful interconnection between both Greek and Egyptian Communities through many themes highlighting on the cultural integration between Egypt and Greek world through the Sea, religion aspects interaction, trade and exchange cross the open water of Mediterranean Sea, Thonis- Heraclean �and Naukratis as international ports, long history entanglement between Egypt and Rome, Navigation of Osiris boats (Goddio and MassonBerghoff. 2016). The narrative is conveyed through a variety of explanation materials help communicate the information to the audience. In comparison with the local underwater venues of Egypt, there are number of permanent exhibitions in Alexandria' museums dedicated to display the recent excavations of underwater archeology, but without constructive narrative for neither Egypt maritime, nor intended messages rendering cultural/historical interpretation for the displayed objects. The concept is focusing only on presenting the recovered objects from the Eastern Harbour of Alexandria and Aboukir Bay and put them on display with textual description (artifacts labels) in different venues; the renovated Alexandria National Museum gallery presenting underwater artifacts, thematic section at the Bibliotheca Alexandrina Antiquities Museum demonstrate the submerged Antiquities, and part of the open –air landscape of the Roman Theater at Kom Al-Dikka display a number of underwater sculptures. Noticeably, the absence of maritime identity in the exhibitions context is related to the narrative content which avoiding the maritime scope and subsequently affect all levels of presented information and related public programmes. The main intention is to display the archeological materials of maritime form archeological point of view without considering any conjunction with the distinctive cultural of maritime Egypt. In general, the original formulation and fundamental structure of the display at all the Egyptian Antiquities museums derives from Egyptological and archeological prospective (Doyon, 2008). The methods of presentation the archeological collections rely on the repetition of certain �themes within the multiple periods of the ancient Egyptian history following the chorological order. Within a larger framework of presentation maritime materials, there is an ambitious plan to establish Underwater Museum in Alexandria's bay supported by the Egyptian authorities and UNESCO to preserve and exhibit the underwater heritage of Alexandria in sit (.Abd-el-Maguid, 2012). 3) Proposing innovative ways for interpreting maritime Egypt Maximizing awareness is the key element to preserve and publish the maritime heritage of Egypt and foster this richness past in the minds of young generations. Thus, this section aims to present approachable alternative forms to ensure effective engagement with the public and develop new strategies for sustainable future for Egypt's maritime and UCH through the following:  Formulating an illustrative and modern shape web-site for maritime It is now an uncontested fact that technology is pervasive throughout our lives; technology has become an integral part of the way that we communicate with each another and has increasingly taken the place of face-to-face communication (Kotler et al., 2008). We need to use these modern technologies advancement to communicate that level of engagement with the public and lead them gradually to embrace their maritime cultural heritage virtually. This approach will provide comprehensive information and broader and more cohesive picture on the overall maritime heritage of Egypt; subsequently will open up new opportunities for public to learn about varied aspects of maritime and UCH in an engaging way. In fact, it will fill �the gap for the absence of maritime museum in Egypt and will serve as a powerful engine for regeneration both tangible and intangible maritime heritage of Egypt. Keeping up with what the global museums offers nowadays for their users, and by adopting the current use of technologies and digital media particularly the revolutionary use of both AR and VR application and 3D modeling technology (Gutiérrez et al. 2016), this trend can take many forms; from building a virtual maritime museum with interactive stories arranged in chorological order (INDICAT, 2012), to diversity of meaningful visual narratives reveal the maritime legacies and the submerged heritage underwater arranged thematically, or virtual field trips to maritime cultural landscape and long coastlines of Egypt, or diving virtually into the depths of seas and encounter the treasures of the sunken cities, or using the visualization technology to reconstruct the UCH and maritime sites and get glimpse of lifestyles of the people in the past. In this concern, it should referring to the remarkable efforts of IEASM in create reconstruction for the discovered underwater cities ThonisHeracleion and Canopus, also the international harbour town of Naukratis with its Egyptian and Greek temples (Goddio and Masson-Berghoff, 2016) [Fig. 5]. �Fig. 5: Reconstruction of the international harbour town of Naukratis features the Egyptian and Greek temples. (Goddio and MassonBerghoff, 2016) These virtual experiences will promote the UCH and make it accessible to the public. On another hand, implementing interactive visualization technology and 3D modeling/mapping on underwater archeology will safeguard and preserve this endangered heritage under the seas. This approach can be achieved through active collaboration between MoA and Center for Documentation of Cultural Heritage at Egypt (CULTNAT), with support from IEASM and together with other local and international cultural authorities that concerned with maritime cultural and underwater archeology.  Online Exhibitions for Maritime Series Indeed, online viewing of maritime cultural heritage whether movable (museums) or immovable (underwater archeological sites) will attract visitors and encourage them to make actual visits, but what if the visitors themselves share their maritime memories online? �Online Exhibition is online display of collections with the aim of engaging an audience that is not necessarily expert (Museum Association, 2011). It's a new approach allow to share the museum collection through build online exhibits with objects, and invite visitors to share their memories (INDICAT, 2012, Roy Rosenzweig Center for History and New Media, 2011). This online experience is relatively affordable in comparison to other techniques of display and considered to be interactive digital experience allows to use social media and search to build audiences, thus, it is two – way conversation process with the audience provide immersive engagement to the maritime cultural (Museum Association , 2011). In fact, these online maritime series can serve as social media platforms help in building maritime memories and promote two- ways communication with the local community through offering them the opportunity to share their maritime stories and other related memories. Hence, it can used broadly to preserve the intangible heritage and oral history of Egyptian maritime identity and linked the public with their maritime history as living heritage.  Visitor Center as interpretive tool for maritime cultural heritage of Egypt Visitor center is a powerful tool can be used effectively in the raising awareness process to stimulate the public towards understating their history of both maritime and the underwater archeology. visitor center has been identified as physical buildings located in a city or in historical and natural sites to provide visitors with services and information, it vary from a small building with modest services to great one with entertainment center and even a museum. (Mohamed, 2015, Pearce, 2004). �One of the main aspects of the visitor center is adopting interpretation content and technological components to communicate the provided information and related context to users (visitors, staff, and local community) (Pearce, 2004). Due to the International Conference organized by the Getty Conservation Institute and Paul Getty Museum in May1995, the main role of visitor center is to prepare the visitor to enjoy and understand the history behind the archeological site using different interpretive tools accompanied with walking tours whether guided or independent. (Mohamed, 2015). Bibliotheca Alexandrina(semi-governmental institution), one of the main cultural institute in Egypt has publish a book stressing the importance of visitor center in Egyptian community as a crucial tool for the preservation of archeological sites as well as participate in the community development (Hassan and Youssef 2008). In this light, considering a visitor center at the coasts of both Mediterranean and Red seas will emphasis particular interest for the local community and enabling them to understand the precious maritime heritage of Egypt. In the same context, it should be referring to the ambitious project that carried out in 2008 with the purpose of creating a network of visitors centers in the southern region of the Red Sea, entitled; ' Visitor Center Information Distribution Network –VCIDN' from Marsa Allam to Shalateen within a distance of 200 km. among the overall objective of this project, it aim to provide a deeper understanding of the cultural and marine history environment of the Red Sea region. Despite the construction of these networks of visitors' centers, it didn't open to the public till present. (USAID 2008). �Another project in the Red Sea region funded by the United States Agency for International Development (USAID) regarding the restoration and transformation of historical ottoman fort dates back to 1571 at the Quseir ( located on the Red Sea ashore) into heritage visitor center with the involvement of the local communities. It served as learning center teaching the history of the Red Sea' legacy to the local by using creative interpretive methods ( e.g. they were able to revive the oldest fishing boat used in the port called the Gatira and create an identical replica based on the local’s memories). Unfortunately, after shifting this center under the jurisdiction of MoA, it loses many of its authenticity as heritage building due to lack of training for the staff. (Mohamed, 2015) However, the proposed venues for creating visitor center for interpreting the context of Egypt maritime and UCH can be located in different places; in the Red sea coastline; underwater archeological sites of Mediterranean Sea coastline particularly at Alexandria as a unique attraction point for both tourists and locals; the Bibliotheca Alexandrina or Qaitbay fort -the top-visited cultural site in Alexandria- since they both overlooking the Mediterranean Sea; or we might consider using one of the historical buildings in the Alexandria and transformed into a visitor center. This visitor center of maritime cultural and UCH could enrich both locals and tourists with a wide variety of maritime topics and encourage them to visits museums, thus will lead them to deeper engagement with the displays of sunken treasures collections and other related exhibitions in the Alexandria museums.  Cultural Network Egypt lacks a special legal placement for Maritime cultural heritage with scientific management principles oriented towards interconnects the �society, local governing authorities and museums professionals with cultural purposes to promote and preserve maritime history of Egypt. In this regard, we need to fostering cooperation on international scale between MoA, Alexandria Centre for Maritime Archaeology, IEASM, together with UNESCO and ICOM committee for Maritime ICMM, and all relevant stakeholders to build up a "cultural network" tasked with developing sustainable strategies for preserving and communicating maritime cultural heritage of Egypt. The focused actions should be 1) Create thorough databank compiles all the UCH sites and maritime resources of Egypt both tangible and intangible; 2) create cultural map for all UCH sites and maritime sites of Egypt ; 3) develop methodology with standards and guidelines for promoting social and cultural programmes to the local community education; 4) set up implementation strategies for disseminating explanation materials and information, as well as collaborative projects with community participation.  Heritage Tours and Water Adventures By recognizing the vast submerged landscape that facing the Mediterranean and Red Seas, daily nature cruises and heritage tours with interpretive storytelling and explanatory materials can help the audiences to unlock the historic past beneath the water and had immersive engagement with maritime legacy. This might be led by museums staff, DUA staff, trained docents. In conclusion Egypt's maritime cultural is rich and diverse; its tangible and intangible aspects exerted a dominating influences on the formation and consolidation of the Egyptian civilization and its interconnection with the neighbors. Maritime Egypt still not defined, it is in need to identified, �explained and interpreted as powerful tool for the Egyptian history linked the public with their maritime national identity, and affect on their perception to the riverine and maritime nature of modern Egypt through developing and delivering meaningful and engagement offerings. Bibliography: .Abd-el-Maguid. M. M., 2012. Underwater Archaeology in Egypt and the Protection of its Underwater Cultural Heritage. Journal of Maritime Archeology, Vol. 7:193–207. Bass. G. F., 2013. The Development of Maritime Archeology. The Oxford Handbook of Maritime Archeology. Oxford University Press. Oxford. Doyon, W., 2008, The Poetics of Egyptian Museum Practice. British Museum Studies in Ancient Egypt and Sudan, Vol. 10:1-37. Gilbert, G.P., 2008. Ancient Egyptian Sea Power and the origin of Maritime Forces. National Library of Australian Cataloguing. Australia. Goddio, F. and Masson-Berghoff, A., 2016. Sunken Cities. Egypt's lost worlds. Thames & Hudson. UK. Goddio, F. 2007. The Topography and Excavation of Heracleion-Thonis and Eaast Canopus (1996-2006), Underwater Archeology in the Canopic Region in Egypt, Oxford Centre for Maritime Archeology 1, Oxford. Goddio, F and Clauss, M., 2004. Egypt’s sunken treasures. American University in Cairo Press, Cairo. Gutiérrez, J. M. et al. 2016. Virtual Technologies Trends in Education. EURASIA Journal of Mathematics Science and Technology Education. Spain. Hassan, F. and Youssef, M., 2008, Introduction, Cultural Heritage and Development in the Arab World. Cairo; 1-11. �Hawass, Z. 2005, A New Era for Museums in Egypt. Museum International 225/226. United Nations Educational, Scientific and Cultural Organization;7-23. Herodotus, 1998. The Histories. translated by Robin Waterfield. Oxford University Press. Oxford. INDICAT , 2012. International Network for Digital heritage E- Infrastructure. Handbook on Virtual Exhibitions and Virtual Performances. Khalil E. and Moustafa. M., 2002. Underwater Archaeology in Egypt. In: Ruppe C, Barstad J (eds) International handbook of underwater archaeology. Plenum Series in Underwater Archaeology, New York; 519– 539. Kotler et al., 2008. Museum Marketing and Strategy. Jossy-Bass. San Francisco. Landström, B., 1970. Ships of the pharaohs: 4000 years of Egyptian shipbuilding. Doubleday & Company. New York. Meyer, C., 1992. Glass from Quseir al-Qadim and the Indian Ocean trade. Studies in Ancient Oriental Civilization , Vol. 53. Oriental Institute of the University of Chicago .Chicago. Mohamed. M. 2015. The Role of Visitors Center to Enrich the Visitor Experience and to support the Community Development, Master of Arts Thesis-unpublished. Brandenburg Technology University Cottbus, German. Helwan University, Cairo. Museum Association, 2011. Practical tips for Creating Online Exhibitions. Neill. P and Krohn B., 1991. Great Maritime Museums of the world. Balsam Press in association with H.N. Abrams. New York. �Pearce, Ph. L., 2004. The functions and planning of visitor centres in regional tourism. Journal of Tourism Studies, Vol. 15 (1); 8-17. Rice, M., 2003. Egypt's Making. The origins of Ancient Egypt 5000-2000 BC. London. Roy Rosenzweig Center for History and New Media, 2011. User Guide for Museum Professionals Instructions for Building a Website in Omeka.net for Sharing Museum Collections and Creating Digital Exhibits. Shaw. I and Nicholson. P., 1995. The British Museum Dictionary of Ancient Egypt. The American University in Cairo Press. Cairo. Stanley, J. D., Schnepp, G., and Jorstad T. F., 2007. Submergence of archeological sites in Aboukir Bay, the result of gradual long-term processes plus catastrophic events. In J. D. Stanley (Eds.), Geoarchaeology, Underwater Archeology in the Canopic Region in Egypt, Oxford Centre for Maritime Archeology 2, Oxford: 23-57. USAID, 2008. Egypt, Life red Sea Project, Enhancing Sustainable Tourism in the Southern Red Sea Region of Egypt, Vol. 6: Action Plan for Sustainable Tourism in the Southern Red Sea Region of Egypt, Cairo. Vinson. S., 2009. Seafaring. In Elizabeth Frood and Willeke Wendrich (eds.), UCLA Encyclopedia of Egyptology. Los Angeles. Vinson, S., 1994. Egyptian boats and ships. Shire Egyptology 20. Shire Publications. UK. Ward. C., 2012. Building pharaoh’s ships: Cedar, incense and sailing the Great Green. British Museum Studies in Ancient Egypt and Sudan, Vol. 18: 217–32. �Biography Nevine Nizar Zakria, has PH.D in Egyptology (2016), member staff of Ministry of Antiquities since (2001) till present. She has 15 years' experience of curatorial work and museological practices, involved in the process of developing the exhibition content of the Grand Egyptian Museum (2004-2015). She promotes her experience in Museology professionally by joining the international training programme of the British Museum (2012), and extra training in 2015. She has exposed to the best practices in the field of museums at UK, USA, Germany and India. Since (2015) She joining Helwan University as Lecturer in Museum Studies. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2017 Session 4: Ensuring a Sustainable Future for UCH: Museums and Public Engagement Description An account of the resource Cultural heritage derives its value from societal contexts, and so public engagement plays an important role in growing support for, and interest in heritage. Engagement may take many forms, from awareness-raising to formal learning programmes to creating platforms for public participation in the process of heritage conservation, governance, and/or interpretation. Papers bridging theoretical and practical approaches to engagement with UCH are particularly welcome, as are papers which offer collaborative and/or participatory models, stakeholder engagement, capacity-building and development, approaches to the particular challenges of engagement with underwater cultural heritage vs other kinds of cultural heritage. Of course heritage exists in a variety of cultural frameworks, and ensuring sustainability requires approaches to engagement to be both responsive and sensitive to the overlapping cultural contexts in which UCH may exist. As a culturally diverse region, the treatment of heritage must be also tailored to cultural definitions, heritage management frameworks and conventions which may, in some cases, differ across jurisdictions/countries and their interests. The panel will also attempt to explore the ways in which UCH is managed within diverse cultural frameworks, and invites papers to examine topics including contested UCH, ownership, security, etc. The panel invites papers exploring significance within local, national and transnational historiographies and the implications for funding and management of UCH. UCH includes material that has been deposited on the seabed as a result of warfare and catastrophe, so papers which explore and/or engage with topics including loss, warfare, conflicted significance and contested heritage are particularly welcome. Other relevant sub-themes include: * Public engagement in the management of UCH * Interpreting maritime cultural heritage for non-specialist audiences * Significance, interpretative potential, stakeholders and support/sustainability * Museums, Education, Outreach and Conservation * Memory, memorials and memorialisation Creator An entity primarily responsible for making the resource Raphael Igombo National Museums of Kenya, Kenya Michelle Damian Monmouth College (IL), USA Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Forgotten Past? Alternative Forms for Museological Approach to interpret Egypt's Maritime Heritage Description An account of the resource In the past decades, Ministry of Antiquities (MA) has invested many efforts in excavating underwater archeological sites, and mapping them to reveal the navigation routes during ancient times. Remarkable discoveries have been made by the European Institute of Underwater Archeology (IEASM) as well as others archeological projects on Egypt's coasts. Despite this wealth of Egypt's maritime history and intellectual resources, it lacks a Maritime Museum till present or even an exhibition gallery dedicated to elucidate maritime' legacies to the local community. It also lacks a special legal placement for Maritime cultural heritage with scientific management principles oriented towards interconnects the society, local governing authorities and museums professionals with cultural purposes to promote and preserve Maritime History of Egypt. Maximizing awareness is the key element to preserve and publish the Maritime Heritage. So, How to make it accessible to the public? How to foster this richness past in the minds of young generations? This paper presents approachable alternative forms to ensure effective engagement with the public and develop new strategies for sustainable future of Egypt's UCH. Creator An entity primarily responsible for making the resource Nevine Nizar Zakaria Publisher An entity responsible for making the resource available The Museum of Underwater Archaeology Date A point or period of time associated with an event in the lifecycle of the resource 11/24/2017 Rights Information about rights held in and over the resource Nevine Nizar Zakaria Asia-Pac Session 4 2017 https://apconf-much.org/proceedings/files/original/8c70732fee795a6471a4cd5110b657e2.pdf b905a878c821138380a90fc834751752 PDF Text Text Antiquities Homecoming：An Experience of Rescue Team of Cultural Relics Tsai, Cheng Chung ZhongKai University of Agriculture and Engineering aaa_maxwell@hotmail.com Shuhan Guo ZhongKai University of Agriculture and Engineering tinakashu@gmail.com Yuping Zhang ZhongKai University of Agriculture and Engineering 1239633011@qq.com Abstract Through five thousand years of Chinese culture, thereare as many ancient cultural relics as there are stars in the night sky. Much like stars, these artefacts are scattered all over the world. For this reason, we established a small antiquity public welfare organization. In this article, we will introduce some details around working in this department and explore our user experience. Some of these activites include; looking for ancient cultural relics, finding ancient cultural relics, identifying ancient cultural relics, and contacting a descendant of ancient cultural relics, and negotiating with the sellers;with the ultimate goal of sending the antiquities back to their home. We felt the sacred sense of mission by bringing antiquities home. We also began to realize the public welfare and the value of the historical relics are common to people all over the world. At present, the problem of the antiquities coming home is emerging in the various rescue operations once again. In particular, as the nation becomes generally wealthier, there is an increase in the number of transactions to acquire ancient cultural relics to obtain profits. In addition, historically, overseas organizations and foreign funding agencies have been acquiring Chinese ancient cultural relics strategically. Because of this, bringing the ancient cultural relics back to their hometown or museum, or returning them to their descendants has become even more difficult. Therefore, our team has decided to create and manage the ancient cultural relic’s rescue and homecoming project. Through which, we will advocate that the ancient cultural relic’s protection and public �welfare for ancient cultural relics is paramount. We will do our best to return these ancient cultural relics back to their hometown, and let the ancient cultural relics engage and influence the public. Key words: Cultural relics, homecoming, descendant, collections, cultural and creative industry The experience of Germany how they dispose "gray antiquities" 1.1Chippindall Law British archaeologist Christopher Chippindall and Dawid Geere began an unprecedented investigation in 2000, using 7 international collections of cultural relics in the collection system to verify the reliability of their source. Officials have the collection directory with those cultural relics, which clearly record every piece of the source. However, of the 1396 items catalogued, up to 75% of these cultural relics lack the source of written documents. They also found that there were more than 500 pieces of relics lack any historical transaction record and has been proved that no one knows why this group of cultural relics made its debut on display in the museum. That means these exhibits illegally posess potentially tomb-raided stolen goods. They have a startling discovery after compared with the same marked when the exhibits on display in different provenance. Generally, those first exhibited marked "unknown sources" cultural relics appeared again with a clear source tag, suggesting that these cultural relics may be a fake story. Their research result is called Chippindall Law. 1.2 Museum admitted "gray cultural relics" There is a hidden rule which allows cultural relics with no transparent background in the marker. A clear experience relic which we call white �cultural relic not only can check all previous possessors and where it came out of that therefore it should be legal. On the other hand, an unclear experienced cultural relic which we call black cultural relic usually came out of the grave or was stolen out of the museum or from private collectors. Actually, most traded relics in the market are gray cultural relics which we do not know where they came out but still could pull wool over some possessors’ eyes. However, archaeologists deem that gray cultural relics are equal to the black cultural relics. In the early 1960s, the British museum with a rich collection of relic objects bought from the market. In 1970, UNESCO issued a convention against cultural products illegally traded, but Germany didn't become signatories until 2007. Although Germany signed, but there were still many excuses to reject the convention, and not to return those illegal cultural relics. Germany started to implement a legislative correction as to ensure the innocence of its collections. It stipulated that acquisitions in the museum should be white relics. Baden state museum curator Eckart Cohen said "museum curator's affection and greed of collection tend to cause them to become accessories of illegal trade." he said "It is not innocent cultural relics derived from an anonymous Swiss collector". 2 Antiquities Homecoming People always marvel at the beauty of an ancient cultural relic when they see it. However, does everyone know where it comes from or who its owner is? Is this a clear origin of cultural relics? As we know the cases in Germany and UK. There are many cultural relics with unclear origins. So, a program came out .This is a program to return relics that belonged to certain families or estates. And there is an overwhelming feeling by the members of our organization that this is the right and just thing to do. We plan to return objects, may they be relics to certain descendants or �surviving families or organizations who manage familial assets we trust. There are many reasons as to why relic objects may be in disarray or disregarded. Our goal as a group is to preserve the legacy and spirit of the relic objects. In doing so, we have to secure adequate funding to purchase relic objects in existing markets that to offer prices to said objects. We plan to setup a process by which we will discern the appropriate prices and appraised value that we deem fair for purchase. We will employ a mechanism that is equitable for all parties involved. We will standard governing practices to regulate the process to ensure �stability. An issue that will be addressed in the future is the question of funding. We will establish a funding process for this project. Fig. 1: Funding Process Flowchart. 3 Antiquities homecoming evaluation criteria There are three indispensable standards for relic objects if they could be sent back home. The first step is to ensure the antiquity has a clear and �certain name. Or it has been recorded from other historical documents. Second, it could be traced to a certain dynasty. The last one is to make sure that we could find its surviving generations of the cultural relics, family ancestral hall, museum etc. According to former experiences certain relic objects such as famous calligraphy, paintings, manuscripts, imperial mandate etc. could be easily up to the three standards. After members of the project found unmistakable name on the relic object and could know its dynasty and background, and antiquary work, they may start searching whether there are descendants of the owner of cultural relic have the intention to collect the family relic from their predecessor. It could be returned to surviving consanguinity of the owners, family ancestral hall, local museums and other related parties. Project team members note the cultural relics "without surviving families" if the descendants could not be found. Then the project team members would start the next steps to find whether there are relevant museums, temples on behalf of the ancestral temple and local administration of cultural heritage that can collect it. 4 The circulation channels of cultural relic objects General, people purchase cultural relics and works of art mainly as private collections, investment of innovation company, decorations and so on. It is important to purchase cultural relics from formal circulation channels for antiquarians. There are three circulation channels to transaction relic objects beyond the seas:  Auction companies: The auction companies are considered as the secondary transaction market. It focusses on the arts trade, as they �have sensitive professional marketing orientation, and pay more attention on the objects with high benefit in a short-term.  Galleries: In the art market galleries are deemed as the primary market. The agents would sign contracts with artists strictly, and they have responsibility to the find, nurture and promote potential artists and their works. One risk of investment of arts in the galleries is the difficulty in evaluating the appreciation due to the agents would promote on its own preferences rather than market orientation.  Private procurement: The term of "private procurement" is relative to the “auction companies". Though it is often misunderstood as lack of professional evaluation, slight influence on art market and low exchange price, so far, top six paintings with astronomical price were unveiled from this channel for the low risks, fewer bidders, efficiency and privacy of transaction, personalized customer services have made it a big draw of investors. Transaction of arts and paintings in western countries compare that in China mainland, the program members could search relic objects in channels below. Fig. 2: Top six paintings with astronomical price. � Network: In the information age, the Internet takes over a large part of one's daily life so that cultural relics can be obtained from the Internet, as well as the historical background of cultural relics which help us understanding. It also became convenient sources of obtaining information of the relic objects. The following chat integrated the Internet purchasing channel for the project members to search. Fig. 3: Antique markets in the Internet. � Commercial market operations for cultural relics: This is for people who prefer to play with, understand the cultural relics in the antiquities market. Here are some famous commercial markets for cultural relics. Fig. 4: Cultural relics market in China.  Enthusiastic people informed the members: it is distinct between private contact and warm-hearted people contact report that mainly depend on the interpersonal connections of the team, like the posterity, ancestral hall, temple museum which the team service before. They will tell the project team members they inadvertently discovered the ancient cultural relics in the market, let us work together. In general, the project team members will be released out of the most important introduction of "mysterious ancient cultural relics” through the interpersonal relationships of museums, the community or union of institutions of higher learning like the ancient cultural relics and director of the famous temple ancestral temple. There are numerous propaganda ways to improve the enthusiasm of the alliance like through the network to seek the aid of enthusiasts, clubs or organizations, or through the "human flesh search", "price set". �Occasionally the team holds the club, in the form of a salon, lectures to promote communication relationship between members. 5 A homecoming case of Guo Rong’s handwritten manuscript Team members in late 2016 found a handwritten manuscript written by Guo Rong who could be dated back to Qing dynasty, named "Confucius in Hsiang-tang”, listing on the internet priced at 1500 Yuan by a relic collector from Hebei province. According to the historical recordation manifests that his family members were very famous and many of his relatives were Jinshi(official position in ancient China) ,and he was a Juren (official position )at that time in Henan province. Lest the scenario of other buyers and speculators from outside purchase this handwritten manuscript once the news of rescue and valve of this relic object has been filtered out occurred. After the agreement of buying this relic first by all the members, rescue plan of this handwritten manuscript initiated. By using all sorts of medium to contact Guo Rong’s descendants with a hope of getting this relic back to where it used to belong, members found an article on the Internet about the big honorable family and its members; released on the newspaper by Mr.Lu Meisong a former director of Research Institute of Culture and History in Fuzhou City. Through whom members found Guo rong’s great-grandson Mr. Guo Zhen, then immediately informed Mr. Guo Zhen of his great-father’s relic object and asked whether they have the intention to purchase the cultural relics, Mr. Guo Zhen first told members: “because it’s hard to know the authenticity of this undeclared cultural relic, together with many of his family cultural relics have been removed to Lin Zexu Memorial Museum, so there was no willingness to purchase it as a private collection... ”then �members tried to contact other parties of the family collections of intent, please refer to the contact members shown in the chart below. Table 1: Willingness to retrieve Guo Rong’s relic Name Identity Willingness Guo Zhen great-grandson of NO Guo Rong Guo Yongmei Guo Baiyin’s NO descendant Sina Blogger Guo of”Guo’s Baiyin’s NO descendant descendants” Lu Meisong former curator of NO Research Institute of Culture and History in Fuzhou city Chen Jiyong Lin Zexu’s NO memorial museum 6 Why relic objects may be in disarray or disregarded There is an interesting phenomenon in cultural relics market that people would buy other people's cultural relics in the commercial market rather than collect the relics of their fathers. And descendants may sell or destroy the inherited collections of cultural relics for various reasons leading to the �cultural relics ending up with vicious circle of disappear or disregarded. The ultimate purpose of establishing homecoming project by the members is to resolve the scenario of never-ending speculation by contacting the museum that could collect and display the relics, other public sectors, and conservation of cultural studies, ancestral hall and surviving generations. Project team members would try their best to preserve the legacy and spirt of the cultural relics. From what have been discussed about the Guo Rong’s case, it could now be speculated that the descendants may or may take the excuse of lacking the financial ability to afford the price. And to some extend this is also attributed to lacking a sense of recall of their old generations due to the functions of modern core families are not tightly connected as it was in hundreds years ago. At that time ancestors were highly respected and earned widely worships by their descendants. Another reason may the owner was a traitor in history, the family members might break off all relations with owner in order to evade from the punishments or outside criticism about this family. So if the descendants receive the relic object belonged to a traitor predecessor, they will bear pretty much stress form the public. The third reason may lay in the distrust the appraisal of cultural relics, as in this profit-driven society, everything could be faked let alone these cultural relics with sophisticated procedure of appraisal its value, all sorts of suspicious attitudes reflect today’s descendants pay more attention to its physical valve rather than its old glories and the meaning of educating and reminding their roots. 7 The indispensable explanation of using the fund-raising as the management costs of the non-profit organizations �All the governments in the world are making great efforts to encourage more public-interest activities and services, and also put their endeavor to develop the explicit rules and stipulations to make the charitable work more efficient and use their funds more smartly to against corruption. Taking the comparison of the two laws for example, the newly launched Charity Law of the people’s republic of China in May, 2016（ http://www.gov.cn/zhengce/2016-03/19/content_5055467.htm) and the regulations of charitable organizations initiated in Taiwan province May, 2006 (http://law.moj.gov.tw/Eng/LawClass/LawAll.aspx?PCode=D0050138) about utilizing fund-raising in managing the charitable organizations and pay the labor costs through charitable activities and other necessary expenditures. Please look at the chart below. Table 2: Comparison of purpose and amount of charitable assets utilization in China mainland and Taiwan (province) The charity Law of the People’s Charity Donations Destined Republic of China For Social Welfare Funds Implementation Regulations(Taiwan) Chapter 6 Charitable Assets Article 5 Fund raising groups Article 51. The financial assets of as referred to by these charitable organizations include: regulations are described as (1)Founding capital from fund-raising; below: (2)Assets collected from fund-raising; (a) Public schools. (3)Other legal assets. (b) Incorporated … Administration. Article 60.Charitable organizations (c) Corporation who has shall carry out charitable activities Social welfare character. actively, use charitable assets fully (d) Corporate bodies. and efficiently, apply the most Based on considerations for necessary principles regarding social welfare, all management fees, practice frugality, agencies/levels of �and cut unnecessary expenditures. Annual expenditures for charity activities by foundations with the qualifications for public fund-raising shall be no less than 70% of the average revenue of the past three years and the annual management fees cannot meet the previous regulations due to special circumstances, the foundation shall file with which it registered and explain the situation publicly. Standards for annual expenditures and the management fees of charitable activities by charitable organizations other than foundations with public fund-raising qualifications are regulated by the civil affairs departments of the State Council together with the treasury and tax departments of the State Council according to the principles stipulated in the last paragraph. If the expenditure and management costs of an individual charitable donation activity are specified in the donation agreement, then the agreement should be followed. government shall be permitted to accept financial funds and gifts donations, bestowed by concerned person[s]; however, such donations are not permitted to be initiated by such governmental agencies. Exempted from this ruling, are incidents of major disaster [force majeure] and international rescue missions. … Article 8 All financial funds and gifts collected through donations, can and must be used only for the purposes as listed below: (a) For Social Welfare Activities. (b) For educational & cultural affairs. (c) For social charity affairs. (d) For international humanity rescue affairs. (e) Other relevant affairs recognized by central governmental agencies.。 … Article 11 If relevant documentations provided, for the application of governmental permission for charity donations, contents therein were to be found to be falsified, then previously �granted permission is to be annulled immediately. … Article 17 All necessary administrative fees/charges occurred during the conducting of charity donations activities, shall following the tabulation limits as described below: (a) Total solicited donation amount under NT$10,000,000.00: 15%. (b) Total solicited donation amount between NT$10,000,000.00 NT$100,000,000.00: Basic toll of NT$1,500,000.00 + 8% of remaining amount over 10 million NTDollars. (c) Total solicited donation amount over NT$100,000,000.00: Basic toll of NT$8,700,000.00 + 1% of remaining amount over 1 Billion NTDollars. If solicited charity donations are physical items [instead of cash funds], then relevant tabulation should be based on the "then" current market prices of the items concerned. We will standard governing practices to regulate the process to ensure stability. An issue that will be addressed in the future is the question of �funding. We will establish a funding process for this project. Introducing the club membership system might be a suitable way of adjusting to this circumstance mentioned above in its future development: one has to register a membership of the relic home returning organization and then provide the historical information of their predecessors. Doing by this at least shows their willingness to buy their own relics. All the information provided will be recorded in our file system. Members have the priority when we scrutinizing thousands of relics in this huge relics market and then match to their owners. When undergo the scrutiny in the selecting procession a series of reduplicative and automatic works in matching and confirming relics and their owners and time waiting for their willingness of buying their dispersed relics can be saved by this targeted combing progress. Reference Gray, B., 1964. The export of Chinese porcelain to India.Transactions of the Oriental Ceramic Society, Vol. 36: 21-37. Tsai, Cheng Chung，2012. Compare present situation and analysis the development of charitable trust in the social among British，America and Japan，social Welfare（The theory of version），12-21 Yuan Yuan. Germany attaches great importance to the source of legitimacy of cultural relics to say no "gray cultural relic",. Xinhuanet http://news.xinhuanet.com/world/2015-01/22/c_127407612.htm Zong he. Gauguin painting "when will you get married" $300 million,http://epaper.bjnews.com.cn/html/201502/09/content_561752.htm?div=-1 Beijing newspaper, The phenomenon of "hyping art works http://finance.qq.com/a/20150413/005044.htm Biography in the market " �Tsai, Cheng Chung (1975-): Taiwan Kaohsiung, Zhongkai University of Agricultural Engineering Department of social work department, the People's Republic of China Ministry of civil society social work research center special researcher, expert committee member of Guangdong Provincial Civil Affairs Department social work professional team construction, master Mentor, doctor of law, psychological counselor. The main research direction: medical social work. Tel: 13640211648. Shuhan Guo (1995- ): Hunan, China. Graduate student of Zhongkai University of agriculture and engineering, bachelor’s degree, President of Social Work Association in ZhongKai University of Agriculture and Engineering. The main research direction: non-government organization management and social work Tel: 18813754680, Yu-ping Zhang (1996- ), Xingning. Guangdong, China Zhongkai University of Agriculture and Engineering, Guangzhou, Guangdong ,China. Job: Project Team Responsible Person. The Assistant Head of the Department of Social Work and Social Policy. The first Vice President of Social Work in association in ZhongKai University of Agriculture and Engineering. The main research direction: Medical social workers and Charity management.Tel:188-19493890, wetchat: yp1239633011, � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2017 Session 4: Ensuring a Sustainable Future for UCH: Museums and Public Engagement Description An account of the resource Cultural heritage derives its value from societal contexts, and so public engagement plays an important role in growing support for, and interest in heritage. Engagement may take many forms, from awareness-raising to formal learning programmes to creating platforms for public participation in the process of heritage conservation, governance, and/or interpretation. Papers bridging theoretical and practical approaches to engagement with UCH are particularly welcome, as are papers which offer collaborative and/or participatory models, stakeholder engagement, capacity-building and development, approaches to the particular challenges of engagement with underwater cultural heritage vs other kinds of cultural heritage. Of course heritage exists in a variety of cultural frameworks, and ensuring sustainability requires approaches to engagement to be both responsive and sensitive to the overlapping cultural contexts in which UCH may exist. As a culturally diverse region, the treatment of heritage must be also tailored to cultural definitions, heritage management frameworks and conventions which may, in some cases, differ across jurisdictions/countries and their interests. The panel will also attempt to explore the ways in which UCH is managed within diverse cultural frameworks, and invites papers to examine topics including contested UCH, ownership, security, etc. The panel invites papers exploring significance within local, national and transnational historiographies and the implications for funding and management of UCH. UCH includes material that has been deposited on the seabed as a result of warfare and catastrophe, so papers which explore and/or engage with topics including loss, warfare, conflicted significance and contested heritage are particularly welcome. Other relevant sub-themes include: * Public engagement in the management of UCH * Interpreting maritime cultural heritage for non-specialist audiences * Significance, interpretative potential, stakeholders and support/sustainability * Museums, Education, Outreach and Conservation * Memory, memorials and memorialisation Creator An entity primarily responsible for making the resource Raphael Igombo National Museums of Kenya, Kenya Michelle Damian Monmouth College (IL), USA Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Antiquities Homecoming: An Experience of Rescue Team of Cultural Relics Description An account of the resource Through five thousand years of Chinese culture, thereare as many ancient cultural relics as there are stars in the night sky. Much like stars, these artefacts are scattered all over the world. For this reason, we established a small antiquity public welfare organization. In this article, we will introduce some details around working in this department and explore our user experience. Some of these activites include; looking for ancient cultural relics, finding ancient cultural relics, identifying ancient cultural relics, and contacting a descendant of ancient cultural relics, and negotiating with the sellers;with the ultimate goal of sending the antiquities back to their home. We felt the sacred sense of mission by bringing antiquities home. We also began to realize the public welfare and the value of the historical relics are common to people all over the world. At present, the problem of the antiquities coming home is emerging in the various rescue operations once again. In particular, as the nation becomes generally wealthier, there is an increase in the number of transactions to acquire ancient cultural relics to obtain profits. In addition, historically, overseas organizations and foreign funding agencies have been acquiring Chinese ancient cultural relics strategically. Because of this, bringing the ancient cultural relics back to their hometown or museum, or returning them to their descendants has become even more difficult. Therefore, our team has decided to create and manage the ancient cultural relic’s rescue and homecoming project. Through which, we will advocate that the ancient cultural relic’s protection and public welfare for ancient cultural relics is paramount. We will do our best to return these ancient cultural relics back to their hometown, and let the ancient cultural relics engage and influence the public. Creator An entity primarily responsible for making the resource Tsai, Cheng Chung Shuhan Guo Yuping Zhan Publisher An entity responsible for making the resource available The Museum of Underwater Archaeology Date A point or period of time associated with an event in the lifecycle of the resource 11/24/2017 Rights Information about rights held in and over the resource Tsai, Cheng Chung Shuhan Guo Yuping Zhan Asia-Pac Session 4 2017 https://apconf-much.org/proceedings/files/original/ea76aae7c36db87b81550c9312843ccd.pdf 2b131e1dd837d3120129cd4846449bc8 PDF Text Text Merging Museums with the Classroom: Using Collections to Teach Maritime Archaeology Michelle M. Damian Monmouth College Abstract Although there is a growing interest in studying maritime archaeology even at the undergraduate level, it can be a challenge to bring to life for non-divers both the mechanics of an archaeological investigation, but also the joy of discovery and satisfaction of identification of a wreck site. This paper will describe possible alternative methods of recreating that entire process through the use of museum collections. In particular, I will discuss a project undertaken by undergraduates at Harvard University in partnership with the Peabody Museum of Archaeology and Ethnology. Students were required to choose a ship model from the museum’s collections and, with very minimal initial information, had to research its historical background and construction techniques, treating it as an archaeologist would a shipwreck site. This paper will introduce the benefits and challenges to both the students and the museums in using this type of approach. Key words: Collections, Ship models, Museums, Public Engagement Project Description While a postdoctoral fellow at the Reischauer Institute of Japanese Studies (Harvard University) in spring of 2016, I was invited to teach an introductory class on maritime archaeology in the anthropology department. Even though the Boston, Massachusetts, area has a rich maritime history, such a class had never previously been taught at Harvard. Since my fellowship was a nonrenewable, single-year appointment, there was no opportunity to develop a sustainable maritime archaeology program there. The class, ANTHRO 1281, was therefore �designed as a stand-alone introduction to the field, with no prerequisites for undergraduates. My two main goals for this class were to give the students as much handson experience as possible to evoke the excitement involved in maritime archaeological fieldwork, and to emphasize the need for archaeologists to disseminate our work to a wide variety of audiences. The challenges to the first goal, however, were that the students were not certified divers and even if they were, Boston in the winter months does not provide ideal diving conditions! We were fortunate to collaborate with NOAA staff members from Stellwagen Bank, who did an ROV demonstration one evening at the campus pool, and with Victor Mastone at the Massachusetts Bureau of Underwater Archaeological Resources, who took us to a shoreline wreck site. There the students were even able to do some preliminary mapping of an 18th century shipwreck. While these experiences were valuable and students cited them in class evaluations as some of the most exciting aspects of the class, they did not provide the in-depth experience of exploring a single site over a longer period of time. Nor are they necessarily able to be replicated in other areas where there might not be a NOAA ROV to borrow or a convenient shoreline shipwreck site. To provide students with at least a sense of the research aspects of maritime archaeology, as well as to achieve the second class goal of emphasizing multiple means of interpreting the site, I approached the Academic Partnerships department at the Peabody Museum of Archaeology and Ethnology (PMAE). Located on Harvard’s campus, the museum was founded in 1866 and is home to over 1.4 million artifacts. As part of its mission, the museum promotes using the collections for “unique opportunities for innovative teaching, research, and �enrichment at Harvard” and other communities (Peabody Museum of Archaeology and Ethnology). The Academic Partnerships Department is excited to work with instructors and make collections available to students, and that made for a natural collaboration between the ANTHRO 1281 class and the museum. The PMAE has in its collections over seventy different ship models, many of which were donated to the museum in the late nineteenth and early twentieth centuries. Most of the models represent indigenous watercraft from Asian, Oceaniac, and Native American peoples (Figs. 1 and 2). As many of them came to the Peabody from another Boston-area museum that was destroyed in a fire, documentation is minimal for the vast majority of the models. One typical accession card simply reads “Chinese Boat. Peale’s Museum, ca 1840.” Due to space limitations, very few of the models are displayed in the public galleries. �Fig. 1: Representative ship modelfrom the PMAE collection, No. 32-6260/D4111. (Damian) Fig. 2: Representative ship models from the PMAE collection, No. 99-1260/52934). (Damian) �These models became our “shipwrecks.” In class we discussed the anonymous nature of much of maritime archaeology. Few archaeologists know that they are working on a Vasa, a Mary Rose, or a CSS Hunley when they discover a wreck. Instead, they encounter an often unnamed vessel in a particular geographic region, and must identify diagnostic features and do research to determine the type, time period, and origin of the vessel. Students were charged with treating the models in a similar manner, using them as substitutes for a shipwreck. Where was it from? Who might have sailed on this kind of ship? How can we determine what type of vessel it was? The minimal documentation for these models was therefore not an impediment to the process, as students were required to research and discover the answers themselves. A second component to the museum partnership was to create an online exhibit for the Peabody Museum (visible here: https://www.peabody.harvard.edu/node/2619). In keeping with the course goal of disseminating information to multiple audiences, students were to not only write an academic term paper about their model, but were also required to write several shorter, public-focused introductions to their models that became the heart of the online exhibit. The multicomponent assignment therefore spanned the entire semester. Students each chose a single model as their focus. They arranged with the Academic Partnerships office to visit the museum and investigate their model, taking photographs and making notes and sketches of diagnostic features. They were not meant to be researching the model maker or the actual model itself, but instead were to treat the model as an archetype, treating it as a shipwreck. The first assignment focused on the historic background of the vessel, and the second on a detailed discussion of the �ship construction features. Research was often a challenge if the only information they had to begin with was “Chinese boat ca 1840.” As secondary scholarship on some of these vessel types was limited, students discovered the importance of incorporating multiple lines of inquiry into their research, including artwork, primary source ethnographic accounts, and even films. Details of the students’ work can be seen on the online exhibit, but a typical example is of work done on a model titled “War Canoe.” The accession notes included information that the model originated in Sarawak, Borneo (Malaysia), and referenced the Iban tribe. Using a flag included with the model, students were able to date the ship to the late 19th or early 20th century (Gilbert). Records from European explorers described the seafaring members of the Iban tribe as the Sea Dyak, and students relied heavily on those sources to discern who may have used this type of vessel and the context in which it sailed (Kimball). The models therefore served as stand-ins for actual shipwreck sites, as the focus was not on the individual model and its creator, but on the model-as-typicalwatercraft. The museum aspect of the project was divided into three different components. As these were put online for a general audience, students were charged with writing to that public, foregoing a more traditional academic writing style. They needed to consider how to draw their readers in to learn more about their vessels, balancing being informative and exciting. The first two assignments consisted of a photo of their vessel (taken by the student), accompanied by a brief introductory paragraph and followed by a more in-depth analysis (2 – 3 pages) of their findings. The third assignment was to create a museum label for their boat, introducing �the artifact to someone who might be walking past the model in a physical exhibit. Once they had learned as much as they could about their watercraft, they needed to consider what was most important for the casual museum visitor to learn about their boat. The original intent was to announce each component of the project to the public as it was put online and solicit feedback and suggestions. Particularly since many of the models had such limited documentation, crowdsourcing the research in this way was one strategy that could provide the students with more insight into their vessel. Incorporating the public suggestions and feedback from the instructor and teaching assistants, students needed to complete a final assignment rewriting their publicly focused entries as a more academic term paper. This was meant to help them again consider those multiple audiences and adjust their communication styles accordingly. Some obstacles hindered that ideal realization of this project, however, as I will address in the next section. The entire project was designed to emulate the archaeological process: the “discovery,” research, and interpretation of a shipwreck site. It spanned the entire semester, allowing students to expand their research as they considered the different aspects of their vessels. While some students expressed frustration at spending “so much time” on a single ship type in their research, I believe it was an effective introduction to the research process for an archaeological project – particularly when some archaeologists can spend years on a single site. �Challenges to the Project Because this was the first time I had taught this class, and because this was the first time the Peabody Museum had partnered with a faculty member to use student classwork to create an online exhibit, there was an element of trial and error to actualizing the project. None of the following comments are meant as criticisms of the PMAE staff, as everyone involved was extremely enthusiastic about the collaboration, and the Academic Partnerships staff in particular were tremendously accommodating. Here I describe the issues that arose simply to note potential pitfalls for future similar projects The first issue was simply that of the actual web coding. As I myself am not a programmer, this became an additional project for the museum’s web developer on top of his other duties. In addition, since he was only in-house certain days of the week, progress at putting the information provided by the students online was sometimes slower than I had hoped. Progress was further hindered by my own failure to clarify how best to provide him the data. For example, for the first two assignments the students needed to submit a stand-alone image of their boat to be used as a cover photo, a short paragraph, and a longer paper. Initially the students embedded their cover photos directly into the Microsoft Word documents containing their paragraphs and longer essays, but that became problematic for the web designer to extract and put online. We decided on a file naming convention for both images and documents, and had the students re-submit their files via Dropbox. Streamlining this process took some time, and thus the public launch of the website was delayed until both the first and second assignments were already online. �This, then, affected the ability to promote the website and adequately crowdsource feedback as I had initially hoped. The second, and perhaps more striking, issue came in the form of copyright considerations. Many of the students found different images in their research that they wanted to incorporate into their analyses, and therefore scanned them and included them in their papers, with proper citations. When it came to putting those images online, however, a question arose regarding copyright of those images, regardless of educational fair use. According to the Academic Partnerships department, “Each image would have had to have been reviewed on a case by case basis, to determine whether their use was “transformative” [which would have been impossible due to the time constraints of the class].” (Rose) The public distribution inherent to internet display was the main concern, as it increased the risk that the copyright holder may have discovered that his/her image was being used without permission. It was decided that it would be safer to remove any images that were not either in the public domain or the students’ own photos or sketches from their papers. This put an additional burden on both the students and the instructors, as everyone needed to re-edit their papers and verify the ability to use any embedded images. Students were understandably upset at needing to delete certain images, since in many cases they referred to those sources in their written analyses and felt that the removal would hinder the ability to effectively convey their argument. We therefore compromised by substituting an “image redacted” icon for the deleted images, which we hoped would indicate to any readers that any missing information was not due to student error. �A final concern came from an individual student. Since the Peabody Museum wanted to be sure that students were getting credit for their work online, and since ideally the project would be receiving feedback directed at individual submissions, we decided to have the names of the students clearly associated with their web submissions. One student approached me with concern, as she had been the victim of online stalking in the past and did not want her name to be searchable. With her permission, we compromised by including the student’s initials instead of her full name. Most of these obstacles were due to the fact that this was the first time such a project had been conceived of and carried out at the Peabody Museum. If the museum collaborates in the future with faculty to create a similar exhibit, or when this kind of class is taught at other institutions, those issues have now been identified and can be corrected before the project begins. Benefits of the Project The stumbling blocks noted above were of small concern when compared with the overall benefits of doing this type of project. The Peabody Museum staff were excited to be a part of this project not only because it conformed to their mission, but it also allowed them to breathe new life into old collections. As noted above, the majority of the models cannot be displayed in the main galleries due to their size. When the Academic Partnerships staff first brought out the models for me to view prior to beginning the project, one exclaimed that even as a long-time staff member, this was the first time she was viewing the models. Allowing the students to research the vessels and create an online exhibit of the models enabled the Peabody Museum to make those long-stored objects �accessible to an online audience. In some cases, the students’ findings provided additional information or called into question the museum’s classifications of the vessels. One model, labeled a “Chinese barge,” was actually closer to a junk, concluded two students (Barrett, McGough). As noted above, this project allowed non-diver students to get a sense of the type of research work and methodologies that archaeologists may have to use when trying to identify an unknown shipwreck. Further than that, however, many of the students found the experience valuable for a number of reasons. Several students elected to write a brief “reflections” post for the website, and other comments were gleaned from class evaluations. In these writings, many students noted the benefits in learning to communicate with various audiences. They often acknowledged that it was difficult at first to convey complex technical information in an accessible manner, but that it became easier with practice (Skendarian, Gerberich). Several also appreciated that this assignment approached work on an actual site as closely as possible within the limitations of the class. One noted the restrictions in working with a model, since special arrangements had to be made with the collections staff each time she wanted to view the model. She acknowledged, however, that this was probably very similar to limitations an archaeologist would encounter on an actual site: repeated lengthy visits are not always possible (Lu). Perhaps the most notable response, however, was the pride the students took in actively contributing to the field through this project. Comments included statements such as “knowing that my research for this project will be available online for the public to see makes me feel as if I am truly �a maritime archaeologist” (Lu), “I’m really glad I had the opportunity to break new ground and contribute to the academic world of maritime archeology with the research I conducted over the last few weeks” (Skendarian), and “seeing our work go on an actual museum webpage was a worthwhile finish” (Metoyer). An anonymous comment from class evaluations further stated, “The museum project was one that allowed such a realistic approach to maritime archeology and further enabled the ability for some realistic learning approach. It was one of the first times within my life that I've actually made a profound difference within the academic world and for that reason, it was an incredible experience.” The students’ work is still part of PMAE’s online offerings and at present there are no plans to remove it. The class has therefore made a lasting contribution that will remain accessible to anyone interested in maritime history and ship construction of indigenous crafts from Asia, Oceania, and North America. Future Possibilities In planning this project, I was of course tremendously fortunate to have a museum such as the PMAE located on the same campus, with an incredible collection of ships’ models and staff who were excited to work with faculty and students. Obviously, this scenario is the exception rather than the norm. That being said, there are possibilities. Local maritime museums are likely to be interested in collaborating, and I have spoken with a faculty member of a Georgia university who intends to undertake a similar project in conjunction with the Ships and the Sea museum. Furthermore, in the Spring of 2018 I will be teaching a version of this class at my current institution, Monmouth College in Illinois (USA) – a very �landlocked college with no ship model collection at hand. I intend to test the idea that it should be possible to replicate this type of project with other materials. While models provide a tangible, three-dimensional representation of a vessel especially helpful for understanding elements of ship construction, photographic or even artistic representations of ships may be able to be used to the same effect. As some of the students noted in their analyses, the models were not always perfect representations of actual construction techniques either. While relying solely on twodimensional depictions of ships may be even more limiting, in other ways it could widen the scope of discussion considerably. Instead of being confined to the extant items in a collection, the possibilities for research of images is nearly endless. Copyright considerations, of course, would still need to be taken into account. While putting up an online exhibit is ideal in that it can both reach out to a worldwide audience and endure indefinitely, if programming or online access is an issue a physical exhibit could be mounted with the help of any local gallery space. Particularly if students are working with images, all that would be needed is some wall space for mounting the photographs and labels. At Monmouth College, I hope to make use of the resources afforded by the Museum of Underwater Archaeology (MUA; www.themua.org) to create an online exhibit, as well as appeal to the library for the use of gallery space to mount a physical exhibit on campus. For an introductory class in maritime archaeology to a group of undergraduates who may or may not have prior experience or a desire to continue in this field of study, this type of project provides a good overview of the process of researching and interpreting a “shipwreck.” The satisfaction of creating an actual exhibit and contributing to the field was �for many an exciting way to experience a taste of what maritime archaeology is all about. Acknowledgments I would like to thank the Academic Partnerships staff of the Peabody Museum of Archaeology and Ethnology, most particularly Diana Loren, Lainie Schultz, Emily Rose, and Andrew Smith, for their enthusiasm and help in making this project a reality. The students of ANTHRO 1218, spring 2016, at Harvard University were a pleasure to work with and deserve all the credit for researching and presenting their “shipwrecks.” I am also in debt to Ted Bestor at the Reischauer Institute of Japanese Studies for facilitating my being able to teach the class, Jason Ur at Harvard’s Anthropology department for being willing to let me do so, the teaching assistants for ANTHRO 1218, and the faculty and staff of RIJS for providing me the opportunity to spend an incredible year there. Works Cited Barrett, A, and T. McGough. “Second Chinese Barge.” https://www.peabody.harvard.edu/node/2644 Accessed July 5, 2017 Gerberich, D. “Reflection.” https://www.peabody.harvard.edu/files/Gerberich%20%20Research%20Reflection.pdf Accessed July 5, 2017. Gilbert, C. “The Sea Dayak War Canoe: A Symbol of the Iban Culture in the late 19th Century.” https://www.peabody.harvard.edu/files/Gilbert_Museum1%20REDACTE D.pdf . Accessed July 5, 2017. Kimball, S. “Examining the Form and Function of an Iban War Canoe.” https://www.peabody.harvard.edu/files/Kimball_museum2.pdf . Accessed July 5, 2017. �Lu, A. “Reflections of a Pirate Archaeologist.” https://www.peabody.harvard.edu/files/Lu%20%20Reflections%20on%20Peabody%20Project.pdf . Accessed July 5, 2017 Metoyer,K.“Peabody Reflection.” https://www.peabody.harvard.edu/files/Metoyer%20Peabody%20Reflecti on.pdf Accessed July 5, 2017. Peabody Museum of Archaeology and Ethnology, “Mission.” https://www.peabody.harvard.edu/node/97 President and Fellows of Harvard College, 2009 – 2017. Accessed July 5, 2017 Rose, E. Personal communication. July 12, 2017. Skendarian, T. “Museum Project Reflection.” https://www.peabody.harvard.edu/files/Skendarian%20%20Project%20Reflection.pdf . Accessed July 5, 2017. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2017 Session 4: Ensuring a Sustainable Future for UCH: Museums and Public Engagement Description An account of the resource Cultural heritage derives its value from societal contexts, and so public engagement plays an important role in growing support for, and interest in heritage. Engagement may take many forms, from awareness-raising to formal learning programmes to creating platforms for public participation in the process of heritage conservation, governance, and/or interpretation. Papers bridging theoretical and practical approaches to engagement with UCH are particularly welcome, as are papers which offer collaborative and/or participatory models, stakeholder engagement, capacity-building and development, approaches to the particular challenges of engagement with underwater cultural heritage vs other kinds of cultural heritage. Of course heritage exists in a variety of cultural frameworks, and ensuring sustainability requires approaches to engagement to be both responsive and sensitive to the overlapping cultural contexts in which UCH may exist. As a culturally diverse region, the treatment of heritage must be also tailored to cultural definitions, heritage management frameworks and conventions which may, in some cases, differ across jurisdictions/countries and their interests. The panel will also attempt to explore the ways in which UCH is managed within diverse cultural frameworks, and invites papers to examine topics including contested UCH, ownership, security, etc. The panel invites papers exploring significance within local, national and transnational historiographies and the implications for funding and management of UCH. UCH includes material that has been deposited on the seabed as a result of warfare and catastrophe, so papers which explore and/or engage with topics including loss, warfare, conflicted significance and contested heritage are particularly welcome. Other relevant sub-themes include: * Public engagement in the management of UCH * Interpreting maritime cultural heritage for non-specialist audiences * Significance, interpretative potential, stakeholders and support/sustainability * Museums, Education, Outreach and Conservation * Memory, memorials and memorialisation Creator An entity primarily responsible for making the resource Raphael Igombo National Museums of Kenya, Kenya Michelle Damian Monmouth College (IL), USA Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Merging Museums with the Classroom: Using Collections to Teach Maritime Archaeology Description An account of the resource Although there is a growing interest in studying maritime archaeology even at the undergraduate level, it can be a challenge to bring to life for non-divers both the mechanics of an archaeological investigation, but also the joy of discovery and satisfaction of identification of a wreck site. This paper will describe possible alternative methods of recreating that entire process through the use of museum collections. In particular, I will discuss a project undertaken by undergraduates at Harvard University in partnership with the Peabody Museum of Archaeology and Ethnology. Students were required to choose a ship model from the museum’s collections and, with very minimal initial information, had to research its historical background and construction techniques, treating it as an archaeologist would a shipwreck site. This paper will introduce the benefits and challenges to both the students and the museums in using this type of approach. Creator An entity primarily responsible for making the resource Michelle Damian Publisher An entity responsible for making the resource available The Museum of Underwater Archaeology Date A point or period of time associated with an event in the lifecycle of the resource 11/24/2017 Rights Information about rights held in and over the resource Michelle Damian Asia-Pac Session 4 2017 https://apconf-much.org/proceedings/files/original/a2aa71e25ef45afdfe9fafe8b1111d12.pdf 4afaaea29b06d4c815497cfc407b03c2 PDF Text Text Ceramics and Other Archaeological Finds as Evidence of Ancient Ports Existence and Its Role in Eastern Coast of South Sumatra in Early Centuries Eka Asih Putrina Taim National Research Center of Archaeology University of Indonesia ekaasih_taim@yahoo.com Abstract The East Coast of Sumatra has been often associated with great maritime empire in Southeast Asia, namely Srivijaya. However in this paper does not focus on the presence of that empire, but the traces of settlements and port related maritime activities early centuries AD. Foreign ceramics is one solid indication of their relationship and trade exchange activities between the origin places of ceramics was produced with which it was found on the very site of east coast South Sumatra, the same thing happened to other findings as well. By revealing these sites we might have picture what Southern Sumatra role was in maritime activities of early centuries AD. Key words: Ceramics and Archeological Findings, Southern Sumatra, Ancient Ports Preface The east coast region of Sumatra Island is commonly known for seafaring since ancient times. As a “gate route” to enter the Indonesian Archipelago, its connected or passed by ships with destinations to and from the Yellow Sea in the North. The peak of trade activity in east coast region of Sumatra Island happened during the period of the Maritime Kingdom of Srivijaya. Its vast territory covered almost all of the western part of Indonesian Archipelago and Malay Peninsula (Kedah) up to southern part of Thailand (Ligor). Based on ancient inscriptions and foreign written sources, the period of this enormous kingdom was emerging presumably in 6th until 13th �Centuries. Yet it cannot deny, some of archaeological evidences that found in east coast of Sumatra Island, indicated the contacts activity with foreigner already conducted far before 6th Century. The peak of trading activity in eastern Sumatra through the Malacca Strait at that time appropriated with the period of “silk road” trade routes between East and West from the 8th -11th Centuries (Wolters, 1967). In land route of “silk road”, the traders were assessing the desert land through Central Asia, Eastern Asia to Europe, like wise from Europe to Central Asia. However, the sea routes in “silk routes” were sailing the routes which connected Mesopotamian and Persian Gulf in the West to South of China, through the Melaka strait and the East Coast of Sumatra. Meanwhile the trade network from trade centers in the West also expanded to the South East. The 8th -11th Centuries were expanding period of Muslim trade along coastline of Indian Sea to China. The Ships sailed from Mesopotamia and Persian Gulf or from Egypt and Middle Sea (Mediterranean) to India and Malabar, continued to Srilangka, Indonesia, Indochina, and Southern China territory. They were loaded with commercial goods such as rocks, turtle skin, comb, and metal bars. All of those things were exchanged for elephant trunks, rhinoceros horn, and camphor along the Indian seashore. Whereas in China, the trade goods were exchanged for precious things such as silk and ceramic, all of those were going to sale in Mediterranean markets and the Indian sea became center for the distribution of spices, perfume, aromatic ingredients, and medicines. (Lombard, 1996) The sea trade routes between East and West had went on far before the arrival of the Islamic religion into Indonesian Archipelagos. Traders and seafarers from China, Arabia and Persia had travelled using the advantage of monsoon winds. By assessing the historical records, we �have descriptions of their navigation network and the kind of commodities which were traded. The journey from China to Indonesian Archipelagos and South East Asia, at least had 3 stages period of journeys: The first period was the 5th – 7th Centuries; the journeys were motivated by religious pilgrimages. It is marked by Fa-shien journeying to religious centers in India and Ceylon in 414 AD. In his returned journey to China, he passed and stopped in Yeh Po Tie which located in the East Coast of Sumatra. At this time, the trade commodity was limited only to luxurious or royal goods such as: pearls, turtle skin, and religious effects such as benzoin, perfume and other exceptional things (Wolters, 1967). The second period was in the 7th – 13th Centuries; the sea journeys not only were intended for luxurious and royal goods, but also for spices and medicines. This period was marked by the emerging of maritime kingdoms in Sumatra such as Sriwijaya and Melayu. As we found in ItTsing’s records (677 AD), in his journey to India he stopped in Palembang, he noticed that Palembang had already become an important port. Another record made by another Chinese traveler, Hsu- T’ang –Shu, mentioned that Sriwijaya had at least 14 harbors or ports and Barus were one of its biggest one in the west coast of Sumatra, which produced camphor and had its own administrative rules (Wolters, 1967). The third Period was in the 14th -17th Centuries; it was the summit of Chinese commercial activity in the Ming Dynasty. At that time the Chinese Empire was as its acme in prosperity and leading culture. At the beginning of the 15th century, it was a period where there was an enormous interest from the Chinese Empire to expand its influence to overseas lands, its trade’s become more developed and more diverse, as well as China’s knowledge in geography had became wider and more detailed (Mills, 1969). The famous and legendary trader and envoy at this time was �Admiral Cheng Ho or Ma Huan (1403-1430 AD). Ma Huan or Cheng Ho noted and recorded on his journey in his journal and he wrote a book “ Ying Yai Sheng Lan” ( The Overall Survey of The Ocean’s Shores) (Mills, 1969). Base on its chronology, ports and trade settlements along east coast Sumatra could divide into several periods, 1. Ports which emerged in pre or early Sriwijaya period 4th– 7th C 2. Ports during Sriwijaya Period 7th – 13th C 3. Ports which existed after Sriwijaya period and at the time of emerging of many maritime kingdoms in Sumatra such as Panai, Malayu, and Samudra Pasai, as same period with Majapahit supremacy in East Java in 13th C. 4. Port that was emerged and developed in 18th-19th C From all of the five stages of Chronology, the existing of the ports was the most varied. Some of ports could survive through several periods but there also ports which only existed only in one period and abandoned afterward. Archaeological researches in eastern Sumatra, supported by written sources, is also conducted by field research through either surveys or excavations. The results of this research revealed that most of the sites in this area were dated back to pre- and during the Sriwijaya period in 4th 13th C. The primary indications for the existence of those ports in east coast of Sumatra were an enormous number of ceramics found, mostly along the line of its seashore. As well as the ceramic sherds there’s also traces of ancient settlements remains such as bricks, poles of wooden �house pillars, fragments of ancient ships/vessels, beads, metal and wood relics. Other data that we could use to explain the existence of the ports are the shipwreck cargos, which found in Indonesian Sea, such as shipwreck from Pulau Buaya, Bangka Belitung, and the recent finding from Cirebon Sea. The data from these projects are very important and relevant evidences reveal the ancient trade activity and its commodities for export and import from other places outside of the Indonesia Archipelago. More over with sunken ship sites, which might have same chronological assemblage, contains a high value of large number ceramic data related to other kinds of commodities which were also important. The ceramics we could identified the origin of its dated and place, and from ceramics dating we could confirm the variation of other commodities which came from the same period of the ceramics. This paper tries to decipher which sites have indicated that these activities and how their role in shipping, trade and cultural exchanges of the past by using both written source and artifacts that found in very sites. The Archaeological Findings And Past Ten Years New Reveals In South Sumatra Most of sites that indicated maritime and long distance trade activity in early centuries are located in two provinces in southern part Sumatera, which are South Sumatra province and Jambi province. A. Jambi Province The existence of ancient port in south Sumatra began with toponim of a place called “Muara Sabak”. It’s located in Batanghari estuary. The word Sabak could be refer to Arabian noted in 7th C called Zabag , a place that might be located in Sumatera (L. Damais, 1964). Nowadays Muara Sabak �is in Tanjung Jabung distrik, along with others sites that had reveals later in late 90’s such as Lambur. Nipah Panjang, Siti Hawa, and Koto Kandis. Fig. 1: Tanjung Jabung District in Jambi Province. Tanjung Jabung district lies in a delta at the mouth of the Batang Hari River, the second largest river in southern Sumatra. The lowland region mostly consists of peat swamps. Several rivers flow into this delta, which partly empties into the Berhala Strait, among other rivers; Pemusiran, Lambur Luar, and Simbur Rise. Those sites located in this region are on the banks of the river flow, both of which still exist as well as the flow of an ancient river that has dried up. The most prominent finding on sites in this region is the distribution of foreign ceramics which is quite dense and evenly distributed on every surface of the site. Ceramic findings, especially Chinese ceramics are quite dominant to the sites in the estuary area up to Muara Jambi site in the mid-stream of the River Batanghari. In addition to ceramics, the findings in the estuary of the river, also a variety of other ship findings such as wooden pegs, fiber ropes, ship fragments, metal, pottery, gold, and other findings that show traces of settlement activities and maritime activity of past trade. Mostly �ceramic finds in this area came from the Sung Dynasty era; 11th to 13th Century, and consists of various kinds of white ceramics, caldrons, jars, ewers, which came in quite fine quality. B. South Sumatra Province Other than Batanghari River, the largest river in South Sumatra is Musi River. The maritime site in this province mostly scattered in the bank of this river. South Sumatra province are well-known on its role in trade route either in historical or archeological data. Fig. 2: Air Sugihan Site, South Sumatra Province. The oldest data in this region date came from the early of the 7th century AD, known as the Srivijaya period. The sites located in the estuary of the Musi River facing directly into the Strait of Malacca, among others are the wetlands sites on along the edge of the east coast of South Sumatra, such as the sites in Bayunglincir, Karang Agung to Air Sugihan, and the site of Kota Kapur in Bangka Island. These sites clearly indicate the trace of ancient settlements existence and maritime activities from the beginning of AD (century 3-4 AD). In addition to the findings of ancient settlements, �there are household appliances (grinding), pottery, beads, and metal fragment fragments, as well as Chinese ceramic findings from Tang dynasty by the end of 9th century AD. For the oldest ceramic find in the eastern seaboard South Sumatra is a jug from the 6th Century Sui dynasty found on the site of Air Sugihan. The district of Air Sugihan lies on the south side of the delta of Musi River on an ebb and tide, swamp area. Since 1980 was made for transmigration settlements, canals and bridges were built to reach the villages. Since inhabited, many archaeological findings were reported yet illegal digging occurred around the 1990s. Preliminary surveys were conducted in 1998 and again in 2003 through to 2011, and 2013 by Indonesian National Research Center of Archaeology. The research had identified several sites with surface finds such in Kertamurti, Nusakarta, Banyubiru, and canal 7. Excavations were carried on at 2007 and 2008, 2011 and 2013. Beside the traces of ancient settlement, sites in east coast of South Sumatra also show remains of ancient maritime activities such as; part of the remaining ancient boats, wooden fragments of ships; oars, peg wood, rope fibers, shoe stoves, as well as remnants of an ancient dock. Some others finds in Air Sugihan area which indicated similarity with other sites in South India. China Mainland and South East Asia have various beads made of glass and stone; stamps made of glass/stone; decorated pottery; Chinese ceramics; and metal objects. �Fig. 3 (left):Tthe end of a wooden boat fragment (National Research Center of Archaeology). C. Bangka Island Bangka Island was used to part of South Sumatra Province, now the island namely Bangka and Belitung have became a Province of Bangka Belitung. The Bangka Island it self with its Menumbing hill has been known by sealer in early centuries. The oldest written story written before Sriwijaya about Bangka obtained in India. A Buddhist literature written in century 3 AD (Mahaniddesa) mentions a number of place names in Asia, among others about Swarnnabhūmi, Wangka, and Java. Swarnnabhūmi name can be identified with Sumatra as mentioned also in the book Milindapanca while Wangka may be identified by Bangka. More detailed information about the picture there Bangka Island the Chinese news from the year 1436 AD is Hsing-Ch'a Sheng-lan ( General Reports Journey at Sea) written by Fei Hsin of a place called Ma-yi-tung lying west of Kau-lan (Belitung) in the southern sea (L. . Damais, 1995; Groeneveldt, 1960) Kota kapur, a prominent archaeological site in Bangka island, well known as its inscription about the invasion to Bumijawa. The inscription was originally thought to have come from the 7th century AD, but with the discovery of a statue Vishnu style 4 -5 centuries AD as it is also found in the port of Oc Eo sites in northern Vietnam. With the discovery of these findings, it can be said Kota Kapur site has been going on around the 4th �century AD or the period before the Realm of Srivijaya. The findings from this site not only inscription but also remains of brick temples, with one of it center consist about 20 ceramic bowls dated from North Song Dynasty 10th C arranged in circle row. The island of Bangka has a strait of Bangka that connects with Malacca Strait. In the 7th century AD, the Malacca Strait has become an important shipping lane and crowded with the Indian region. In 2013, National Research Center of Archaeology has revealed remnants of an ancient dock /port on southwest shore of Kota Kapur, facing to the mouth of Musi River, This remnant presumably as an entrance dock to Kota Kapur in early century. In addition to the rest of the pier, around the location are also found the remains of a large wooden boat, pottery shard, and the remains of house poles. Fig. 4 (right): Excavation on ancient dock in Kota Kapur Site of Bangka. (National Research Center of Archaeology) Conclusion Indonesia was presumably greatly involved in the Indian Ocean network trade at very early period. Indonesian products such as camphor, benzoin, cloves, and gold were demand in India and China, moreover to Middle East, Rome and west coast of Africa. Historical evidence however �indicates that the main emporia in western Indonesia were not located near the producing center, but instead were in south east Sumatra (Miksic, 1979) The oldest evidences of long distance trade route, between southern Sumatra’s east coast to elsewhere, are the finding of ceramic jars from the Sui dynasty’s 6t -7th century , the Arikamedu’s pottery shard of 4th 5th century, also some potteries which as the same as found in Oc Eo site (4-5 C). In Air Sugihan site, not only the potteries but also beads, metal works, and also amulet are similar with those found in 4th-5th century site of Oc Eo. From the chronology of ceramic finds, ceramic that found in Tanjung Jabung area of Batanghari estuary are mostly latter than those found South Sumatera east coast. It is indicated that settlements in South Sumatra by the Musi River estuary were older (9th-10th C) than Batanghari’s (11th -13th C). The ceramics and other artifacts such as metal work , glass and others found in Jambi and South Sumatra sites are the same as those found in Pulau Buaya, Intan and Cirebon Shipwreck , which mean all those were came from the same period and the same trade business (Taim, 2016) Some boat fragments found in Air Sugihan or Bangka site shown the use of Southeast Asian tradition of boat making. Southeast Asian boat making techniques that consist of sewn plank technique and lash lug techniques. This technique was flourishing in Southeast Asia so it use to call as Southeast Asian Technique, which starts in early first century (Abas, 2009). The eastern coastal area of southern Sumatra contains several areas that indicate long-distance maritime and trade activities. The region covers �Jambi province, south Sumatra, and Bangka Belitung. Based on the findings of archaeological remains, the Jambi province area relatively younger by archeological findings than the other two regions (southern Sumatra and Bangka). This is in accordance with the chronology of the history of the kingdom of Srivijaya which was mentioned in Sumatra by Coedes (Coedes, Damais, Kulke, & Manguin, 2014). Wolters, an English Historian , also said that Jambi to South Sumatra area are the suitable and strategic location, as enter port while waiting for the best wind that might bring the ship to east (Manguin, Py,. Soeroso MP, 2006) References Abas, N. 2009. Perahu Kuno di Situs Punjulharjo , Rembang. Berita Penelitian Arkeologi, 23, 46–59. Coedes, G., Damais, L.-C., Kulke, H., & Manguin, P.-Y. (2014). Kedatuan Sriwijaya. (A. G. and P. M. Veronique de Groot, Ed.) (2nd ed.). Jakarta: Komunitas Bambu. Damais, L. 1964. "Etudes sino-indonesiennes III. Latrascription chionese, Holloing designation de Java. BEFEO, 52(1), 93–161. Damais, L. . 1995. “Agama Buddha di Indonesia. In Epigrafi dan Sejarah Nusantara: Pilihan karangan Louis-Charles Damais. Jakarta: Pusat Penelitian Arkeologi Nasional. Groeneveldt, W. P. 1960. Historical notes on Indonesia and Malaya compiled from Chinese sources. Jakarta: Bhratara. Retrieved from http://catalogue.nla.gov.au/Record/783716 Lombard, D. 1996. Nusa Jawa ; Silang Budaya (3rd ed.). Jakarta: Gramedia. Manguin, Py,. Soeroso MP, M. C. 2006. Daerah Dataran Rendah dan Daerah Pesisir. In Menyelusuri Sungai Merunut Waktu : Penelitian Arkeologi di Sumatera Selatan (pp. 49–62). Jakarta: Enrique Indonesi. �Miksic, J. N. 1979. Archaeology, Trade and Society in Northeast Sumatra. ProQuest Dissertations and Theses. Cornel University. Retrieved from http://search.proquest.com/docview/302932664?accountid=13771 Mills, J. 1969. Ying-yai Sheng-lan: “The Overall Survey of the Ocean”s Shores. Cambridge, UK: Cambridge University Press. Taim, E. A. P. 2016. Keramik Muatan Kapal Karam Cirebon: Sebaran Di Situs-Situs Arkeologi Sumatera Bagian Selatan. Kalpataru, 25 No. 1(Mei 2016),29–44. Retrieved from http://jurnalarkeologi.kemdikbud.go.id/index.php/kalpataru/article/view/81 Wolters, O. W. 1967. Early Indonesian commerce : a study of the origins of ʹSrīvijaya. New York, Ithaca: University Press. About Author Name: Eka Asih Putrina Taim Occupation: Researcher / Doctor Candidate of Indonesian University Affiliation: National Research Center of Archaeology/ University of Indonesia Address: Jln. Raya Condet Pejaten no .4, Jakarta Selatan 12510 Indonesia Email: ekaasih_taim@yahoo.com Specialty in: Ancient Settlement of Hindu Buddha period in Sumatra and Ancient Ceramics � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2017 Session 3: Ceramic trade and cross-cultural exchange from Asian-Pacific region to the world Description An account of the resource Ceramics are the crucial cultural materials for understanding the cross-cultural exchange from Asian-Pacific region to the world. This session will discuss how interdisciplinary approaches such as archaeology, art, history, geophysics, and material science can broaden our horizons on the study of ceramic trade and cross-cultural exchange. Second, we will discuss the connection of ceramic trade and exchange between the early age of commerce (c.900-1300 C.E.) and the age of commerce (1450-1680 C.E.) in Southeast Asia and other regions. This established some challenges in ceramic trade including the influence for new creativity and production development, such as in Europe where some trademarks were developed under the Chinese influence. Our goal is to deepen our knowledge on the application of interdisciplinary approaches on the study of ceramic trade and cross-cultural exchange across the two historical periods. Creator An entity primarily responsible for making the resource Sharon Wong Wai-yee Department of Anthropology, The Chinese University of Hong Kong, Shatin, N.T. Hong Kong Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Ceramics and Other Archaeological Finds as Evidence of Ancient Ports Existence and Its Role in Eastern Coast of South Sumatra in Early Centuries Description An account of the resource The East Coast of Sumatra has been often associated with great maritime empire in Southeast Asia, namely Srivijaya. However in this paper does not focus on the presence of that empire, but the traces of settlements and port related maritime activities early centuries AD. Foreign ceramics is one solid indication of their relationship and trade exchange activities between the origin places of ceramics was produced with which it was found on the very site of east coast South Sumatra, the same thing happened to other findings as well. By revealing these sites we might have picture what Southern Sumatra role was in maritime activities of early centuries AD. Creator An entity primarily responsible for making the resource Eka Asih Putrina Taim Publisher An entity responsible for making the resource available The Museum of Underwater Archaeology Date A point or period of time associated with an event in the lifecycle of the resource 11/24/2017 Rights Information about rights held in and over the resource Eka Asih Putrina Taim Asia-Pac Session 3 2017 https://apconf-much.org/proceedings/files/original/bec21e9afef5b6a4311e1faeeb70dffe.pdf 7fb9acd932134d309993980df547c6e4 PDF Text Text The Blues of the Santa Cruz: A study of porcelain color and composition Ellen Hsieh Cotsen Institute of Archaeology at UCLA ellenhsieh@g.ucla.edu Christian Fischer UCLA/Getty Conservation Interdepartmental Program chrisfischer@ucla.edu Bobby C. Orillaneda National Museum of the Philippines bobbyorillaneda@yahoo.com Abstract For the study of ceramics found in a shipwreck, stylistic and provenance analysis are two approaches that can provide critical information about period and trade route of the vessel. In this paper, we investigate the characteristics of trade ceramics from the well-preserved Santa Cruz shipwreck, which sunk along the west coast of Luzon Island in the Philippines. Underwater excavation has brought to light more than 15,000 ceramics, mainly Chinese Jingdezhen blue-and-white porcelain and Longquan celadon of the Hongzhi period (1488-1505 CE) as well as other wares from Thailand, Vietnam, and Burma. Here, we have focused on the Jingdezhen blue-and-white porcelain and selected twelve dishes with similar decorative patterns, but showing different tones and shades of the blue color. The dishes were most likely produced in the same workshop or within a small region and the primary goal was to investigate production variability. The chemical composition of the ceramics and the characteristics of the blue pigment were studied non-invasively with portable X-ray fluorescence pXRF) and fiber optics reflectance spectroscopy (FORS). Results have shown that pXRF data are relatively homogeneous which reflects some constancy in term of raw materials procurement usage. On the other hand, although the blue pigment was as expected a cobalt-based material, FORS spectral profiles present significant differences which might be due to variations in the pigment composition and/or firing conditions, while for others, they could also be �related to weathering. From an archaeometry perspective, this research provides some insight on production standardization in Jingdezhen as well as on subsequent modifications that can affect ceramics found in an underwater archaeological context. Key words: Ceramics, shipwreck, Philippines, blue-and-white, pXRF Introduction Chinese blue-and-white porcelain was one of the most popular commodities during the pre-modern and early modern periods, and it was frequently found along the maritime trade routes. Because the decorative patterns of blue-and-white porcelain changed over time, the artistic style of this type of material is usually the primary research focus for clarifying dating issues. However, the chronology of Chinese blue-and-white porcelain was established based on fine wares made mostly for the court, and the variability of the production was relatively ignored. Regarding the color of the decoration observed with naked eyes, there is a broad range of “blues” on blue-and-white porcelain, ranging from blue, green, purple, gray, and sometimes even black.1 In this research, we have used scientific analysis to investigate the causes of the color difference among a selected set of blue-and-white porcelain from a shipwreck. This archaeological context provides a particular opportunity for this research: loaded in the same boat as merchandise, a same kind of mass-produced cargo was most likely made around the same time and was even from the same or nearby workshops. The artifacts were selected from the cargo of the Santa Cruz shipwreck that sunk about ten nautical miles off the northern Zambales coast on Luzon Island. This shipwreck is one of the representative fifteenth-century vessels in maritime Asia (Fig. 1). The underwater excavation was conducted in 2001 by the National Museum of the Philippines in �collaboration with the Far Eastern Foundation for Nautical Archaeology. The vessel was about twenty-five meters long and six meters wide and was built following the so-called South China Sea Tradition of shipbuilding. The structure itself is well preserved as 80 percent of the lower hull was discovered and the cargo was still loaded in the 16 transverse bulkheads. A variety of materials were found in the Santa Cruz including ceramics, metal products, glassware, wooden and stone materials. Among these artifacts, more than 15,000 ceramics were recovered during the campaign, including Chinese and Vietnamese blueand-white porcelain, Chinese celadon, as well as Thai and Burmese stoneware (Orillaneda, 2008, 2016). Mainly based on the style analysis of the ceramics, the Santa Cruz shipwreck could be dated to the Hongzhi period in Ming China (1488~1505 CE). The discovery of the Santa Cruz shipwreck and its cargo is an important piece of evidence for the so-called Dongyang (Eastern Sea, from the Chinese perspective) trade route during the “Age of Commerce” in Southeast Asia (Reid, 1988, 1993). Additionally, the vast amount of late fifteen-century CE Jingdezhen blueand-white porcelain on board marked the end of the “Ming Gap” (Brown, 2009) and the revival of the trade of Chinese ceramics in Southeast Asia. This research therefore, not only contributes to the general issue of color variation among blue-and-white porcelain but also sheds light on the production process and trade of Chinese porcelain during this particular period. �Fig. 1: Map of East and Southeast Asia with the location of the Santa Cruz Wreck (left) and images taken during the excavation (right). Materials and methods Blue-and-white porcelain Twelve blue-and-white dishes were analyzed with a particular focus on the different tones and shades of the blue color (Tab.1; Fig. 2). The porcelain ware was loaded in piles mostly at the port side of the boat, and the dishes were distributed in bulkhead 1, 3, 5, 7, and 9 (Orillaneda, 2008). The locations of these samples show that those from the same bulkhead did not necessarily share similar appearance or quality (e.g. III-2001-Z2963 and III-2001-Z-3245). The selected dishes are all saucer-shaped and of similar size: diameter of the mouth rims is about 26cm, height is about 4cm, and the diameter of the foot rim is about 13cm. Most of them �are entirely decorated with the same kind of casual-style patterns (e.g., flora and rock, deer and pine tree). The blue decoration was applied on both the interior and exterior of the dishes. To leave the foot rim unglazed, the transparent glaze was applied separately at the bottom of the dishes. In many cases, the glaze applied on the bottom looks different from the glaze in the other parts. While all dishes have been cleaned and desalinated after the excavation, some still show shell encrustations. Methods Two non-invasive technologies were used in this study: portable X-ray fluorescence (pXRF) and fiber optics reflectance spectroscopy (FORS). Previous research has shown that these two techniques are suitable for the compositional analysis of blue-and-white porcelain and details of the settings used here for the two instruments can be found in the corresponding paper (Fischer and Hsieh, 2017). For pXRF, soil mode was used to acquire data on minor and trace elements from both the blue and white areas while mining mode was used for major elements from the transparent glaze. Measurements on the blue areas (glaze + blue pigment) were all taken on the main decoration at the center of the plate. As to the white area, due to the difference of the glaze application mentioned above, measurements were taken on two locations: one on the area next to the blue decoration and another one at the bottom. Depending on the size of the ‘white’ areas, the location of the first measurement was sometimes on the external side of the dishes. Compositional data of the body was collected on the only dish with a bare bottom (i.e. III-2001-Z-7026). Regarding FORS, measurements were taken on the blue decorated areas and on the ‘white’ at the bottom because there was not enough space for the measuring probe in between the blue decor. �Fig. 2: The dishes selected and analyzed in this study, with the color references of the decorations. �Table 1. Characteristics of the selected blue-and-white porcelain dishes Results and discussion Visual observations The selected blue-and-white dishes share general characteristics regarding size, form and decoration styles. The shape of the foot rims and the way of applying the glaze show that the manufacturing process might be similar. In general, the glaze is quite transparent though a bit grayish, but for a few dishes, it shows a milky and opaque appearance that influence the visibility of the blue pigment beneath. Cracks and dewetting features related to shrinkage are also commonly observed. In some cases, these characteristics are only visible on one side of the dish, suggesting that the variations of glaze might be mainly due to firing conditions, such as the temperature of the kilns and where the plates were loaded in kilns. The surfaces of the glaze are weathered to various degrees after staying hundreds of years under the sea. In some cases, it is however hard to tell whether the opaque aspect of the plates is due to �their inferior quality or weathering at first glance. The blue areas are generally dull and look greenish or grayish with the naked eye. The primary motifs are outlined and filled with light colors, whereas the small leave patterns were drawn directly with thicker pigments favoring the formation of darker spots after firing. Sometimes, a brownish material can be observed on the top of those dark blue areas, which is most likely due to weathering. Chemical composition and production kilns Chemical composition data obtained with pXRF on the transparent glaze indicate that the blue-and-white plates were produced in Jingdezhen based on the concentrations of some discriminative elements such as zirconium, thorium and titanium (Tab. 2), a result consistent with the stylistic analysis and historical context. Values for these elements are close to the ones measured in previous studies despite the different time periods (Fischer and Hsieh, 2017; Ma, et al. 2012) and such compositional similarities could correspond to a relative constancy in the procurement of raw materials and processing technologies from the middle to late-Ming period. However, variations in rubidium levels, i.e. the higher values reported in the present study, also found for the Guanyinge and other unspecified late-Ming kiln sites (Rb: 428±78 ppm, Zhu et al. 2016; Rb: 436±84 ppm, Ma et al. 2012) compared to the lower averages measured on Jingdezhen blue-and-white ware from the Nan’ao One shipwreck in China (Rb: 270 ppm, Zhu et al. 2016) and sherds from the Philippines and Indonesia (315±40 ppm, Fischer and Hsieh 2017) dated to the lateMing and early-Qing periods, might reflect some intra-site variability among the numerous kilns in Jingdezhen. Based on the analyzed elements2, the chemistry of the glaze measured in the ‘white’ area, corresponds to an alumino-silicate glassy network �containing calcium and potassium added as fluxing agents and network modifiers. The composition of the glaze is relatively homogeneous, independently of its degree of transparency, making it difficult to identify the origin of the opacity which could be linked to the firing process, underwater weathering, or both. For some dishes, calcium levels are low and such levels, associated with lower firing temperatures in some areas of the kiln, could indeed contribute to opacify the glaze. On the other hand, almost invisible defects in the glaze induced by composition and firing conditions could favor the weathering in an underwater environment as well, and explain the lack of transparency for the glaze of some dishes. Also noticeable are some differences in the composition of the glaze applied to the base which shows lower calcium and higher iron and titanium in comparison to the ‘white’ and decorated areas. Although this trend is not systematic (see e.g. III-2001-Z-3245), it could suggest usage of a slightly different recipe for the glaze applied to the bottom. Finally, it can be mentioned that the desalination process was rather effective as the levels of chlorine and sulfur, not reported here, are generally low, apart may be for the dish with reference III-2001-Z-14679. �Table 2. Compositional data from pXRF and FORS analysis. Major (% oxides) Accession N° Spot CaO K2 O III-2001-Z-256 blue white 4.4 5.2 base 3.9 5.1 III-2001-Z-789 blue white 6.1 4.0 base 5.5 4.0 III-2001-Z-1269 blue white 5.4 5.0 base 3.4 5.0 III-2001-Z-2797 blue white 6.9 4.2 base 5.8 4.3 III-2001-Z-2963 blue white 6.6 3.9 base 5.7 4.0 III-2001-Z-3245 blue white 5.4 4.2 base 5.5 4.3 III-2001-Z-3851 blue white 8.1 4.1 base 6.6 4.1 III-2001-Z-5135 blue white 5.6 4.2 base 5.0 4.7 III-2001-Z-7026 blue white 5.9 4.2 base** 4.1 3.5 III-2001-Z-13671 blue white 5.9 4.8 base 4.4 4.6 III-2001-Z-14679 blue white 5.9 4.3 base 4.9 4.5 III-2001-Z-14878 blue white 5.9 4.6 base 4.9 4.1 Selected Elements from pXRF Analysis Minor and Trace (ppm) Fe Ti Mn Rb Sr Zr Co Cu 2546 -- 7265 408 87 46 1276 47 2104 116 340 412 95 45 -28 84 495 403 71 58 -28 4019 128 3035 385 99 44 279 37 3585 125 348 411 97 50 -27 139 391 406 101 48 -19 2996 103 3038 385 82 57 442 54 2553 251 326 392 87 53 -33 187 254 395 62 63 -28 3375 115 1796 448 109 45 275 51 2697 116 295 408 136 40 -32 228 371 475 122 56 -37 4678 -- 3840 307 100 45 611 45 4591 -440 318 95 53 -37 95 464 326 72 59 -26 3484 -- 2150 322 111 48 343 58 2997 156 262 335 97 54 -33 133 233 334 73 63 -29 3408 -- 8910 333 94 50 1047 112 3194 148 602 331 112 49 -52 229 439 361 78 62 -32 3376 285 2011 417 106 49 186 113 3131 81 229 457 84 53 -47 151 327 492 71 58 -37 2925 105 1305 573 88 39 133 48 2835 202 240 601 92 48 -24 266 310 669 42 57 -19 3884 133 3543 392 92 50 355 56 3061 191 428 394 91 52 -49 117 398 414 66 55 -29 3416 103 2516 400 54 52 356 34 2561 214 438 391 71 50 -35 172 528 415 49 61 -27 4335 129 3169 539 84 45 166 71 3752 142 347 567 85 54 -66 255 607 655 57 66 -43 Th 11 8 17 10 10 9 11 11 12 9 -15 9 10 14 9 12 14 12 12 16 9 10 10 8 -18 12 10 13 10 8 14 21 10 13 FORS Analysis Spectral absorptions (nm)* Co (II) Ni Mn(II) Mn(III) H2O 341 421w 491vw 519w 583s 678s -71 244 422m 491w 517m 582s 673m --206 420m 489vw 521vw 584m 679s +++ 83 57 115 424w 493w 520m 585s 676s 67 77 415 422w 491w 517m 583s 677m 107 83 281 423w 491w 521m 581s 665br ++ -54 237 423w 491w 520m 583s 677s 87 82 164 426w 491vw 522m 585s 675s ++ -86 218 421m 491w 519m 583s 670s ++ --465 421m 492w 520m 581s 672m 111 64 351 421w 490w 518m 584s 671m + 88 -701 422m 492w 522m 586s 655br 93 56 * Absorptions: vw: very weak, w: weak, m:medium, s: strong, br: broad ** body Composition and color variations of the blue decorations The pXRF analysis of the blue decorated areas has shown that the cobaltbased pigment contains high levels of manganese, low iron and significant amounts of nickel as well as traces of copper. After subtraction of the manganese and iron contribution from the transparent glaze (white area), normalized percentages of Mn, Co and Fe are similar to the blue pigment analyzed on other export blue-and-white porcelain produced in Jingdezhen (Fig. 3). This compositional profile is consistent with the results of previous studies (Chen et al., 1978; Cheng et al., 2005; Fischer �and Hsieh, 2017; Wen et al., 2007) and also supports the use of Mn-rich asbolite ores in folk kilns during the Hongzhi period of the Ming dynasty. Fig. 3: Ternary plot showing the blue pigment composition based on the relative proportions of Co, Mn and Fe. FORS analysis provided colorimetric data using the 1964 CIE 10° XYZ standard which were converted to visible references, confirming the variability of the blues based on visual observations (Fig. 2). Spectral profiles obtained with FORS on the blue decorated areas (Fig. 4, left) show the characteristic absorptions of Co2+ in tetrahedral coordination with the triplet located around 520, 580 and 670 nm (Ceglia et al., 2012; Fischer and Hsieh, 2017). For some plates, darker colors translate in an overall lower spectral reflectance in the visible, but the cobalt absorptions are always present though with variable intensities (Tab. 2). However, in these darker areas obvious signs of weathering are often visible (Fig. 4, right) and the associated brownish color is most likely due to an oxidation �of Mn and Fe phases. Moreover, the grayish or blackish hue of the decoration might be correlated with high levels of manganese in the composition of the pigment, combined with redox firing conditions favoring the crystallization of Mn-rich oxide phases (Wen et al., 2007). Some analogy can be made with ‘black’ glasses containing several percent of MnO making the glass appear black to the human eyes (Möncke et al., 2014). Similar dark colors were also found on blue-and-white from the Chenghua period (1465 ~1487 CE) though the amount of manganese in the blue pigment was not analyzed (Qu et al., 2014). In the FORS spectra, the presence of Mn-rich phases might be associated with the absorption of Mn(II) at 420 nm and a broad but weak Mn(III) absorption around 490 nm (Tab. 2), although the latter attribution would need to be confirmed by further research on reference materials. Finally, in the near infrared spectral range, some plates show a strong and asymmetrical combination band around 1910 nm which seems to be correlated to the degree of opacity and can be attributed to the presence of water adsorbed in the glaze and/or in the body that might result from the weathering and/or indirectly reflect a more porous body and lower firing temperatures. �Fig. 4: FORS spectra of the blue decorated area from selected dishes (left) and weathering features of the glaze and dark spots concentrated in blue pigment. (III-2001-Z-14878, right) In this preliminary study, the variability of the blue colors of blue-and-white porcelain from Santa Cruz shipwreck was explored by using pXRF and FORS. Factors associated with composition, recipe and production process as well as underwater conditions can all affect the appearance of the excavated ware, the most critical ones being the recipe of the glaze, the firing conditions and the weathering induced by water. The results of the pXRF data have shown that regardless of the appearance variability, the chemical composition of the selected dishes share the characteristics of middle and late Ming blue-and-white porcelain produced in Jingdezhen. The pXRF data also shed light on some aspects of production processes of the dishes. FORS provided colorimetric data which are well correlated with the visual perception and variability of the ‘blue’ colors. Also, the spectral profiles and related absorptions have given some insight on the potential causes for the darker colors. To further examine the variability of the blue-and-white porcelain loaded in the Santa Cruz, it would be �necessary to investigate a larger set of dishes and if possible, compare dishes from the same pile. Endnotes 1 It is worth noting that the Chinese name of blue-and-white porcelain is “Qinghua,“ meaning “patterns with qing color.” And qing can refer to colors ranging from green, blue and black. 2 For major elements, values for Si and Al are considered qualitative and not reported in Table 2. References Brown, R. M., 2009. The Ming Gap and Shipwreck Ceramics in Southeast Asia: Towards a Chronology of Thai Trade Ware. The Siam Society Under Royal Patronage, Bangkok. Ceglia, A., W. Meulebroeck, K. Baert, H. Wouters, K. Nys, H. Thienpont and H. Terryn, 2012. Cobalt absorption bands for the differentiation of historical Na and Ca/K rich glass. Surface and Interface Analysis, Vol. 44:219-226. Chen, Y.-c. , Y.-y. Kuo and T.-g. Chang, 1978. An investigation on Chinese blue-and-white ware and its blue pigment. Journal of the Chinese Ceramic Society, Vol. 1978(4): 225-241. Cheng, H. S., B. Zhang, D. Zhu, F. J. Yang, X. M. Sun and M. S. Guo, 2005. Some new results of PIXE study on Chinese ancient porcelain. Nuclear Instruments and Methods in Physics Research Section B: Beam Interactions with Materials and Atoms, Vol. 240(1-2): 527-531. Fischer, C. and E. Hsieh, 2017. Export Chinese blue-and-white porcelain: compositional analysis and sourcing using non-invasive portable XRF and reflectance spectroscopy. Journal of Archaeological Science, Vol. 80:1426. Ma, H. , J. Zhu, J. Henderson and N. Li, 2012. Provenance of Zhangzhou export blue-and-white and its clay source. Journal of Archaeological Science, Vol. 39(2012): 1218-1226. �Möncke, D., M. Papageorgiou, A. Winterstein-Beckmann and N. Zacharias, 2014. Roman glasses coloured by dissolved transition metal ions: redox- reactions, optical spectroscopy and ligand field theory. Journal of Archaeological Science, Vol. 46: 23-36. Orillaneda, B. C., 2008. The Santa Cruz, Zambales Shipwreck Ceramics: Understanding Southeast Asian Ceramic Trade during the Late 15th Century C.E., Archaeological Studies Program, The University of the Philippines, Diliman. Orillaneda, B. C., 2016. Of Ships and Shipping: The maritime archaeology of fifteenth century CE Southeast Asia. In C. Wu (ed.), Early Navigation in the Asia-Pacific Region: A Maritime Archaeological Perspective, Springer, Singapore: 29-57. Qu, Y., J. Xu, X. Xi, C. Huang and J. Yang, 2014. Microstructure characteristics of blue-and-white porcelain from the folk kiln of Ming and Qing dynasties. Ceramics International, Vol. 40: 8783-8790. Reid, A., 1988 Southeast Asia in the Age of Commerce 1450-1680, Volume One: The Lands below the Winds. Yale University Press, New Haven and London. Reid, A., 1993 Southeast Asia in the Age of Commerce 1450-1680, Volume Two: Expansion and Crisis. Yale University Press, New Haven and London. Wen, R., C. S. Wang, Z. W. Mao, Y. Y. Huang and A. M. Pollard, 2007. The chemical composition of blue pigment on Chinese blue-and-white porcelain of the Yuan and Ming dynasties (AD 1271-1644). Archaeometry, Vol. 49(1): 101-115. Zhu, J., H. Ma, N. Li, J. Henderson and M. D. Glascock, 2016 The provenance of export porcelain from the Nan'ao One shipwreck in the South China Sea. Antiquity, Vol. 90(351): 798-808. Bios Dr. Ellen Hsieh is a research affiliate at National Chengchi University in Taiwan. She started her archaeological career from Neolithic Asia and then switched to concentrate on historical archaeology. She received her PhD degree in archaeology at the Cotsen Institute of Archaeology at the �University of California, Los Angeles. Her research interests include maritime archaeology, historical archaeology, global history, archaeometry and cultural heritage. She has worked on archaeological projects in Taiwan, China, the Philippines and Cambodia and has published several articles about trading networks, colonialism, and scientific analysis of trade ceramics. Dr. Christian Fischer received a PhD in Geochemistry and Physical Chemistry from the Louis Pasteur University in Strasbourg. After years of scientific research in the private sector in France and China, he returned to academia in 2001. At UCLA since 2005, he has been teaching on various topics including archaeometry, conservation science and stone conservation as well as spectroscopy for the analysis of archaeological materials. He conducts research on raw materials sourcing and conservation of cultural artifacts, particularly of stone in Cambodia and neighboring countries in collaboration with the École Française d’Extrême-Orient (EFEO), Chinese export blue and white ceramics in Southeast Asia, and is involved in other projects in Cyprus, Chile and Mexico. Dr. Fischer is also the co-director of the Archaeomaterials group and the Molecular and Nano Archaeology Laboratory at UCLA as well as a scientific consultant for UNESCO on the preservation of cultural heritage. Bobby Orillaneda is a Museum Researcher at the Maritime and Underwater Cultural Heritage Division, National Museum of the Philippines. He is also finishing his doctoral studies at the Oxford Centre for Maritime Archaeology, University of Oxford in England. He has been involved in maritime archaeology since 1999 and has worked in a number of projects in the Philippines, Egypt, Thailand, Indonesia and Sri Lanka. He was also part of a training team that carries out underwater training programs in Thailand and Indonesia. His areas of interest include Southeast Asian maritime history, Asian ceramics and World War II shipwrecks. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2017 Session 3: Ceramic trade and cross-cultural exchange from Asian-Pacific region to the world Description An account of the resource Ceramics are the crucial cultural materials for understanding the cross-cultural exchange from Asian-Pacific region to the world. This session will discuss how interdisciplinary approaches such as archaeology, art, history, geophysics, and material science can broaden our horizons on the study of ceramic trade and cross-cultural exchange. Second, we will discuss the connection of ceramic trade and exchange between the early age of commerce (c.900-1300 C.E.) and the age of commerce (1450-1680 C.E.) in Southeast Asia and other regions. This established some challenges in ceramic trade including the influence for new creativity and production development, such as in Europe where some trademarks were developed under the Chinese influence. Our goal is to deepen our knowledge on the application of interdisciplinary approaches on the study of ceramic trade and cross-cultural exchange across the two historical periods. Creator An entity primarily responsible for making the resource Sharon Wong Wai-yee Department of Anthropology, The Chinese University of Hong Kong, Shatin, N.T. Hong Kong Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Blues of the Santa Cruz: A study of porcelain color and composition Description An account of the resource For the study of ceramics found in a shipwreck, stylistic and provenance analysis are two approaches that can provide critical information about period and trade route of the vessel. In this paper, we investigate the characteristics of trade ceramics from the well-preserved Santa Cruz shipwreck, which sunk along the west coast of Luzon Island in the Philippines. Underwater excavation has brought to light more than 15,000 ceramics, mainly Chinese Jingdezhen blue-and-white porcelain and Longquan celadon of the Hongzhi period (1488-1505 CE) as well as other wares from Thailand, Vietnam, and Burma. Here, we have focused on the Jingdezhen blue-and-white porcelain and selected twelve dishes with similar decorative patterns, but showing different tones and shades of the blue color. The dishes were most likely produced in the same workshop or within a small region and the primary goal was to investigate production variability. The chemical composition of the ceramics and the characteristics of the blue pigment were studied non-invasively with portable X-ray fluorescence pXRF) and fiber optics reflectance spectroscopy (FORS). Results have shown that pXRF data are relatively homogeneous which reflects some constancy in term of raw materials procurement usage. On the other hand, although the blue pigment was as expected a cobalt-based material, FORS spectral profiles present significant differences which might be due to variations in the pigment composition and/or firing conditions, while for others, they could also be related to weathering. From an archaeometry perspective, this research provides some insight on production standardization in Jingdezhen as well as on subsequent modifications that can affect ceramics found in an underwater archaeological context. Creator An entity primarily responsible for making the resource Ellen Hsieh Christian Fischer Bobby C. Orillaneda Publisher An entity responsible for making the resource available The Museum of Underwater Archaeology Date A point or period of time associated with an event in the lifecycle of the resource 11/24/2017 Rights Information about rights held in and over the resource Ellen Hsieh Christian Fischer Bobby C. Orillaneda Asia-Pac Session 3 2017