4 10 700 https://apconf-much.org/proceedings/files/original/47d565c29bb6b4ef88960eedc05eef95.pdf c2dbaf85d61bbd705bbb1f792d2e8a97 PDF Text Text The Historical Transition of Lakefront Environment and Use in Lake Biwa, Japan Hisashi Nakagawa Toyohashi City Museum Art and History nakagawa_134@yahoo.co.jp Abstract Lake Biwa is the largest and oldest lake in Japan. It has approximately 4,000,000 years of history, and many people have lived on this lake. More than 90 underwater archaeological sites exist here, and we are able to understand the subtleties of history. As an example, the Awazu-bottom site,is dated to the middle of the Jomon period approximately 5,000 years ago, and is the largest freshwater shell mound in Japan. It was formed near the lakefront at first, but now submerged on the bottom of lake. The Shiozu-port site is a late Heian period dated to 800 years ago, and is one of the oldest harbor sites in Japan. It was constructed to reclaim the lake, and prospered as water transport area. Many important remains, not only port facilities but also shrines and more, have been excavated, but it disappeared in the 12th century. The causes of this sites’ submergence is closely related an environmental transition of the lakefront. The water balance is particularly important problem. Approximately 460 rivers flow into this lake, but the discharge is only through the Seta-River. Therefore, the water level is greatly fluctuated by the sedimentation situation of the riverbed. According to the old historical documents, many floods have occurred. Therefore, sometimes dredging is carried out by the government to this day. Not only are water levels problematic, but ground sedimentation is as well. The lakefront is convenient for fishery and water transportation, but on the other hand, the land is soft. In a certain study, the ground water level is slightly 20cm higher than water level of lake. As a result of this, serious damage to the settlements have occurred by earthquakes. The extreme effect of this has settlements bring submerged to the bottom of lake by lateral Flow; landslide by the soil liquefaction. In this paper, I would like to study a historical transition of the lakefront environment and its use. Key words: landscape, Lake, Japan, riverine �Introduction Lake Biwa is the largest and oldest lake in Japan and many people have lived on this lake. There are more than 90 underwater or lakeside archaeological sites that exist here. As it has approximately 4,000,000 years of history, its form has been changed due to a variety of factors such as crustal deformations or sediment depositions. In recent years, the relation between these geographical or geological changes and lives of the local people has gradually been revealed by a lot of archaeological materials acquired through some investigations of the submerged sites (Nakagawa, 2016). In this paper, the underwater archaeological site of Nishihamasengen in Nagahama city is discussed in order to describe the natural and historical environmental changes at Lake Biwa from the ancient times to the middle age. General Description of the Site The underwater archaeological site of Nishihamasengen site is located at the bottom of Lake Biwa in front of the town of Gion in Nagahama city, which is in northeastern part of Shiga Prefecture. Local oral tradition tells us that ‘the village called Nishihama formerly existed here, but it was submerged into the bottom of lake by a big earthquake during the Kansho year of the Muromachi period (1460-1466)’. Before examining historical facts, first of all, some current aspects of the bottom topography found from survey maps and sedimentation situations have to be shown. The investigation area is shallow off shore; around 100m. It is less than 1.5m deep and more than 82.8 m of altitude. There 3 topographical elevated points are characteristically observed (Fig. 1). These points have been named A, B, and D as each survey ward (Fig. 2). In addition, the survey ward of C has no elevation, and a medieval �graveyard does not have any elevated peaks, either. In more than 80m of offing, the more clay-like topography regarded as former ground is still spread. Its average bottom attitude is less than 82.8m (about more than 1.5m deep). In this very peculiar area, old withered trees have been excavated. Because some botanical analyses prove that its soil contains large amounts of plant opals from bamboo grasses, this area was certainly dry land in earlier times. Fig. 1: Topographical lakebed map around the underwater archaeological site of Nishihamasengen. �Fig. 2. Research areas of the underwater archaeological site of Nishihamasengen. In the survey ward of A, its highest bottom elevation is approximately 83.7m (about 0.6m deep). This relatively elevated ward is situated on the western part of the investigation area, measuring about 40m from east to west and 60m from south to north. Around the survey ward of A, the gentle collapse-like topography which was caused by the power waves from the offing direction could be seen (survey ward of A’). In the survey ward of B, its highest bottom elevation is approximately 83.75m (about 0.55m deep). This relatively elevated ward is situated on the east part of the investigation area, measuring about 40m from east to west and 50m from south to north. Around the survey ward of B, as A, the gentle collapse-like topography could be seen (survey ward of B’). In the survey ward of C, the average bottom elevation is approximately 83.3m (about 1m deep). It is on the western part of the investigation area along the lakeshore, measuring about 80m from east to west and 15m from south to north. In the survey ward of D, its highest bottom elevation is approximately 83.4m (about 0.9m deep). This relatively small and oval elevated ward is situated at the centre of the investigation area, measuring about 35m from �east to west and 15m from south to north. Around the survey ward of D as well, as A and B, the gentle collapse-like topography could be seen (survey ward of D’). The survey ward of a medieval graveyard is situated about from 50m to 70m off the lakeside, and its average bottom altitude is 83.1m (about 1.2m deep). There many stone materials, most of which used to be grave stones, are found; each medieval grave consisted of many stones, which were nearly a size larger than a fist of a grown-up man or smaller than human skull, forming a rectangular section or a cairn. The bottom material at the flat part (less than 83.2 m of altitude) at the investigation area consists of small grains of sands. They seem to have been brought there later by wave action or longshore currents. The survey ward of a medieval graveyard is buried under these sands by half. Contra to this, the bottom material of elevated wards of A, B, and D consists of round-shaped small river stones, each of which is from approximately 5cm to 10cm in diameter. Although one of the survey ward of C consists mainly of such river stones, many bigger stones, each of which is from 20cm to 30cm in diameter, are also observed sporadically on this ward. As for the reason why there are some topographical elevated points there, as this area used to be a river delta. Because of this fact, small river stones are found in the elevated wards of A, B, and D. Each ward still looks like the shape of a river delta. Judging from the survey map, around four tributary branches might have flowed into Lake Biwa, but the direction of water flows may have been altered in later years. So presumably the river was about 250m wide at the mouth. �Historic Environmental Transition Judging from Old Topographies and Relics Development Process of the Sites Figure 3 shows the graphic chart of the number of excavated relics from this site for each century. Obviously its peaks were the 8th and the 12th centuries while only one relic from the 14th century was found. Since the 15th century, this site seems to have restarted as a new site. The tendencies at the 12th and the 13th centuries look similar, but almost all relics from the 12th century consist mainly of unglazed pottery named ‘yama cha wan’, which disappeared before the first quarter of the 13th century. In the survey ward C, the remains of a well was found which seems to be abandoned deliberately during the 13th century. The cultural discontinuation of this underwater archaeological site of Nishihamasengen could be observed around the 13th century; this place itself was deserted with awareness. Fig. 3: Numbers of excavated relics. Only one relic from the 14th century at the survey ward of C is either air ring of a five-ring stone pagoda. It was originally made in the 14th century, �but later after the 15th century it was reutilized as a tomb stone. In the same elevated zone as the pagoda was found, an elected stone Buddha statue from the 16th century was also found. The end time of the underwater archaeological site of Nishihamasengen might be the latter half of the 16th century, because only one relic, i.e. a cup made from celadon porcelain, from the 17th century was found there. The transition period of the underwater archaeological site of Nishihamasengen could be divided into three or four phases, viz. Phase I around the 8th century, Phase II in the 12th century which was the most flourishing time of this site, Phase of Rupture from the middle of the 13th century to 14th century, and Phase III from the 15th to 16th centuries when the site had been revived. Distribution Situation of Relics Every Investigation Area Then, is such situation universal at the whole survey wards of the site? Figure 4 shows the graphic chart of the number of excavated relics for each survey ward for each century. Before Phase I, all wards had relics although its number was relatively small. This trend seems to have continued until the 10th century. Because this investigation area used to be a river delta, these small relics were flowed there together with sediment along the river branches. At first, it was the secondary centre to accumulate broken relics. Some relics, in particular, from the 10th century, are not broken at all and not obliterated; the original places of �those relics would not have been so far away. Perhaps, they might be used directly above this site. Fig. 4: Numbers of excavated relics at each research area. �Phase II is completely different from Phase I. Almost all relics from this phase were found only around the survey ward of B, although only one relic was found around the survey ward of A. Relics from the 11th century, as well as ones from the 13th century, have been excavated only at the survey ward of B. This distribution of relics does not seem to be originated from the natural sedimentation but from real human activities. After Phase of Rupture, this site might have been developed as a new zone at Phase III after the 15th century. Relics belonging to this period were mainly distributed over the survey ward of a medieval graveyard and the offshore places of each survey ward. As no relic is found in the survey wards of A and B and the survey ward of a medieval graveyard is situated between the survey wards of A and B, the site of Nishihamasengen had been changed into land or from drying at Phase III. Constitution of Relics and Land Use in Phase II At Phase II around the peak period of the 12th century, what kind of human activities were observed on the site? When did its rivers run dry? The compositions of relics from the survey wards of B are shown in Figure 5. Most of the relics are things for offering only, while ones for boiling or for storing do not exist. Therefore, the survey ward of B at Phase II was not a waste site of general daily necessaries near commoners’ hamlets, but maybe it would have had several mounds of Buddhist scriptures. Because some sutra cases or substitute inkstones are excavated, literate people, which differed from common villagers, might be living there at Phase II. �Fig. 5 (left): Relics at the research area of B from the 12th to 13th Century. In former days, men of weight who wished for peaceful death built mounds of Buddhist scriptures in order to bury the scriptures under the mounds. The height of prosperity of this custom was the 12th century in Japan (Sugiyama, 2007); this historical fact may correspond to the case of the site of Nishihamasengen. As for substitute inkstones, they started to be used in the latter half of the 11th century in Japan. Literate people intentionally built mounds of Buddhist scriptures at the survey ward of B, because at the time of Phase II, which extended over 150 years from the latter half of the 11th century to the first quarter of the 13th century, the survey ward of B was dryland, not half-submerged land. This fact is also proved by the restricted size of ward, measuring about 40m from east to west and 50m from south to north; throwing sutra cases and substitute inkstones away from the lakeshore is the out of question. The concentration of the relics and its conglomeration at the survey ward B suggest that this zone began to become dry before the middle of the 11th century. A study of historical geography (Mizuno, 2011) says that �during the Hoen period (1135-1141) the shrine territory of the Gion Shrine was established around this investigation area and its territorial landsubdivision would have been spread far into under the current Lake Biwa (Fig. 6). It could also be imagined that sutra cases and substitute inkstones from the survey ward B would have been used by some men of weight who managed this shrine territory and conducted its religious activities. Fig. 6: Land division of the Medieval Period. (S. Mizuno) New Development after Phase III It is after 15th century that human beings restarted to live around the site of Nishihamasengen. No relic has been excavated at all at the survey wards of A and B, while at the survey wards of a medieval graveyard, C along the lakeshore, and offshore sinking parts of each ward small amount of relics have been found. These consist of not only stone material cultures but also old china plates, earth pottery plates, pots, grinding bowls, many variations of receptacles. On the grinding bowls some usewear is observed, which proves the existence of real human living there at this time. �The medieval graveyard must not have built on the submerged land but on the riverbed of some flow channels when the survey wards A, B, and C were formed as a river delta at the beginning, which was not suitable for plotting rice fields. This ward seemed to have been looked like the actual banks of hell at the middle age. According to some botanical analyses and natural scientific dissections of lakebed soil, much larger offshore areas of the current underwater site of Nishihamasengen were used for dryland agriculture at Phase III after the 15th century. Some oral traditions and historical materials tell us that there used to have been a village named ‘Nisihama-mura’. The relics discovered in the underwater site of Nishihamasengen prove that the village of Nisihamamura was founded after the 15th century. The oldest and first historical material titled Eikyo Shichinen Kanjin Sarugaku Hogacho which mentioned this village was written in 1435. Since the number of relics near the lakeshore is relatively small, the village centre at that time might have been on more offshore place among agricultural fields. Cause of Its Submergence and Time What was the actual cause of the submergence of the underwater archaeological site of Nishihamasengen and when? From the 15th to the 16th centuries, undoubtedly, the water level of Lake Biwa varied from 84.2 m 84.7m approximately above sea level (Nakagawa, 2017). Judging from many aspects of the excavated relics from the site of Nishihamasengen, Phase III was terminated at the latter half of the 16th century. Although some stone materials were sometimes reutilized, no relics from the Edo period was found and the newest one is from the first half of the 17th century. During Phase III, the highest peak attitude of the ward of a medieval graveyard is 83.2m (about 1.2m deep). If its ground �attitude nowadays were the same as one in the middle age, villagers had built their graveyard on the bottom of Lake Biwa. Indeed, the water level fluctuation of Lake Biwa is about 1m throughout the year all through the ages, but its fluctuation could not explain why a medieval graveyard is now under Lake Biwa. Some botanical analyses also tell us that around the graveyard the ground was dry at that time. Therefore, the ground subsidence must have happened between the end of the 16th century and the beginning of the 17th century. The most probable movement of the earth's crust was the big earthquake occurred on 18th January 1586. According to Luís Fróis, a Jesuit missionary, because of this earthquake many ground cracks ate thousands of houses and villagers, and the remaining ones were destroyed by fires. He also described its ground liquefactions, saying that from ground cracks black and liquid soil was coming out (Ida, 1987). The legendary village of Nisihhama-mura or the contemporary underwater archaeological site of Nishihamasengen was submerged under Lake Biwa in 1586. Conclusion Lakeshore and seashore has changed due to water fluctuation, soil sedimentation, crustal movement, and so on. Underwater archaeology could investigate some causes of those changes, studying submerged sites. In Japan, however, most think that underwater archaeology is the study of shipwrecks and not many archaeologists are interested in the historical transitions of waterfront environment or underwater settlement sites. In the Japan archipelago, on the other hand, there are still to be many unknown underwater sites, which are similar to the underwater archaeological site of Nishihamasengen. Researching upon them will be able to cast a new light on the history of Japan or human beings generally. �References Ida, K., 1987. History of Tensho Big Earthquake. Nagoya University Press, Nagoya. Mizuno, S., 2011. Historical environment of Lake Biwa and human beings. In S. Mizuno (Ed.), Environmental History of Lake Biwa and Human Beings, Iwata, Tokyo: 5-26. Nakagawa, H., 2017. Archaeological study of water level fluctuation at Lake Biwa: some phases from the end of the ancient times to the middle age. Busshitsu Bunka, Vol. 97:113-154. Nakagawa, H., (Ed.), 2016. The Site of NIshihamasengen: Surveys and Studies of Submerged Sites at Lake Biwa, Sunrise, Shiga. Sugiyama, H., 2007. Kyo-zutsu. In M. Ono et al. (Eds.), Great Encyclopaedia of Historical Archaeology, Yoshikawakobunkan, Tokyo: 339-340. Biography Hisashi Nakagawa was born in Aichi Prefecture in 1988. During the undergraduate level, he learned underwater archaeology and supervised by Prof. Hiromichi Hayashi at the University of Shiga Prefecture (20072011). Prof. Hayashi did study underwater archaeology from Prof. Yoshio Oe, who is respected as "Father of Underwater Archeology in Japan". In 2013 he completed the master program (Human Culture) at the University of Shiga Prefecture, and then, he had been a PhD candidate in the same university, and a Research Fellow of Japan Society for the Promotion of Science (2013-2016). He works now at the Toyohashi City Museum Art and History. � 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 A Preliminary Study on the Barrier of the Sino-French War of 1884 at Tamsui Estuary, Taiwan Description An account of the resource During the Sino-French War of 1884, the Qing military intentionally sank a number of wrecks filled with rocks under the Tamsui River and surrounded them with naval mines and many railings to form a barrier against the French invasion. In 2014, one hundred and thirty years later, the government planned to construct a bridge across the river estuary; and, in accordance with the law concerning environmental impact assessments and archaeological impact assessments, the author conducted an investigation to find potential underwater archaeological remains. The survey tools for this project included a side scan sonar, a multi-beam sonar, a magnetometer, and a sub-bottom profiler. A total of 31 anomalies were detected by these sonars; most of them were lain on the surface of the river bed, and these were believed to be modern debris. However, some anomalies were covered by the sand or under the river bed; therefore, the team could not identifiy these targets further without underwater operations. First, In order to verify the anomalies lying on the surface of the river bed, the team used an underwater camera and diverbased investigation. As a result of the investigation, no specific archaeological remains were found on the surface of the river bed; also the team found out that the sediments of the riverbed had accumulated repeatedly by erosion and floods since 1884. It seems that a strong power of natural dynamics on this region may had destroyed the barrier. In conclusion, the underwater investigation could not confirm archaeological remains of the barrier. Further investigation is required to find archaeological remains. In this paper, the author shall share historical contexts related to the Tamsui Estuary that were found during his historical literature reviews. Also the author shall share his hypothesis of where to find, or what might have happened to, the potential archaeological remains from Sino-French War of 1884. Creator An entity primarily responsible for making the resource Tai-Lung 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 Tai-Lung Asia-Pac Session 6 2017 https://apconf-much.org/proceedings/files/original/d7246c4bc36ebe6429dfbba4e90c4076.pdf f3b69ab072c9d3f494c64f9da5f09537 PDF Text Text A Real-time Experience of Underwater Archaeology: A New Approach to Museum Shivani Dindayal kamdi (Research Scholar, Indira Gandhi National Tribal University (IGNTU), India Shivanikamdi93@gmail.com Rupesh Uttamrao Dhokane (President of SocietyCenter for Archaeological Studies and Research Amravati (CASRA), Maharashtra, India rupesh.dhokane@gmail.com ABSTRACT “Museums are the mirror of what can be seen in reality” In this paper, a blueprint of a maritime museum is presented, as in what way a museum can be of underwater archaeology. The efforts are to bring together the real time experience of how an excavation is done in underwater situations, because it is not possible for each one to visit underwater archaeology sites. It will also comprise the conservation part of the artefacts retrieved from an excavation to be done in a museum. The experience of submerged sites will be established in the museum, along with the replica of the artefacts, and how conservation of the submerged artefact in seawater is done will be displayed. The expected outcome of this paper is to present a unique museum design that can result in a real time experience for the person visiting the museum and can even be a place of research for maritime archaeology. List of Figures Figure 1 Image of Exploration_01 Figure 2 Image of Excavation grid_02 Figure 3 image of excavation grid_03 INTRODUCTION In the world of artificial intelligence and space research excellence, things have become more approachable and understandable. The concept of virtual reality has excelled in the way and has progressed manifold which gives an experience of anything a human can imagine of. With excellence in technology day by day and its application in every single moment, it also has helped in education to grasp everything visually, auditory, and kinetically. Today things are achievable because the infrastructure chosen for the things to achieve has a great base of technology and interpretation. Infrastructure too plays a major role in transforming an idea into a new concept. One such concept is the real-time experience in the field of museums. Real-time experiences do not involve fully AI or VR or Holograms and such devices but it works on role-play emphasizing creating and presenting the idea in front of the audience. Different types of museums use different methods to display their concepts to visitors. Categorically museums have a wide variety of themes such as natural science, art history, maritime and so on and so forth “Museum is a hi-tech classroom for all age groups to understand, learn and apprehend things. CASE STUDIES The concept of a Museum has come from the person’s personal collection and urge to collect and store things for their belonging. The museums we see today were exceptionally different from the time they all started. This is a place of contemplation, working on thought processes and learning. The museums functioned as royal private collection storage for things gifted to royals as well as collected by royal families. Ennigaldi-Nanna’s museum is the first museum considered and dated to c.530 BCE. It was located in the state of Ur, modern-day Iraq. In an excavation, there they found dozens of artifacts neatly arranged side by side, and their ages varied by centuries; they were museum pieces. Those pieces had museum 1 �labels consisting of clay cylindrical drums with three different languages engraved on them. Later in time, the public museums began to spring up in the 18th century, notables are the British Museum in 1759 and the Louvre in 1793. These museums had grown out of private collections in which artwork was displayed. These museums were also influenced by the Paris salons, where paintings jostled for spaces on walls hung floor to ceiling with art. Now artists captivated these public spaces and museums galleries were a frequent subject of early 19th-century paintings. The story of museums dates back to the oldest civilizations of the world. Considering today’s scenario of the museums, we have come so far in having the base of these old museums. Today technology in museums has made them a place of experiencing the past and gives them the chance to live those moments in the present. Today the definition of a museum has changed completely by introducing interactive technologies to the museums, they have made a revolutionary impact on the effect of learning and experiencing the knowledge gained in a museum. The Prado Museum in Madrid 2019 introduced its first innovative 360-degree immersive experience. The National Museum of Singapore launched its exhibition “Story of the Forest”; it offers the visitor a chance to step into another world with colourful projections and breathtaking displays. Through the use of the VR Science Museum, London in 2017 offered its visitors an experience of space travel, it is one of the greatest milestones in UK space travel and there are many on the list who have excelled themselves by using technology and adding it day by day. Why are sites submerged and why is there a need for underwater archaeology and its study? Here the sea-level water rising issues and man made dam constructions play an important role in answering these questions. The effect of global warming and the rise in the sea level have made water occupy the area on land resulting in submergence. Prehistoric sites in some places got submerged due to sea level rise in places such as underwater archaeological sites called little salt spring, Warm mineral spring (Florida, USA), and Montague Harbour (British Columbia, Canada). Other sites include an Iron Age village in Swiss Lake, as well as crannogs in Ireland and Scotland. A few sites excavated within the last decade are Caesarea Maritima, Cosa Dvaraka, Hoff’s Store, Kencherai, Pontia, and Port Royal. First gallery A museum First gallery which will be infused with real-time experience and its infrastructure will be like, visitors will experience being inside the sea, will enter the dark room with the exhibits displayed on both sides and over the head too, the same experience to be in a sea. The exhibits in this gallery will be on both sides in big tanks such as swimming pools and can peek through a glass barrier. The main part of this will be the person role-playing as an archaeologist and will perform the activities to inform the visitors regarding underwater archaeological exploration, sites, and their excavations. The whole picturization will give an overall idea and the amount of responsibility and risk on the shoulder of a person doing this job. Mostly this gallery will give visitors a real-time experience, one of its kind and never experienced before. While role-playing is going on the water tanks a person (guide) will explain every movement of the person inside and will educate them about underwater archaeology and underwater archaeological sites The environment here will be the replication of a deep sea, the idea behind this concept is to give an experience of the actual underwater site, which is not accessible, and it is an impossible place to visit any visitor. 2 �Figure 1 Modified Image of Exploration_01 (Image Source: https://midwestnomads.com/2022/03/03/wonders-of-wildlife-museum-aquarium/ ) Figure 2 Modified Image of Exploration_02 (Image Source: https://en.wikipedia.org/wiki/National_Museum_of_Marine_Biology_and_Aquarium#/media/File:ROC-NMMBA_Op en_Ocean_Aquarium_20160515b.jpg ) 3 �Figure 3 Modified Image of Exploration_03 (Image Source: https://www.weforum.org/agenda/2020/10/deep-sea-coral-reefs-biodiversity/) Second gallery The second gallery will be displaying the artefacts that need conservation. Here in this gallery, the exhibits will be in the way that the actual work of conservation is on display for the visitors. Artefacts retrieved from the underwater excavations have to be kept for a period in saltwater and gradually with fresh water; it has to be replaced to treat the artefact and conserve it. This gallery will aim for displaying the artefacts which are chemically conserved and the ones which are in the process of conservation. Third Gallery The Third Gallery will comprise an information centre housing all information related to underwater archaeology, its scope, and its importance and will compile the smallest of its details for research purposes, tools instruments and equipment needed for underwater archaeology will be displayed here. This information centre gallery will lead the way to study the basics of oceanology, ultimately this becomes an important related field of study in understanding and dealing with underwater sites. Along with oceanology, nautical science becomes the second important branch. The information centre gallery will pave the way for young aspirants and young researchers with knowledge under one roof. This will give an insight into the related field of studies of underwater archaeological analysis and help to increase the community of researchers studying this field. Fourth gallery The fourth gallery or the visitors’ space will be the area where it will house an activity area for children where they can experience diving and likewise, activities to keep this age group of visitors engaging, and others will be the receptive audience for engaging their children in likewise activities. 4 �This will also serve as the photo gallery, it will house all the photographs of underwater archaeology and related knowledge-based photographs. CONCLUSION An Archaeological site plays an important role in the reconstruction of its past scenario. Terrestrial sites are easily approachable therefore it is conducive even in adverse circumstances to explore and excavate them, as a result of that archaeological museums are full of artefacts excavated on land. In comparison to this for underwater archaeological sites it's not possible to excavate them as frequently as it's done on land. It involves a high percentage of risk and expertise to dive in and excavate an underwater site, plus retrieval of the artefacts and conserving them is way pricier and time-consuming in comparison with the artefacts retrieved from the land. Despite its challenges, it is one of the important branches of archaeology which is mostly neglected due to its risk and challenges and even lack of expertise involved in it, therefore museums for such streams become very important to set up and make people aware. Museums are the best place to make people aware and add knowledge to already aware ones. The involvement of technology in museums has made them more experienced than ever before and made them more engaging. The main idea of this whole paper is to provide a blueprint for an infrastructure of a museum, which will give its visitors the actual situations without using any AI or VR or animated themes but to make them realize the effect of underwater sites and it's the never-ending effect on their minds which will be one of the milestones in setting higher standards for museums and its experience. BIBLIOGRAPHY Barstad, Janet F. International Handbook of Underwater Archaeology. Edited by Carol V. Ruppé, Janet F. Barstad -Springer US (2002) McKinnon ,Jennifer F. Archaeology and the Emergence of Fields: Maritime, Encyclopedia of Global Archaeology - pp 414-420) Leshikar-Denton_ Margaret E., Erreguerena, Pilar Luna, and Aviles, Jeronimo . Underwater and Maritime Archaeology in Latin America and the Caribbean-Left Coast Press (2008) Dellino-Musgrave,Virginia. Maritime Archaeology and Social Relations, British Action in the Southern Hemisphere (The Springer Series in Underwater Archaeology) (2006) Other: 1. History of the Museum Movement in the World: https://epgp.inflibnet.ac.in/epgpdata/uploads/epgp_content/S000829IC/P001546/M024845/LM/1510309011P15-M04-Histor yofMuseumMovementintheWorld-LM.pdf 2. J. V. Maranto - The history of museums 5 � 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 Real-time Experience of Underwater Archaeology: A New Approach to Museum Description An account of the resource “Museums are the mirror of what can be seen in reality” In this paper, a blueprint of a maritime museum is presented, as in what way a museum can be of underwater archaeology. The efforts are to bring together the real time experience of how an excavation is done in underwater situations, because it is not possible for each one to visit underwater archaeology sites. It will also comprise the conservation part of the artefacts retrieved from an excavation to be done in a museum. The experience of submerged sites will be established in the museum, along with the replica of the artefacts, and how conservation of the submerged artefact in seawater is done will be displayed. The expected outcome of this paper is to present a unique museum design that can result in a real time experience for the person visiting the museum and can even be a place of research for maritime archaeology. Creator An entity primarily responsible for making the resource Shivani Dindayal Kamdi Rupesh Uttamrao Dhokane 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 2023 Language A language of the resource English Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Kamdi, Shivani Dindayal and Rupesh Uttamrao Dhokane. 2023. “A Real-time Experience of Underwater Archaeology: A New Approach to Museum.” Edited by Jennifer Craig, Jay Mok, T. Kurt Knoerl, and Arjun Rao. In Proceedings of Fifth Asia Pacific Regional Conference on Underwater Cultural Heritage: Gwangju, The Republic of Korea, November 13-18 2023. The Museum of Underwater Archaeology. URL: https://apconf.omeka.net/exhibits/show/apconfproceedings/item/2032 Asia-Pac Session 22 2023 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 Record of the Buddhist Religion as Practised in India and the Malay Archipelago (A.D. 671-695) Creator An entity primarily responsible for making the resource Yijing Junjiro Takakusu Publisher An entity responsible for making the resource available Munshiram Manoharlal Date A point or period of time associated with an event in the lifecycle of the resource 1896 Type The nature or genre of the resource Book Zotero Author Yijing Translator Junjiro Takakusu Item Type Book Date A point or period of time associated with an event in the lifecycle of the resource 1896 Edition 1966 Place Delhi Publisher An entity responsible for making the resource available Munshiram Manoharlal Title A name given to the resource A Record of the Buddhist Religion as Practised in India and the Malay Archipelago (A.D. 671-695) India Southeast Asia 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 Resurvey of Roman Contacts with the East Creator An entity primarily responsible for making the resource Himanshu Prabha Ray Marie-Françoise Boussac Jean-Francois Salles Publisher An entity responsible for making the resource available Manohar Date A point or period of time associated with an event in the lifecycle of the resource 1995 Type The nature or genre of the resource Book Section Zotero Author Himanshu Prabha Ray Editor Marie-Françoise Boussac Jean-Francois Salles Item Type Book Section Book Title Athens, Aden, Arikamedu: Essays on the Interrelations between India, Arabia, and the Eastern Mediterranean Date A point or period of time associated with an event in the lifecycle of the resource 1995 Pages 97-114 Place New Delhi Publisher An entity responsible for making the resource available Manohar Title A name given to the resource A Resurvey of Roman Contacts with the East India https://apconf-much.org/proceedings/files/original/8a03a03e5a3081cad363fe1671f4d882.pdf 832a9cf0a4a07f2888368f764619c27e PDF Text Text A Seat at the Table: Addressing Artefact Biases in Asian Shipwreck Assemblages Brian M. Fahy Oxford Centre for Maritime Archaeology University of Oxford United Kingdom Email: brian.fahy@arch.ox.ac.uk Abstract The ceramic trade throughout Medieval Southeast Asia was prolific. Terrestrial sites have yielded massive amounts of ceramic material and the archaeological reports of shipwreck cargoes corroborate the versatile and extensive qualities of trade ceramics in the region. The sheer quantity of ceramic artefacts found in shipwreck assemblages, paired with a well-researched framework of the aesthetic, show that there is no doubt that we rely heavily on ceramic data to date wrecks and establish regional trading patterns. This paper will debate that we are too 'ceramo-centric' in our analyses of shipwrecks. While ceramics typically represent the bulk of the recovered material in these instances, many other types of media are present in the assemblage. Yet, these “lesser” materials suffer from a lack of investigation and therefore play virtually no role in the archaeological and historical assessment. This case study focuses on the nonceramic assemblages for six shipwrecks from the fourteenth and fifteenth centuries of Southeast Asia (three Chinese-built and three Southeast Asian-styled junks). The typological study of the metallurgical, organic and geological material from these wrecks can complement much of the work surrounding existing trade models as well as reveal new concepts of crew life, belief systems and culture. These facets come together to offer a more holistic narrative as well as stimulating the need within the region for more study regarding the locations where past peoples mined and manufactured raw metals. Keywords: Southeast Asia, Ceramics, Metals, Shipwrecks, Trade Introduction Shipwreck biographies are primarily described through their ceramic complement. Ceramics make up the bulk of the archaeological material in a shipwreck assemblage, is the material most likely to survive the underwater environment over a long span of time, and, due to the large amount of terrestrial archaeology and historical study of the medium, have become a decent range-dating material as well. These combinations of features contribute very heavily on a shipwreck narrative purely due to its majoritive presence. This angle of research can be misleading since it creates a bias toward ceramic manufacturing and trading centres. Metals and organic material found in such an environment, while more likely to undergo chemical change or even complete 1 �erosion in these circumstances, still have been found in a preserved condition. This paper is an attempt to correct that ceramic bias by highlighting material that not only plays less of a part in the interpretation of the shipwrecks and their cargoes due to its quantified minority; it also plays less of a part due to the objectiveness of the community studying and documenting it. This heavy stress on ceramics in shipwrecks, as it pertains to Southeast and Eastern Asia, lend us to focus our interests on the ceramic centres of these regions, thereby “glossing over” regions that may not have a large ceramic presence, yet assuredly contribute a great deal to the trade both within the region as well as inter-regionally. This case study encompasses the assemblages of six 14th and 15th centuries shipwrecks; three Chinese built junks and three Southeast Asian styled boats to highlight a couple of examples in non-ceramic artefact studies that will hopefully prove the need for increased scholarship on these less fetishized materials. These wrecks have been chosen for specific reasons. Firstly, they are case specific to the appropriate temporal range of the study. This encompasses the formation of the Ming Dynasty; the reign of the Hongwu (洪武) Emperor (13681398CE) through a large portion of the Ming Ban up to and including the reign of Emperor Hongzhi (弘治) (1487-1505 CE). They also reflect the wide stretch of Southeast Asia (See Fig. 1). The Turiang in Peninsular Malaysia, the Bakau in Indonesia, the Fig. 1 Shipwrecks in this case study (shown in circle). (Brown 2009: 16) Ko SI Chang III and Rang Kwien in the Gulf of Thailand. The Lena Shoal along the Palawan coast and the Santa Cruz in the Lingayen Gulf, both found in the Philippines. These wrecks also represent the diversity of surveyed and excavated practices. The Ko Si Chang III, Rang Kwien, Lena Shoal and Santa Cruz were undertaken by academic departments of archaeology throughout Southeast Asia and Australia, or through cultural heritage schemes 2 �with local museums. The Turiang and Rang Kwien were excavations and surveys conducted by private entrepreneurs in conjunction with academics from the region. Some excavations were salvage operations; others were part of an educational programme. Sites like the Rang Kwien were visited over multiple seasons and used to teach new students methods of underwater excavation and conservation (Intakosai et al., 1983, 1984). The Bakau (Flecker, 2001) and the Turiang (Brown and Sjostrand, 2000) were excavations undertaken by private individuals in conjunction with local academics. However, their respective cargoes were handled differently and ultimately their final destinations reflect dissimilar filtering processes and circumstances. The Turiang assemblage ended up in a ceramic museum and most of the Bakau’s assemblage went to a hotel resort. These cases offer a glimpse into the various circumstances surrounding underwater archaeological projects in the area and may give insight into the biases that enter the filtering process both during and after each excavation. Metallurgical Examples This lack of existing scholarship on metallurgical material in shipwreck publications in Southeast Asia raise the question of why such artefacts have not been the focus of greater research. The reason may be a matter of aesthetics, corroded metalwork does not have the same intrinsic artistic beauty as ceramics; one of quantitative substance, in that too little metallurgical material survives; one of technological restriction, where scientific methods are not yet sufficiently advanced to glean adequate data; or simply money driven since ceramics are a more, sellable commodity. Metals are difficult to conserve and there is a smaller profit market for it. In the case of each item a combination of explanations exist for the lack of metallurgical research. Early Ming wrecks Turiang (1370 CE- 1400 CE) Large lumps of iron oxide were found strewn about the wreckage. The shape and appearance of these iron lumps imply that this cargo was shipped in a granular form. It is quite common for iron in this form to create a concreted mass when exposed to seawater. In these situations (where iron in powder form was stowed around ceramics and exposed to seawater for a long duration) these concretions occasionally envelop 3 �the ceramics. Similar iron lumps were recovered from the Royal Nanhai wreck, alongside traces of flattened bamboo. The existence of flattened bamboo suggests that the iron granules were stored into bamboo bags (Brown and Sjostrand, 2000). These bags not only made decent ballast for the ship, but probably worked rather well as a securing mechanism for more fragile items. In a subaqueous environment the bamboo degraded, and the loose powder filled the gaps of the ceramic material below, leading to ceramic inclusions within the iron masses. No iron in ingot form was recovered from the site. Rang Kwien (1400 CE - 1430 CE) Dubbed the “coin wreck”, The Rang Kwien’s major metallic cargo was nearly 200 kilograms of Chinese coins. Some of the coins date from as early as the 4th century yet the majority seem to come from the Hongwu reign (1368-1398 CE). The boat also carried eight copper ingots in its hold. Precious metals off the Rang Kwien include two early Ayutthaya-style gold bangles and one gold ring with gems. One bronze gong, one bronze mirror, one bronze bell, three bronze lime pots, as well as fishhooks, bronze harpoons, and hairpins make up part of the assemblage. (Intakosai et al., 1983, 1984). The second training excavation conducted by the Underwater Archaeology Department of Thailand in March of 2013 yielded more metallic cargo; additional copper ingots (totalling eleven) and a miniature bronze tool (E. Vatcharangkul, personal communication, 2013). Bakau (1410-1430 CE) In the initial report of the Bakau assemblage, the terms that Flecker (2001) used to describe the metallurgical assemblage were vague and unscientific; and he used terms such as “small stack” or, “an array”. An inventory for this wreck was given to me by Angie Liow, curator of the Maritime Experiential Museum in Singapore, which revealed dozens of items from this wreck that were never published (2013). Ten bronze guns were recovered, along with over two hundred Chinese coins from the Yong-Lo period of the Ming Dynasty (1403 CE-1424 CE). Ten bronze mirrors along with eight mirror handles were found, all of which were detached from each other. Six pairs of copper alloy tweezers, one bronze bell, and seventeen bronze gongs were a part of the assemblage, as well as two pewter carafes and one metal kendi. Tin ingots were recovered, along with a myriad of personal and professional copper alloy effects as well: 4 �crew use items include scissors, rings and lamps; hunting effects like fish-hooks and spearheads; metal dining wares like bowls, plates and spoons; as well as scale, net and sounding weights (Flecker, 2001). The partial documentation and recovery of this assemblage reflects one of many problems when dealing with a treasure hunted wreck. The motivations of the excavators in the procurement and the sale of this material while not completely understood, still show a prevalence to promote the more ornate and probably more expensive artefacts of the inventory. Middle Ming wrecks Ko Si Chang III (1460 CE – 1487 CE) Metal objects recovered from this wreck comprised over 2000 lead ingots. Descriptions of the ingots are consistent with lead ingots found in the assemblage of the Royal Nanhai (Brown and Sjostrand, 2000) Pattaya, and Ko Si Chang II (Green et al., 1987) wrecks. Plano-convex shaped copper ingots were part of the metallic assemblage of the Ko Si Chang III as well. Metal personal objects collected from the wreck include one lotus-shaped lead piece, a bronze phallus and a series of bronze lime pots (Green et al., 1987). Lena Shoal (1488 CE – 1505 CE) This wreck was found at a depth of ~46 meters and in a less trafficked area, it consequently yielded a diverse and sizeable metallurgical assemblage. Manufactured material such as cast iron bowls, copper repoussé wares and wrought iron needles were part of the cargo situated below deck. Thirty brass spiral bracelets were also part of the trade cargo. Four bronze gongs, Three Hongwu reign (1368-1398) coins were catalogued as well as three bronze cannons which was likely part of the ships armament. Raw material commodities of tin ingots and pig iron are also well represented within the assemblage (Goddio et al., 2002). Santa Cruz (1488 CE – 1505 CE) Another well-preserved wreck, the Santa Cruz yielded even more metallic material than the Lena Shoal. The accession inventory for the wreck noted one hundred and seventeen ingots of tin as well as six sheets of copper. Twenty two cast iron bowls were also present. The Santa Cruz excavation returned ship-use metallurgical artefacts as 5 �well. One cooking cauldron and one plate were recovered, along with thirteen net weights and three weighing scales. Twelve bronze gongs were found in the cargo hold, along with several brass spiral bracelets. The assemblage contained only three coins. Armaments on the Santa Cruz consisted of six bronze cannons. A metal box was catalogued in the assemblage as well. Perhaps most interestingly, the wreck yielded a unique bronze crown (B. Orillaneda, personal communication, 2012). Tables 1 and 2 indicate the presence of matallurgical material in the assemblages throughout this case study. It identifies the specific wreck the material was attributed to, along with the approximate date of each wreck. Object Narratives These metal artefacts can be divided into cargo and domestic assemblage. Cargo material can be further subdivided into raw and processed metals. While the assemblage items could have been broken down strictly by element, (i.e. iron items, copper items), such a material-based typology would not have been as thorough as one that considers the use of the objects themselves. The ship reports and excavation collections in this case study have already been conducted. That level of detail contributes to the body of archaeology, but as Muckelroy (1978) states, “It is necessary to go beyond the individual and specific events enshrined in these entities, and look at the maritime culture in which they were embedded”. Using a traditional, “by-material” classification method to analyse this collection would be slightly deficient, specifically when dealing with metallurgical raw material. Any sort of taxonomic study of metals is complicated by the corrosion and recovery process. It is highly probable that metallurgical material excavated in a seawater environment has taken on concretions and/or undergone degeneration to a point which the artefact looks profoundly different than before it sank. There are also few style and sourcing guides for the metallurgical material, particularly in Southeast Asia, which can be unfavourably compared to the ceramic material, where the level of provenencial detail that archaeologists and historians can attribute to ceramics is phenomenal. Style, form and glazing guides for many of the ceramics present in the assemblages of this case study can pinpoint the exact kiln site, and sometimes date ceramic material to the nearest decade in which it was produced. Terrestrial archaeology has sourced this information for us spectacularly. 6 �Selected examples of metallurgical objects that, when we go into more detail, help contribute to the shipwreck narrative are described below. Bronze Gongs, Mirrors and Tweezers Seventeen gongs were found on the Bakau wreck, four gongs were recovered from the Lena Shoal and twelve from the Santa Cruz. The quantities of bronze gongs on the Bakau and the Santa Cruz lead to the conclusion that these are traded cargo. Though the gongs are fewer in number from the Lena Shoal, the archaeological report notes that the gongs were grouped together, this also tends to suggest a cargo item (Goddio, 2002). Bronze mirrors were found on the Bakau wreck in substantial quantity (~10). In every case, their numbers are not nearly as prolific as traded ceramics, but in that regard they hold a higher place. It is a specialised commodity, possibly given/sold to only the most discerning of consumers. Isolated instances and detailed documentation of where this material was found may raise the issue that some of these Items were not cargo. It is possible that individual bronze gongs on these boats served as part of the ships’ equipment or crew possessions. Contemporary ethnographic studies documented the playing of these instruments in sets (three to seven gongs) in certain parts of Indonesia (Nicolas, 2009). However, the methods of playing the gong (or gongs) in East and Southeast Asia varied throughout history; therefore it cannot be assumed that they were played in a set (Nicolas, 2009). One single mirror was found in the assemblage of the Rang Kwien (Intakosai et al., 1983). Found attached to the keel of the boat, it has been suggested that this was a common practice by Chinese sailors to prevent disaster (Elisseeff, 2000). Its role (literally) within the boat, most likely makes this personal property of someone on the vessel. Depending upon where it was found in the keel, it is also plausible that the mirror rig could have been used as a signalling device. More study is needed to understand any mystical or practical connotations of its placement on the Rang Kwien. Six sets of bronze tweezers were in the assemblage of the Bakau (Flecker 2001). As they were found together during the excavation, it is assumed that they were a trade commodity (Flecker, 2001). More of these may have been in the cargo, but their small size could have made them both hard to find, and/or hard to survive the oceanic environment. An item like this represents a highly valued object, much like the bronze 7 �mirrors found within the assemblage. These two artefact types pair well together. A mirror would be necessary if a user desired to preen with a pair of tweezers. If we treat these objects (mirrors and tweezers) as a “set” of artefacts, they could promote discussion about concepts of grooming and vanity during this age, as well as debate on the cultural transfers on ideas of beauty and the exotic (Morrison, 2013). Tin Ingots Tin ingots were found on the Bakau (A. Liow, personal communication, 2013), Lena Shoal (Goddio, 2002) and the Santa Cruz (Orillaneda, n.d) wrecks. Two ingots were recovered from the Bakau, while the Lena and the Santa Cruz yielded over a hundred ingots each. They are all in the shape of a truncated pyramid. The tin ingots on the Bakau were not mentioned in Flecker’s (2001) article. Ship Use/Personal Metal Wares Quantification methods were used as the criteria to delineate personal material/ship use material versus material onboard for trading purposes. Isolated items and groups of item tallying less than three were assumed to be individually owned or ship property, while items that comprised of four or more were identified as trade material. Nautical themed artefacts (e.g., net weights and sounding weights, fishhooks, and cannons) are catalogued as ship use material regardless of inventory amounts. Individual high-end artefacts (e.g., jewellery, crown) are treated as either personal use or tribute wares. These criteria are also dependent upon the information gained regarding each ship excavation. If any of the isolated finds can accurately be provenanced in the respective cargo hold, then it shall be noted and deemed a trade good or tribute item. Spearpoint Of the six wrecks cited, only one spearhead was found on the Bakau wreck (Flecker, 2001). This can mean many things. It is possible that close quarter weapons were not perceived as needed on journeys such as these or simply that the spearheads (and the wooden hafts they were attached to) did not survive the long term immersion in seawater. Due to the lack of similar material on other wrecks, this was most likely not commonly used as a tool for fishing. Yet if the possibility of pirate invasion was real and cannons were a viable deterrent for such a scenario, I would beg the question that a 8 �boarding prevention plan would be in place and would facilitate the need for close quarter weapons like swords, knives and spears. Lamps A single metallic lamp was recorded in the assemblage of the Santa Cruz (B. Orillaneda, personal communication, 2012). Little is known about shipboard practices of lighting a boat at night. If lamps were commonly used in this capacity then they would most likely be a part of other shipwreck assemblages. There is, however, a lack of this type of artefact in shipwreck inventories of the same period. This may be another factor of the impact of the environment on the material or simply that other types of lighting implements are used. Conclusion Depending upon the author, the non-ceramic assemblage material in many archaeological reports and catalogues is summed up in a few paragraphs, and in some cases, merely one sentence. Some material found in the assemblages of this study was not even mentioned in the published material. This reflects the degree to which this material is considered when understanding the shipwreck narrative. The manner in which this material is highlighted mimic Brown’s (2009) catalogue on the chronology of Thai trade wares. Her goal was to group fourteenth and fifteenth century shipwrecks and glean their ceramic cargo in order to ascertain the presence (or absence) of cultural ceramic material (i.e. Chinese blue-and-white, Thai celadon, Vietnamese wares) and whether or not it corroborates with a ban on overseas trade during that time. Using this system of dated shipwrecks, an attempt was made to glean the metallurgical objects from the assemblages and reflect on any overlapping features of this material; both in terms of trading patterns and in terms of what possible cultural significances these objects signify. This contribution is valuable to the larger archaeological community because it is a start to a higher level of interpretation on material that has been largely neglected. The ships in this study yielded a wide variety of metallurgical artefacts. Metals, whether as raw materials or a finished trade good, were clearly a regular complementary part of the cargoes of trading vessels in fifteenth century Southeast Asia. In Table 2, we see a 9 �widespread increase in the trade of metallurgical raw materials. The iron granules carried by the Turiang were an isolated instance in this study. The copper ingots on the Rang Kwien and the Ko Si Chang III show an increased trade in the material but little could be ascertained as to its intended market. Since the Ko Si Chang III is the smallest boat in the study, it was most likely a local trading vessel. It could suggest a regional popularity for the material on the boat, or a boat bound for a larger emporia. The tin ingots from the Bakau, the Lena Shoal and the Santa Cruz clearly show the increased trading practice of this material. The few ingots found on the Bakau could reflect a sample of a new product while the nearly one hundred ingots found on each of the Lena Shoal and the Santa Cruz wrecks represent a stark increase in the trade of this raw material. This study of this type of material highlights some of the problems researchers encounter with modern maritime archaeology. Even in perfect conditions, archaeologists cannot assume to recover all of the material. Most of the metals undergo a physical transformation in seawater to some degree; it ranges from mild tarnish to complete disintegration. Due to this natural transformation, artefact inventories of this type of material will be lower. The corrosion of this type of material will result in the removal of some objects from the archaeological record. However we also need to understand the academic, economic and corporate environments and the motivations that surround these wrecks as well. Not all wrecks are excavated in the same manner, and the collection, selection and relation strategies will result in different kinds of shipwreck assemblages. Without being able to properly observe and document each excavation from beginning to end, we can only question the motivations behind each excavator pertaining to what material may have been purposefully overlooked or recovered. We have five shipwrecks excavated by different entities. Material that was possibly left in situ on the Bakau wreck might have been due to aesthetic reasons or monetary ones. An academic entity may have handled the excavation and material differently. Reciprocally, the excavations of the Santa Cruz and Lena Shoal, managed by the Frank Goddio and the HILTI Foundation, would have been different if managed by a firm like Seabed Explorations. The point here is that underwater archaeologists may use similar methods of extraction and conservation to bring an assemblage to the 10 �surface, but because of the different motivations and ambitions of the excavator involved on each wreck, we can only compare the assemblages with each wreck with a small degree of certainly and for commodities such as pottery rather than for metals. While these examples highlighted in this paper are all metallurgical in nature, they are not the only artefacts that suffer from this bias. This case study has also revealed various examples of organic material and stone-carved utility objects that experience the same representational deficiency in the underwater archaeological narrative. A similar presence/absence model of organic material found in ceramic containers in shipwreck assemblages can reflect trading patterns of material that otherwise has simply been cited in written sources. Table 1. Manufactured Metals in shipwrecks. Table 2. Raw Materials on Shipwrecks. Acknowledgements I wish to thank the APCONF committee for the opportunity to present my work. Thank you to the Oxford Centre for Maritime Archaeology and my supervisor, Dr. Damian Robinson for your support and critique. I wish to thank the National Museum of Manila, the Underwater Archaeology Division and Museum in Chanthaburi, Thailand, and Angie Liow and her staff at the National Experiential Museum in Singapore for access to their 11 �collections. Thank you to fellow students Bobby Orillaneda, Veronica Walker-Vadillo and Peter Fiske for all the review and input on the paper. References Brown, R. M., and Sten Sjostrand., 2000. Turiang: A Fourteenth – Century Shipwreck in Southeast Asian Waters. Pacific Asia Museum, California. Brown, R. M., 2009. The Ming Gap and Shipwreck Ceramics in Southeast Asia: Towards a Chronology of Thai Trade Ware. Siam Society, Bangkok. Elisseeff, V., (Ed.), 2000. The Silk Roads: Highways of Culture and Commerce. Berghahn Books, Oxford. Flecker, Michael., 2001. The Bakau Wreck: An Early Example of Chinese Shipping in Southeast Asia. International Journal of Nautical Archaeology, Vol. 30 (2): 221–30. Goddio, F., Monique, C., Peter, L., Stacey, P., and Rosemary, S., 2002. Lost at Sea: The Strange Route of the Lena Shoal Junk. Periplus Publishing, London. Green, J., Harper, R., and Intakosi, V., 1987. The Ko Si Chang III shipwreck excavation 1986. In The Maritime Archaeology of Shipwrecks and Ceramics in Southeast Asia. Special Publication No. 4, Australian Institute for Maritime Archaeology, Fremantle: 3979. Intakosai, V., 1983. Rang Kwien and Samed Ngam Shipwrecks. SPAFA Digest: Journal of SEAMEO Project in Archaeology and Fine Arts, Vol. 4 (2): 30–34. Intakosai, V., 1984. The Excavations of wreck sites in the Gulf of Thailand. In Final Report Consultative Workshop on Research on Maritime Shipping and Trade Networks in Southeast Asia, I-W7, Cisarua, West Java, Indonesia, November 20-27, 1984. SPAFA Co-ordinating Unit, Bangkok: 133-143. Morrison, W. A., 2013. A Fresh Eye on Familiar Objects: Rethinking Toiletry Sets in Roman Britain. Oxford Journal of Archaeology, Vol. 32 (2): 221–30. Muckelroy, K., 1978. Maritime Archaeology. New Studies in Archaeology. Cambridge University Press, Cambridge. Nicolas, A., 2009. Gongs, Bells, and Cymbals: The Archaeological Record in Maritime Asia from the Ninth to the Seventeenth Centuries. Yearbook for Traditional Music, Vol. 41: 62-93. 12 �Biography Brian Fahy is currently a D. Phil Candidate at the University of Oxford, with the Oxford Centre for Maritime Archaeology. His D. Phil thesis, “Holistic Shipwreck Narratives in 14th and 15th Century Southeast Asia”, will be completed at the end of 2014. He was previously awarded a Masters Degree in Chinese Archaeology through the Institute of Archaeology at the University of Oxford under Jessica Rawson. 13 � 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 Session 6: Iberian Global Interactions: the Manila Galleon and the Roteiro Subject The topic of the resource Interview with Session 6 co-chair Veronica Walker Vadillo and links to the papers presented in the session. Description An account of the resource The arrival of Spain and Portugal in Asia-Pacific in the 1500s marked a turning point in the history of the region. New foreign actors came into play: priests, merchants and mercenaries looking to save souls and profit from trade in exotic Asian goods. Far from their Iberian homeland, their deeds and actions, violent or not, resulted in a myriad of interactions that altered the life of the people who lived around their areas of influence, including that of the newcomers. This flow of people and goods circumnavigated the world by well established maritime routes. In 1565, the Spanish established the Manila galleon trade route, which linked Asia with the Americas, and from there to Europe. From the early 1500s, the Portuguese dominated the route that linked Asia with Africa, Brazil and Europe in what is known as the Roteiro. The most visible archaeological evidence of these trade routes is the ships in which the goods were transported around the globe, and also the interaction with different cultures that were located in trading posts along these routes. But through contact also came knowledge exchange and other subtle changes including the migration of people, flora, and fauna. In this session we want to discuss archaeological, historical, and ethnographic evidence that remains of this global enterprise that connected Europe to Asia through maritime trade, and all the entrepôts that stood along the way. Creator An entity primarily responsible for making the resource Veronica Walker Vadillo 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 Seat at the Table: Addressing Artefact Biases in Asian Shipwreck Assemblages Description An account of the resource The ceramic trade throughout Medieval Southeast Asia was prolific. Terrestrial sites have yielded massive amounts of ceramic material and the archaeological reports of shipwreck cargoes corroborate the versatile and extensive qualities of trade ceramics in the region. The sheer quantity of ceramic artefacts found in shipwreck assemblages, paired with a well-researched framework of the aesthetic, show that there is no doubt that we rely heavily on ceramic data to date wrecks and establish regional trading patterns. This paper will debate that we are too 'ceramo-centric' in our analyses of shipwrecks. While ceramics typically represent the bulk of the recovered material in these instances, many other types of media are present in the assemblage. Yet, these “lesser” materials suffer from a lack of investigation and therefore play virtually no role in the archaeological and historical assessment. This case study focuses on the non- ceramic assemblages for six shipwrecks from the fourteenth and fifteenth centuries of Southeast Asia (three Chinese-built and three Southeast Asian-styled junks). The typological study of the metallurgical, organic and geological material from these wrecks can complement much of the work surrounding existing trade models as well as reveal new concepts of crew life, belief systems and culture. These facets come together to offer a more holistic narrative as well as stimulating the need within the region for more study regarding the locations where past peoples mined and manufactured raw metals. Creator An entity primarily responsible for making the resource Brian M. Fahy, in Van Tilburg, H., Tripati, S., Walker Vadillo, V., Fahy, B., and Kimura, J. (eds.) Date A point or period of time associated with an event in the lifecycle of the resource 5/15/2014 Asia-Pac Session 6 2014 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 Short History of China and Southeast Asia: Tribute, Trade and Influence Creator An entity primarily responsible for making the resource Martin Stuart-Fox Publisher An entity responsible for making the resource available Allen & Unwin Date A point or period of time associated with an event in the lifecycle of the resource 2003 Type The nature or genre of the resource Book Zotero Author Martin Stuart-Fox Item Type Book Date A point or period of time associated with an event in the lifecycle of the resource 2003 Place Crows Nest, NSW Publisher An entity responsible for making the resource available Allen & Unwin Title A name given to the resource A Short History of China and Southeast Asia: Tribute, Trade and Influence China Southeast Asia https://apconf-much.org/proceedings/files/original/8b42dd9a4a8bf469993b953e6b8fa67b.pdf 729d33e7a75141aec36f66fcaa5c8b84 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 2021 Session 4: Heritage Preservation and the Journey of the Sailing Vessel Free China Subject The topic of the resource Session 4 papers Creator An entity primarily responsible for making the resource Asia Pacific Regional Conference on Underwater Cultural Heritage 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 November 2021 Language A language of the resource English Rights Holder A person or organization owning or managing rights over the resource. Asia Pacific Regional Conference on Underwater Cultural Heritage 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 study on historical evidence and its implications of the “Free China Junk” crew landed Diaoyutai Island in 1955 Description An account of the resource Diaoyutai Islands are a group of islands affiliated to Taiwan. There are many discourses on the sovereignty and legality of claim on the islands. This article firstly introduces the history of Taiwan's only ancient Chinese junk "Free China", describes its tortuous voyage and the process of salvaging it back to Taiwan, and highlights the importance of this cultural heritage. Following that, this research proves with historical evidence that the crew of the ship had visited the Diaoyutai Island in 1955 and to restore its image that it was an are of long held traditions for Taiwanese fishermen to to sail and fish. This article hopes that this historical study will provide alternative views and arguments for the discussion of Diaoyutai sovereignty and related issues from the perspective of cultural heritage preservation, traditional territory and sovereignity themes. The article also discusses the relocation of Free China from the National Museum of Marine Science and Technology (NMMST) to the National Taiwan Ocean University (NTOU) in 2019. Finally, it proposes several suggestions for future study on historic evidences and ship preservation. Creator An entity primarily responsible for making the resource Wen-Yan Chiau 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 November 2021 Language A language of the resource English Rights Holder A person or organization owning or managing rights over the resource. Asia Pacific Regional Conference on Underwater Cultural Heritage Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Chiau, Wen-Yan. 2021. “A study on historical evidence and its implications of the “Free China Junk.” crew landed Diaoyutai Island in 1955.” Edited by Brian Fahy, Hans Van Tilburg, Bill Jeffery, T. Kurt Knoerl, and Riley Smith. In Proceedings of Fourth Asia Pacific Regional Conference on Underwater Cultural Heritage: Keelung,Taiwan, and Virtual, November 1-5, 2021. The Museum of Underwater Archaeology URL: https://apconf-much.org/proceedings/exhibits/show/apconf-muchproceedings/item/678 Asia-Pac Session 4 2021 https://apconf-much.org/proceedings/files/original/81a739087cdc24bd84d54084120dcbe6.pdf 5138bd27fa7cbc3b85ea9fbe5fd4cd00 PDF Text Text A Study on the Narrative Display Technique of the Underwater Archaeological Museum: Focusing on Shipwrecks and Underwater Cultural Assets Ye-ree Park (Curator Exhibition & Education Division, National Research Institute of Maritime Cultural Heritage, Korea) ABSTRACT The underwater archeology museum mainly deals with archaeological and historical shipwrecks and artifacts from ancient times to modern times as old as the history of marine activities of mankind, and has been operated with the participation and efforts of many experts for a long time, from underwater excavation to preservation and exhibition. Unlike general archaeological artifacts, underwater cultural properties require sufficient preservation treatment, as they are in a waterlogged environment. In particular, shipwrecks, which are submerged timber cultural assets, should be displayed in a sustainable manner while considering the preservation environment, and there is a need to explore how to effectively introduce the remaining hulls to visitors. The museum's exhibition can be said to be a fact-based narrative realization activity. In particular, a shipwreck that sank at a specific time has a narrative like a ‘time capsule’. In order to examine the narrative display techniques of underwater archaeological museums, this study is conducted as follows: 1) analyzing the shipwreck exhibition cases in Korea and the world to organize the differences of other maritime museums, 2) identifying convergence characteristics such as viewing environment-preservation-restoration strategies, tasks, and issues for effective exhibition of shipwrecks and underwater cultural properties, and presents exhibition directions, and 3) suggesting an exhibition technique to effectively convey the ‘narrative’ and value of shipwrecks and underwater cultural assets. From 1994 to the present, the author has been exhibiting several ancient shipwrecks at the Maritime Artifacts Exhibition Hall of the National Research Institute of Maritime Cultural Heritage (NRIMCH), and has tried various display techniques for them. This study is expected to be the data to think about how spatial curation, which visualizes and spatializes 'time and space of the past' through encounters with convergent exhibition techniques, is carried out. Keywords: underwater archeology, maritime museum, underwater cultural heritage exhibition, shipwreck List of Tables and Figures Table 1 Processes of combining restoration and display of shipwrecks Figure 1 Restoration frames and video display technique of Viking shipwreck Figure 2 A Viking warrior in the animation INTRODUCTION: NARRATIVE OF MUSEUM EXHIBITS Today, the paradigm and central function of museums are rapidly shifting from traditional roles such as collection, preservation, and exhibition to one of user-centered, cultural enjoyment, and consumption. Among them, exhibitions are at the very center of the paradigm shift as an essential activity of museums. In-depth consideration is required for subject selection, exhibition planning, content and scenario composition, archive services, public feedback of academic research and return of research results to the public, and presentation methods and materials. Moreover, it is important to seek an exhibition that moves the hearts of visitors. One of the important elements that move the emotions of the visitors is the narrative. The museum's exhibition can be considered to be an activity of realizing a narrative based on facts. Narrative exhibition contents are curated to visualize and spatialize ‘time and space of the past’ through encounters with design. Narrative realization is importantly treated in museum exhibitions in the field of humanities, such as archeology, history, and folklore. In particular, the ‘shipwreck’, the central exhibition content of the underwater archeology museum, is a product that disappeared at a specific time and place, and has a narrative that contains the story of that point, like a ‘time capsule’. Admittedly, the narrative of the museum is not contained only in the exhibition content. Many maritime museums around the world are located in waterfront spaces such as ports or riversides, providing historical locality to the location environment, and harmony with the sea space and identity to in the architecture. All of this can be said to be a time-space curating and an integrated narrative process. 1 �Research scope and method An exhibition achieves its best purpose when it communicates and exchanges emotions between people in the past and present visitors through exhibits. The theme of the exhibition is a fantasy series that transcends time and space, and the work of creating optimal narrative and storytelling is exhibition design and space curating. This study aims at examining the important 'narrative directing technique' in the exhibition space of the underwater archeology museum and the convergence curating with various fields in the process of realizing it. The scope of the research is museums specializing in underwater archeology, which focuses on 'shipwreck' and 'underwater cultural assets'. EXHIBITION AND NARRATIVE OF THE UNDERWATER ARCHAEOLOGY MUSEUM Underwater Archeology Museum in Korea As for the underwater archaeological museums in Korea, there are two museums: the Mokpo Maritime Artifacts Exhibition Hall and the Taean Maritime Artifacts Exhibition Hall of the NRIMCH under the Cultural Heritage Administration. Other than them, there are two places that focus on humanistic exhibition contents, the National Maritime Museum and the Incheon National Maritime Museum under the Ministry of Oceans and Fisheries. All of these four museums have the identity of the sea and the historical locality. These museums are establishing a narrative environment that connects the sea and exhibition programs from the external environment. Maritime Silk Road Museum in China The museums displaying underwater cultural properties in China include the Shandong Province Penglai Ancient Ship Museum, the Fujian Province Quanzhou Overseas Transportation History Museum, the Zhangzhou Maritime Silk Road Museum, and the Guangdong Provincial Museum and Yangjiang Maritime Silk Road Museum. Yangjiang Maritime Silk Road Museum is China's first museum specializing in underwater archeology, located on the seashore of Hailing Island, Hailing Island, Guangdong Province, in the South China Sea. Nanhai no. 1, the Southern Song Dynasty merchant ship, and about 100,000 artifacts are the main collection. The shipwreck sailed from China to the Arabian Peninsula about 800 years ago, but sank in the South China Sea. The Maritime Silk Road is a huge historical narrative that connects the world by sea and is an important theme in the exhibition of underwater cultural properties in Asia. In 2013, Nanhai no. 1, an underwater merchant ship of the Southern Song Dynasty, was moved to the center of the museum in a large container. Since then, the lower part of the hull has been made into an environment similar to the sea, and archaeological excavations have been carried out on land. All of these processes are open to the public as exhibition contents. It is very experimental and interesting attempt to make the museum into an underwater excavation site. Asian Civilizations Museum in Singapore The Asian Civilizations Museum (ACM, established in 1993) is located on the beautiful seaside of the port city-state of Singapore. ‘Understanding Asia Through Singapore’ is the motto promoted by the Museum of Asian Civilizations, implicitly containing the identity of the museum. It focuses not only on the history of the port city of Singapore, but also on Asian culture, civilization, and globalization. The iconic collection of the Asian Civilizations Museum is the Belitung shipwreck artifact. In the permanent exhibition room no. 1 is an exhibition with the theme of ‘Maritime Trade’. 2 �Museums of Underwater Archeology in Europe Mary Rose Museum in England While, in the UK, there are several maritime museums such as the National Maritime Museum, the Cornwall Maritime Museum, and the Mary Rose Museum. The Mary Rose Museum is about underwater archaeology. The Mary Rose Museum (established in 1982) is located in the Portsmouth Historic Dockyard in Portsmouth, County Hampshire, England. Mary Rose is a warship from the time of King Henry VIII (1509-1547) of the Tudor dynasty in England in the sixteenth century. The museum exhibits remaining restored hull and artifacts. The narrative of Mary Rose begins from the time the ship was built (1509-1511). Henry VIII built the Mary Rose as a product of Tudor naval power and the product of Renaissance science. The Mary Rose was sunk in the Strait of the Solent in 1545 during a battle with a French fleet after 30 years of active service. The narrative of the Mary Rose could be restored with vivid marine paintings and records drawn by court painters at the time The entire journey of Mary Rose, including voyage, sinking, discovery, excavation, preservation, research, and opening to the public, is a historical narrative and exhibition content. The exhibition at the Mary Rose Museum is characterized by the arrangement of a 1:1 scale artifact exhibition space next to Mary Rose. Through this, the exhibition line of movement was directed as if the visitors were active inside the ship.To ensure that visitors and the local community can feel the image of ‘eternal treasure Mary Rose’ rather than a battleship of misfortune, online and offline exhibition techniques with various ideas are being developed. Vasa Museum in Sweden Sweden's representative underwater archaeological museums include the Vasa Museum and the Maritime Museum Stockholm. Along with the Mary Rose Museum, it is one of the European leading underwater archaeological museums. Sunk in Stockholm in 1628 and excavated 300 years later, Vasa is the best-preserved seventeenth century warship in the world. Its artifacts are on display. A total of 64 cannons were installed on the ship, of which only three were found. The Vasa Museum is working on a project to find the remaining cannons by 2028, the 400th anniversary of the sinking. Like the Mary Rose Museum in England, the exhibition is structured to tell the story of the entire journey of Vasa, including voyage, sinking, discovery, excavation, preservation, research, and opening to the public. The narrative of Vasa was introduced along with historical information such as Swedish naval power and shipbuilding in the seventeenth century. Visitors can see the keel at the bottom of Vasa, the interior space, and the end of the stern while moving through a total of six floors. Copenhagen National Museum in Denmark In Northern Europe are many underwater archaeological and shipwreck museum. Shipwreck museums include the Copenhagen National Museum in Denmark and the Viking Ship Museum in Norway, both of which have Viking ships as an exhibition theme. Norway's Viking Museum focused on presenting three Viking shipwrecks: Oseberg, Gokstad, and Tune rather than narrative exhibitions. The National Museum in Copenhagen, Denmark, mainly presents narrative and dynamic exhibitions using various convergence production techniques. The highlight is the Viking exhibition among them. Once active as warriors and raiders on the seas between continental Europe and Britain, the Vikings have historically been both respected and despised. The National Museum of Copenhagen introduces one Viking shipwreck and hundreds of historical artifacts. Although only a small part of the Viking shipwreck was excavated, the narrative of the Vikings was expressed through various exhibition techniques such as restoration frames of the shape of a ship and large-scale videos. 3 �The National Museum in Copenhagen is planning three-series exhibitions with a Viking theme. In 2023, the second special exhibition ‘Join the Viking – on Raid’ is being held. In this exhibition, visitors can encounter the world of Vikings and the rarest treasures of the Viking Age, and experience the journey of joining the Vikings in an epic film. An archaeologist-turned-screenwriter maximized the narrativity of the exhibition by participating in this work. Figure 1. Restoration frames and video display technique of Viking shipwreck Figure 2. A Viking warrior in the animation THE 700-YEAR JOURNEY AND EXHIBITION REALIZATION OF THE EAST ASIAN MEDIEVAL TRADING SHIP, SINAN SHIPWRECK Narrativity of time and space Sinan shipwreck marks the beginning of underwater archeology in Korea. Even now, 50 years after the underwater excavation, it is a representative underwater excavation achievement not only in Korea but also in Asia. Like shipwrecks in many countries around the world, Sinan shipwreck has a journey of about 700 years from voyage to sinking, discovery, excavation, preservation, research, and opening to the public. Sinan shipwreck narrative is a merchant ship that departed from Ningbo, Fujian Province, China in 1323 and sailed to Fukuoka and Tokyo, Japan. It also has the narrative that it was sunk through a marine accident in the process of voyage. In the 700-year long journey and time and space, there are cultural properties excavated underwater and numerous people, including fishermen in the Sinan fishing village who accidentally discovered the Sinan shipwreck, and an investigation group who devoted their passion for about 10 years, and researchers of preservation and recovery of Sinan shipwreck over the 20 years. All of these tangible and intangible records and data were used as exhibition contents for the 40 years of the Sinan Shipwreck Exhibition. Composition of the exhibition The underwater archeology museum, which mainly exhibits the Sinan shipwreck, is the Mokpo Maritime Artifacts Exhibition Hall (Asian Maritime Exchange Room) of the NRIMCH. In addition, the National Museum of Korea (World Culture Center) and the National Gwangju Museum (Asian Ceramic Culture Room) introduce their main collections in their permanent exhibitions. Exhibition of Sinan shipwreck at the National Museum is a comprehensive museum focused on ceramics, especially art history. Unlike this, the Mokpo Maritime Artifacts Museum, an underwater archeology museum, organizes exhibitions focusing on the 700-year journey of the Sinan shipwreck and time and space: Part 1 ' Sinan Shipwreck, Awakening the Underwater Treasure Ship’, Part 2 'Secrets of the Sea, Navigating the Maritime Silk Road', Part 3 'Cultural Exchanges through the Sea Route in Medieval Asia', and Part 4 'Sinan Shipwreck, Opening the Treasure House under the Sea'. The exhibition scenario is developed in the order of discovery (1975 CE) and excavation (1976-1981 CE) of the Sinan shipwreck, voyage (1323), enjoyment of medieval culture and maritime exchange (the fourteenth century), and opening (present). 4 �Convergent time-space restoration and exhibition technique of Sinan shipwreck Most of the underwater archaeological museums examined until now open the restoration process of shipwrecks to visitors, and even utilize the work of the staff as an element of the exhibition. At this point, in addition to the exhibition planner, experts in visual and interior architectural design, conservation science, shipping company, and ship engineering participate together to create a convergence exhibition, empirically restore the wreck, create a safe preservation exhibition environment, and finally visualize the exhibition space, completing comprehensive space curating. No. Country 1 Korea 2 China 3 Denmark 4 Sweden 5 Germany 6 United Kingdom Table 1. Processes of combining restoration and display of shipwrecks Museum Shipwreck Display methods designations Mokpo National Maritime Sinan - display of restoration process Museum of the NRIMCH shipwreck - restoration of hull shape (metal frame) - production of multiple mapping panorama Maritime Silk Road Museum of Nanhai I - display of processes of outdoor archaeological Guangdong excavation for the first time around the world National Museum of Denmark Viking - restoration of hull shape (metal frame) shipwreck - production of multiple mapping panorama Vasa Museum Vasa - display of processes of conservation and restoration International Maritime Museum Bremen cog - display of processes of conservation and restoration Mary Rose Museum Mary Rose - display of processes of restoration The shipwreck exhibition is largely divided twofold: 1) ship structure with frames of the shape of a ship and restoration of lost hulls, and 2) introduction of digital, model, and lighting exhibition directing techniques. Both Viking shipwreck from the National Museum of Denmark and Sinan shipwreck from the Mokpo Maritime Artifacts Museum in Korea introduced both of them. The restoration frame of Viking shipwreck expresses the structural characteristics of the ship and the magnificent yet elegant shape well, and the appropriate lighting directing allows visitors to feel the majesty of the Viking shipwreck. In particular, the animated panoramic video makes it possible for people to understand the dramatic historical story emotionally. The exhibition space was brought back to the dynamic Viking era with the technique of mapping videos on multiple screens. As for the convergent restoration of space and time of Sinan shipwreck since 1994, new attempts have been applied to depending changes in exhibition techniques and technologies. In addition to restoration frames of the shape of a ship, animations and panoramic images were directed, and the audience's immersion was enhanced by maximizing the impression of the images through music direction. CONCLUSIONS The environment for underwater cultural properties includes the sea, rivers, and lakes, and most of them are the sea. As the sea is a space separated from the land, it is an unknown world from ancient times, a subject of fear, challenge, and overcoming, and a space where life and death coexist. This perception of ours is generally overlapped with the gaze of looking at underwater cultural properties. If ship’s voyage and maritime activity had been successful, there would have been no unfortunate archaeological artifacts. This study examined how the narrativity of underwater cultural properties is realized in exhibitions in museums. Through the cases of major underwater archaeological museums and shipwreck museums in the world, it was found that there is a common journey and narrative from sailing -> sinking -> discovery -> excavation -> preservation -> research -> exhibition. Each museum is reducing the distance between the audience and the exhibition contents and expanding the direct or emotional participation of the audience by organizing the exhibition through storytelling of its shipwreck’s narrative. Above all, it was found that the value of underwater cultural properties was being recreated through convergence with 5 �various fields, and museum exhibition techniques were also greatly changed and developed according to the paradigm of the digital age. The basic condition of the exhibition is to make the audience immersed in the time and space through interaction with the exhibits. Narrativity, that is, an exhibition based on storytelling, draws empathy and immersion. The long journey from the narrative and the long journey from sinking to the exhibition of underwater cultural properties is being reinterpreted and reconstructed through the exhibition methodology and is open to the public. This is the reason narrative exhibition techniques and space curating are needed to draw sympathy and emotion in line with the public's gaze on not only the brilliant history and culture, but also cultural properties. This study considered that there is a limit to comprehensively grasping the narrative exhibition techniques and trends of the underwater archaeological museum, as it is limited to the analysis of limited museums and exhibition cases. The Maritime Artifacts Exhibition Hall of the NRIMCH has exhibited several ancient shipwrecks and has been using and attempting various exhibition contents. However, there is still a challenge of how to proceed as a museum specializing in underwater archeology. Bibliography Asian Civilizations Museum Singapore (https://www.nhb.gov.sg/acm). China Yangjiang Maritime Silk Road Museum (https://www.msrmuseum.com). National Museum of Denmark (https://www.natmus.dk). National Research Institute of (https://www.seamuse.go.kr/mokpo). Maritime Cultural Heritage Mary Rose Museum, UK (https://www.maryrose.org). Swedish Vasa Museum (https://www.vasamuseet.se). 6 Mokpo Maritime Artifacts Exhibition Hall � 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 2023 Session 20: Effective Ways to Deliver Maritime and Underwater Cultural Heritage Subject The topic of the resource Session 20 papers Description An account of the resource Papers presented at Session 20 of the 2023 Asia Pacific Regional Conference on Underwater Cultural Heritage Creator An entity primarily responsible for making the resource Asia Pacific Regional Conference on Underwater Cultural Heritage 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 November 2023 Rights Information about rights held in and over the resource Asia Pacific Regional Conference on Underwater Cultural Heritage Language A language of the resource English Rights Holder A person or organization owning or managing rights over the resource. Asia Pacific Regional Conference on Underwater Cultural Heritage 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 Study on the Narrative Display Technique of the Underwater Archaeological Museum: Focusing on Shipwrecks and Underwater Cultural Assets Description An account of the resource The underwater archeology museum mainly deals with archaeological and historical shipwrecks and artifacts from ancient times to modern times as old as the history of marine activities of mankind, and has been operated with the participation and efforts of many experts for a long time, from underwater excavation to preservation and exhibition. Unlike general archaeological artifacts, underwater cultural properties require sufficient preservation treatment, as they are in a waterlogged environment. In particular, shipwrecks, which are submerged timber cultural assets, should be displayed in a sustainable manner while considering the preservation environment, and there is a need to explore how to effectively introduce the remaining hulls to visitors. The museum's exhibition can be said to be a fact-based narrative realization activity. In particular, a shipwreck that sank at a specific time has a narrative like a ‘time capsule’. In order to examine the narrative display techniques of underwater archaeological museums, this study is conducted as follows: 1) analyzing the shipwreck exhibition cases in Korea and the world to organize the differences of other maritime museums, 2) identifying convergence characteristics such as viewing environment-preservation-restoration strategies, tasks, and issues for effective exhibition of shipwrecks and underwater cultural properties, and presents exhibition directions, and 3) suggesting an exhibition technique to effectively convey the ‘narrative’ and value of shipwrecks and underwater cultural assets. From 1994 to the present, the author has been exhibiting several ancient shipwrecks at the Maritime Artifacts Exhibition Hall of the National Research Institute of Maritime Cultural Heritage (NRIMCH), and has tried various display techniques for them. This study is expected to be the data to think about how spatial curation, which visualizes and spatializes 'time and space of the past' through encounters with convergent exhibition techniques, is carried out. Creator An entity primarily responsible for making the resource Ye-ree Park 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 2023 Language A language of the resource English Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Park, Ye-ree. 2023. “A Study on the Narrative Display Technique of the Underwater Archaeological Museum: Focusing on Shipwrecks and Underwater Cultural Assets.” Edited by Jennifer Craig, Jay Mok, T. Kurt Knoerl, and Juhee Kim. In Proceedings of Fifth Asia Pacific Regional Conference on Underwater Cultural Heritage: Gwangju, The Republic of Korea, November 13-18 2023. The Museum of Underwater Archaeology. URL: https://apconf.omeka.net/exhibits/show/apconfproceedings/item/1968 Asia-Pac Session 20 2023 https://apconf-much.org/proceedings/files/original/f26469d2ff035baab1f46eaa329da7b8.pdf b1f089c1d7bce69f1a1be1d7900476ca PDF Text Text A Study on the Production Sites of Potteries Excavated from Twelfth to Thirteenth Century Korean Shipwrecks Dr. Jong-Kuk Shin (Exhibition & Education Division Section Head, NRIMCH) ABSTRACT On the south-western coast of Korea lie 12 shipwrecks of the Goryeo Dynasty (tenth to fourteenth centuries). So far, among recovered artifacts from shipwrecks, less attention was given to pottery, than wooden tablets. Our research on pottery shows that different production techniques and features are distinctive by region. We expect this to indicate ports of departure, call, and shipment. The production site was assumed by patterns of dark-brown glazed pottery, which has distinctive techniques and features among the Goryeo pottery recovered from shipwrecks. Possible imports from various regions were analysed, considering their provenience. Ports of call have been usually presumed by production sites like celadon cargo indicated on wooden tablets. Among five shipwrecks, three namely the Wando, Taean, and Mado no.1, suggest the same ports of departure from previous analysis on celadons and wooden tablets. Port of departure for Mado no. 2 shipwreck is argued to be Haenam, which is located roughly 100 kilometres to the south from the port of shipment stated on the wooden tablets. Also, dark-brown glazed pottery, only one of which was discovered from Mado no.3, is assumed to have been loaded when it was transferring and navigating near Haenam. Keywords: shipwreck, pottery, production site, port of departure List of Tables and Figures Table 1 Excavation status of pottery recovered from Goryeo shipwrecks in Korea Table 2 Dark-brown colored glazed pottery recovered from shipwrecks. Figure 1 Underwater excavation sites of Korea. Figure 2 Restoration of Mado no. 3 cargo Figure 3 Various forms, sizes and decoration of storage jars from the Wando and Mado no. 3 shipwrecks Figure 4 Kiln sites of dark-brown glazed pottery in the Goryeo Dynasty INTRODUCTION So far, roughly 100,000 artifacts and 16 shipwrecks have been discovered. Ninety-five per cent of the former are potteries. After the mid-2000s, at Taean waters of Yellow Sea in Korea, were excavated four shipwrecks of the Medieval period (Goryeo Dynasty; twelfth to thirteenth centuries). In these more than 100 potteries in good condition were discovered, which raised the necessity of their research. In the case of cargo vessels from the twelfth to thirteenth centuries in Korea, pottery was used either in daily-life activities on shipboard, containers for transporting foods in cargos, or carrying other products. Also, the possibility that pottery from various regions were loaded by their usage and how to operate vessels was raised. For example, one shipwreck contains a variety of pottery with diverse production techniques and shapes. Thus, information relevant to the navigation of the vessels, such as port of departure, shipment, and call, can be assumed. Usage of pottery can be divided by excavation contexts. Incoming routes of pottery can be traced based on production sites of pottery with similar techniques and shapes. The methods used to identify pottery production sites from shipwreck cargo: 1. After classifying pottery by production techniques and shapes, potteries are divided by distinctive features 2. Excavation patterns of pottery from land sites (production and consumption sites) and its production sites are entered into a database of Goryeo pottery of NRIMCH 3. When compared to previous studies on wooden tablets, porcelain, etc., new suggestions can be deduced from ports of departure or shipment by the result of cargo pottery production sites. 1 �Figure 1 Underwater excavation sites of Korea. 2 F i g u �STATUS OF EXCAVATION AND SHIPMENT OF GORYEO POTTERY A total of 189 pottery pieces were excavated from the shipwrecks. With the exception of Daebudo and Talido shipwrecks, which contain none. The quantity varies by shipwreck, from five to 54 pieces; for those with less than 10 pieces we consider the possibility of loss. Also, kitchenware is not included in the context, as it should be considered with metalware. While jar types, used as a storage, are focused with distribution and loading categories. The following table summarizes cargo pottery quantity and type (Table 1). Table 1 Excavation status of pottery recovered from Goryeo shipwrecks in Korea Storage Ware (jar) Shipwreck Sibidongpado Small (<6 L) 1 Medium (7–25 L) 2 Wando 15 6 Taean 2 6 Daebudo no. 2 1 5 Mado no. 1 9 24 1 Mado no. 2 7 13 2 Mado no. 3 4 37 Anjwa subtotal Total Large (30-60 L) Tableware XLarge (>100 L) 1 Plate Bowl Cookware Bottle Steamer 1 1 1 3 15 4 2 1 etc. Total 6 1 Pot; 6 29 1 Water jar; 1 10 1 1 11 2 1 54 1 1 24 4 50 5 39 5 98 7 5 16 149 (78.8%) 2 27 (14.2%) 9 6 7 6 (3.1%) 7 (3.7% ) 189 The Sibidongpado and Anjwado shipwrecks, which contain less than five pottery jars, indicate artifacts loss. Aside, the Taean, Daebudo no. 2, and the Mado no. 4 contain approximately 10 pieces. The Daebudo no. 2 has eight pieces of 200 litres jars, very large jars for a small craft, it has enough room for loading foods for shipboard. However, the facts that only four external planks of the Taean were identified showing severe losses, with eight pieces of 100 litres jars, we argue most were lost. Figure 2. Restoration of Mado no. 3 cargo The Wando and the Mado nos. 1, 2, and 3 have more than 20 jars, which raises the possibility of food cargo storage transport. On the one hand, Wando cargo had 15 small jars, of those only six were used to transport ingredients so, 9 are considered shipboard use. On the other hand, Mado nos. 1, 2, and 3 had jars for transport and shipboard. Ten medium-sized jars were found, which is too much only for foods. On the Mado no. 3 the cargo wooden tablets indicate 26 jars were for food storage transport. In summary, based on the number of jars, their capacity, and provenience: (1) pottery from the Wando, Taean, and 3 �the Daebudo no. 2 were for shipboard life, (2) pottery from the Mado nos. 1, 2, and 3 were for both shipboard life and food transport. How potteries were loaded can be seen on the Taean and the Mado no. 3. It is well-preserved and has 50 pieces of pottery. Figure 2 loaded hypothesis based on restoration of Mado no. 3 cargo provenience. In the Mado no. 3, which has the largest number of pottery ~ 30 pieces for food storage transport, at the third room of stem was space for stacking up cargos pottery. We do not see this example elsewhere. Where they are loaded is 60 centimetre wide, partitioned by Garyongmok (planks used for supporting side planks and dividing partitions scarfed with one external plank) on the bottom part, which connects external planks and bridging planks. In Figure 2 we see the 19 jars. In the sixth room were found five wooden tablets, two bamboo boxes and four pieces of pottery, which indicates cargo for food storage transport. We also noted a double-sided jar in the second room, which has likely moved from its original stack. This adds up to 24 cargo potteries. Near the stone hearth in the third room are 13 jars: three bottles, and one plate. Twenty pieces of celadon and the bronze tableware, along with an iron pot indicates the likelihood that shipboard goods were stacked near the hearth. We remain unsure of the use for a jar found between loading areas and shipboard goods. Potteries assumed to be used for food storage transport are sealed strongly with herbaceous materials and alongside bamboo tablets, number 3 out of 7 jars. The jars nos. 47 and 48 have 31 and 34 litres of capacity, respectively. This is quite large for food storage transport. However, raw abalone or pickled abalone should not have been too heavy to carry for an adult. Yet, jar no. 49 next to no. 48, has capacity of more than 50 litres, it is comparatively large. This exception is hypothesized to have stored drinking water. In summary, our records indicate the Mado no.3 had wooden tablets in close provenience to 31 jars for food storage transport, along with 19 jars for shipboard life, which included 14 jar types and five bottles, plates and tableware. We hypothesize the Mado no. 3 stacked shipboard jars near the hearth at the centre room; whereas the third room, and those jars for storage transport stacked at the stem of centre room and the stern, while the sixth room indicates similar features. FEATURES AND PRODUCTION SITES OF DARK-BROWN GLAZED POTTERY One-hundred eighty-nine tableware and cookware artifacts were recovered from the Goryeo shipwrecks of Korea, of which 149 are jar. This 80 per cent jar indicates their likely use for food storage transport for the crew members. The forms and decorations of pottery recovered from shipwrecks, especially the jar characteristics are glaze/no glaze, various in sizes from small to large, round- and tall-shaped, and several forms of the mouth, mouth rim and the neck. Thus, production techniques are diverse. Many different styles can be loaded along different routes, despite being recovered from the same shipwreck. We suspect pottery used for shipboard life were generally produced near the port of origin, while those for food storage transport stayed local to the port of departure. If pottery for storage and shipboard were loaded from the port of call then jar forms and decoration can indicate strong hypotheses for the port of departure or call. 4 �Figure 3 Various forms, sizes and decoration of storage jars from the Wando and Mado no. 3 shipwrecks Pottery form and decoration are used to identify the pottery production sites. Pottery with dark-brown glaze recovered from the Wando, Taean, and the Mado nos. 1, 2, and 3, which includes ~ 100 show the complete condition of form and glaze and are identified according to unique glazing method and characteristics. Most consist of everted mount and a sharp ridge at the neck that made the mouth look like a tray. It is also a heavier jar. Table 2 shows that 60 per cent of dark-brown glazed jars excavated from five shipwrecks. Table 2 Dark-brown glazed potteries able to identify the production sites. Shipwreck (date) Jar Plate Wando (early 12th c.) Tall jar 5 Hemisphere jar 15 Taean (mid-12th c.) 1 3 Mado no. 1 (early 13th c.) 1 28 3 Mado no. 2 (early 13th c.) 2 10 2 th Mado no. 3 (mid-13 c.) Total Bowl Bottle Sphere jar Large Bowl Total (total pieces) 6 26(29) 4(10) 15 2 1 50(54) 14(22) 1 9 57 1(50) 5 15 2 1 6 9 5 (16 5 ) In order to identify the production sites of dark-brown glazed pottery we compared pottery excavated from the shipwrecks and pottery excavation from terrestrial production and consumption sites. According to most recent 930 terrestrial excavation sites dated in the Goryeo Dynasty, we conclude eight sites produced dark-brown glazed pottery comparable with the potteries recovered from the shipwrecks (Fig. 4). i. Kiln Jinsan-ri, Haenam (excavated in 1991, 2018, 2021): In 1991 excavation dark-brown glazed pottery found in large number in the kiln’s waste layer no. 17. This was confirmed again in the 2021 excavation. 5 �Figure 4 Kiln sites of dark-brown glazed pottery in the Goryeo Dynasty ii. Wolchul Mountain, Yeongam (1994): Located 30 kilometres from Jinsan-ri, Haenam kiln site. The summit of Wolchul Mountain was used for ritual ceremonies. Dark-brown glazed hemisphere jars were used for consumption and imported from Haenam. iii. Yongjang Fortress, Jindo (2012): In the 2012 excavation a medium-sized hemisphere jar was discovered near the cornerstone of the centre of a fortress. It is a typical dark-brown glazed pottery similar to a hemisphere jar found in the Mado nos. 1 and 2. A fortress is assumed to be built in the middle of thirteenth century. Except for this case, two or three pieces of mouth rim on the dark-brown glazed potteries were discovered during the survey on the fortress in 1989. According to the distance, it 6 �can be interpreted that they were possibly imported through the maritime routes to Yongjang Fortress, Jindo as one of the consumption sites of pottery in Haenam. iv. Gwangju Town Wall (2006-2007): A hemisphere jar was found at the foundation for the pillar of Goryeo town wall. The jar was originated from Haenam. This jar with dark-brown glaze was the first discovery had ever been excavated on this site. This jar and its context suggest that the jar was possibly used in some ritual practises after importing through land or maritime routes during food transportation from Haenam. v. Osik Island, Gunsan (2016): The site is discovered near the mouth of Geum River on the Osik Island surrounded by dwellings with ondol1. Based on its location, there was the strategic point of maritime routes and also assumed to be used as a temporary residence for sailors. A dark-brown glazed hemisphere jar was discovered inside the fourth dwelling hypothesized to have been imported from the mouth of Yeongsan River in Haenam. vi. Stone Chamber Tomb in Neungnae-ri, Ganghwa (2006-2007): The site was a tomb for the first half of the thirteenth century queen. A jar was placed on the northern side of the tomb. The jar is a darkbrown glazed hemisphere similar to the jars found from the Mado nos. 1 and 2. Other three jars buried in the tomb were unglazed hemisphere jars. These jars were used as food storage at the castle, imported through maritime routes to the temporary capital of Ganghwa Island and later recycled as tomb offerings. vii. Yongjeong-ri, Ganghwa Island (2013-2017): During the construction of national highway through east-west on northern Ganghwa Island, there are 37 features of Goryeo Dynasty, for example two buildings and three wells were found at Yongjeong-ri. There are two dark-brown glazed hemisphere jars in wells nos. 1 and 2. As they are only two jars of a hundred potteries, they are believed to be imported jars from Haenam as food storage from maritime routes, similarly to the Stone Chamber Tomb in Neungnae-ri. viii. Bonghwang-dong, Gimhae: At Geumju near Bonghwang-dong during the Goryeo Dynasty, there was a port city in continued use since the Three Kingdoms period (220 to 280 CE). Gimhae is where the Goryeo Dynasty’s castle was located, it consisted of one dwelling and four buildings. At the dwelling was discovered a dark-brown glazed hemisphere 25-litre jar (large-sized capacity). These two hemisphere jars were similar to the jars recovered from the Mado nos. 1 and 2. More pottery were found near the two castle jars but they were all unglazed. Based on this context, these two jars were considered a special craft of the site and were imported for food storage transport through the maritime routes, similarly to the Stone Chamber Tomb in Neungnae-ri. So far, only kiln sites in Jinsan-ri, Sani-myeon, and Haenam-gun in the southwestern region of Korean peninsula, among other 77 pottery kilns of Goryeo Dynasty in South Korea, were identified to be the kilns for producing the dark-brown glazed potteries. In the waste layer near celadon producing kilns in Jinsan-ri, there was discovered a number of those within this layer. Dark-brown jars were produced to supply the Wando and the Mado no. 1 shipwrecks via Haenam. The production site of potteries for the Wando shipwreck is the Jinsan-ri kilns. Mado no. 1 shipwreck potteries were associated with nine of 15 wooden tablets from Juksan-hyeon, near Jinsan-ri kiln. Other archaeological evidence of dark-brown glazed jars indicates they were produced and supplied from Haenam and imported for goods transportation. At the ritual sites on the Wolchul Mountain, located 30 kilometres from Jinsan-ri kiln and Yongjang Fortress in Jindo, there were +10 glazed jars and sherds. It can be deduced that both sites are possibly the consumption sites of potteries produced in Jinsan-ri and imported via land and maritime routes. Additionally, one or two pieces of glazed hemisphere jars were found from Osik Island of Gunsan, Stone Chamber Tomb in Neungnae-ri of 1 Underfloor heating system 7 �Ganghwa, Yongjeong-ri, Bonghwang-dong of Gimhae, and Gwangju Town Wall. All similar in size, forms and decoration to jars found on the Mado no. 1 shipwreck. Moreover, we hypothesize the jars were loaded on Mado no.1 as seafood transport from Haenam via maritime routes to each destination, the jars were later reused in ritual practise or daily-life. PORTS OF DEPATURE, SHIPMENT AND CALL OF DARK-BROWN GLAZED JARS Among five shipwrecks where the dark-brown glazed jars were discovered, most of jars from the Wando and the Mado no. 1 shipwreck were originated from the port of Haenam. The Taean, and Mado nos. 2 and 3 shipwrecks show different patterns. Four of eight jars from the Taean and six of 20 jars from the Mado no. 2 are unglazed. One of 45 jars from the Mado no. 3 is dark-brown glazed jar. The wooden tablets indicate the Taean carried the potteries of Tamjin-hyeon (currently Gangjin-gun), the Mado no. 2 carried the grains and the foods of Musong, Jangsa, Gochang and Gobu-gun (currently Gochang and Jeongeup-si), and the Mado no. 3 carried the foods from the northern and eastern regions including Yeosu-hyeon (Yeosu-si). According to recovered location and condition, there is a seal made of herbaceous material on the darkbrown glazed jars found on the Mado no. 3. This evidence suggests the jars were used as a container for food transportation. The jars found on the Mado no. 3 also different in form and production technique from other jars, features of which represent jars loaded from some ports near Haenam. Taean jars were likely for shipboard life. The jars on this shipwreck were possibly originated from the port of Tamjin. In fact, similar jars were discovered at the Samheung-ri kiln, Gangjin. This suggests the Taean home port was either Gangjin or Haenam. Perhaps it carried typical celadon a regional kiln production. Even though the port of departure or shipment of the Mado no. 2 were Gochang and Jeongeup. Around 60 per cent of pottery are glazed-pottery originated from Haenam. As mentioned above, the potteries found in the shipwrecks can be divided into two different functions: Cargo and shipboard. Based on two pieces of wooden tablets for foods found on the Mado no. 2, there are at least two jars originated from the ports of Gochang and Jeongeup. In the Mado no. 2, four medium-sized (7-25 litres) unglazed jars were presumed for food storage transportation. One of them was recovered near the wooden tablet for foods. The kilns that produced unglazed potteries in the Goryeo Dynasty, such as Gyoun-ri kiln in Gochang and Bugok-ri kiln, indicate the localized technology for potteries production. Unlike the porcelain, the pottery in this period dedicated to short distant distribution and unglazed potteries probably produced from Gochang Mountain. In that case, why are potteries for shipboard life usually the dark-brown glazed potteries from Haenam? Based on the home port of Mado no. 2, Gomso bay in Gochang and unglazed potteries were possibly used as pottery for shipboard life. The potteries for shipboard life that originated from Haenam suggest that vessel was assigned to transport cargos or it was possibly originated from the home port in Haenam. The assumption that home port of the Mado no. 2 was Haenam. Wooden tablets indicate the Mado nos. 1 and 2, both showed almost the same hull structures. Seven of bottom planks were connected in the almost the same way: trimmed timbers used for bottom part and trimming the planks with curved face of log as the bottom planks and external planks. However, Daebudo no. 2, constructed from the second half of the twelfth to the first half of thirteenth centuries, is similar to the Mado nos. 1 and 2 but the connection methods of trimming timbers were fairly different, such as using L-shaped Mangogjongtongjae (curved longitudinal knee) on the connected part of bottom and other externals. 8 �CONCLUSION In Korea the cargo that has received the most attention from archaeologists are the wooden tablets, less so the pottery. This paper demonstrates that pottery can be analysed and interpreted for information, such as the identification for the ports of departure, call, and shipment. Based on the context of darkbrown glazed potteries from terrestrial archaeology excavation, the pottery kilns can be identified and used in comparative analyse with shipwrecks pottery cargo. Generally, the shipwrecks’ ports of departure were identified by celadon or green glazed pottery kilns, that usually include wooden tablets. This research further supports these conclusions. In addition, the Wando, Taean, and the Mado no. 1 were from the same port of departure. The Mado no. 2 port of departure was likely Haenam, located 100 kilometres south of the shipping address written on the wooden tablets. Similarly, the Mado no. 3 had single dark-brown glazed jars that indicates the jar was loaded from some port near Haenam. These results could likely change in future as more archaeological evidence is available. This study places emphasis on the interdisciplinary analysis of tandem cargo artifacts as a holistic approach to the reconstruction of maritime transportation in Medieval Korea. Bibliography Bureau of Cultural Property. Wando Underwater Artifacts. Seoul: Samhwa Printing, 1985 (In Korean). National Maritime Museum. The Underwater Excavation of the Sea off Sibidongpado, Gunsan. Mokpo: National Maritime Museum, 2005 (In Korean). NRIMCH. Taean Treasure Ship-submarine Excavation. Mokpo: NRIMCH, 2009 (In Korean). NRIMCH. Taean Mado Shipwreck No. 1 Underwater Excavation. Mokpo: NRIMCH, 2010 (In Korean). NRIMCH. Taean Mado Shipwreck No. 2 Underwater Excavation. Mokpo: NRIMCH, 2011 (In Korean). NRIMCH. Taean Mado Shipwreck No. 3 Underwater Excavation. Mokpo: NRIMCH, 2012 (In Korean). NRIMCH. Ansan Daebudo Shipwreck No. 2 Underwater Excavation. Mokpo: NRIMCH, 2016 (In Korean). Shin, Jongkuk. “The Characteristics of Shipwrecks in the Goryeo Period and the Study on Artifacts Recovered from Them” PhD diss. Kongju National University, 2020. (In Korean) 9 � 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 2023 Session 5: New Research Findings of Archaeological Ceramics from the Maritime Cultural Heritage of the Asia-Pacific Region Subject The topic of the resource Session 5 papers Description An account of the resource Papers presented at Session 5 of the 2023 Asia Pacific Regional Conference on Underwater Cultural Heritage Creator An entity primarily responsible for making the resource Asia Pacific Regional Conference on Underwater Cultural Heritage 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 November 2023 Rights Information about rights held in and over the resource Asia Pacific Regional Conference on Underwater Cultural Heritage Language A language of the resource English Rights Holder A person or organization owning or managing rights over the resource. Asia Pacific Regional Conference on Underwater Cultural Heritage 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 Study on the Production Sites of Potteries Excavated from Twelfth to Thirteenth Century Korean Shipwrecks Description An account of the resource On the south-western coast of Korea lie 12 shipwrecks of the Goryeo Dynasty (tenth to fourteenth centuries). So far, among recovered artifacts from shipwrecks, less attention was given to pottery, than wooden tablets. Our research on pottery shows that different production techniques and features are distinctive by region. We expect this to indicate ports of departure, call, and shipment. The production site was assumed by patterns of dark-brown glazed pottery, which has distinctive techniques and features among the Goryeo pottery recovered from shipwrecks. Possible imports from various regions were analysed, considering their provenience. Ports of call have been usually presumed by production sites like celadon cargo indicated on wooden tablets. Among five shipwrecks, three namely the Wando, Taean, and Mado no.1, suggest the same ports of departure from previous analysis on celadons and wooden tablets. Port of departure for Mado no. 2 shipwreck is argued to be Haenam, which is located roughly 100 kilometres to the south from the port of shipment stated on the wooden tablets. Also, dark-brown glazed pottery, only one of which was discovered from Mado no.3, is assumed to have been loaded when it was transferring and navigating near Haenam. Creator An entity primarily responsible for making the resource Jong-Kuk Shin 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 2023 Language A language of the resource English Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Shin, Jong-Kuk. 2023. “A Study on the Production Sites of Potteries Excavated from Twelfth to Thirteenth Century Korean Shipwrecks.” Edited by Jennifer Craig, Jay Mok, T. Kurt Knoerl, and Juhee Kim. In Proceedings of Fifth Asia Pacific Regional Conference on Underwater Cultural Heritage: Gwangju, The Republic of Korea, November 13-18 2023. The Museum of Underwater Archaeology. URL: https://apconf.omeka.net/exhibits/show/apconfproceedings/item/1937 Asia-Pac Session 5 2023 https://apconf-much.org/proceedings/files/original/b7c8c219a602ac2c781c95dff2f2069a.pdf cfde28b30785e5d92c7d742ed96c3b44 PDF Text Text A Study on the Restoration of Hull Shapes in the Early Goryeo Dynasty: Focusing on the Case of Sibidongpado Shipwreck Kang Won-Chun (Curator, National Research Institute of Maritime Cultural Heritage) ABSTRACT The Goryeo Dynasty (918–1392 CE) was a period when marine activities were very active centering on Byeokrando. The Sibidongpado and Wando shipwrecks are important data that can show marine activities in the early Goryeo Dynasty. It is characteristic that most of the accompanying artifacts are celadon produced in the Haenam region, and that curved longitudinal member was confirmed in the hull structure. To investigate the shape variables necessary to identify hull shape of the Sibidongpado shipwreck the shape and structure were reviewed from a shipbuilding engineering point of view. First, through 3D scanning of the remaining hull such as the bottom plate, curved longitudinal member, and outer plate, the main dimensions were calculated, and 19 shape variables necessary for hull restoration were extracted. Next, the data of each part of the ancient shipwrecks of similar period was made into statistics, and the geometric dimension ratio was applied, or each pre-calculated shape variable was defined based on the modeling data. Based on the defined shape variables, the hull shape was restored, and the corresponding displacement and restorability were derived, and the ship restoration was attempted from the point of view of shipbuilding engineering. Finally, based on the data of the excavated ancient shipwreck, the structure of each part of the ship was reproduced in 3D shape. It is not easy to restore the original form of an ancient ship based on the limited remaining hull fragments and historical sources. As ancient shipwrecks are an essential element in identifying marine activities of the time, future research is expected. Keywords: Goryeo Dynasty, ancient ship, Sibidongpado shipwreck, restoration of hull shape List of Tables and Figures [Table 1] Main shape parameters of Sibidongpado shipwreck [Figure 1] Result of restoration of hull shape of Sibidongpado shipwreck [Figure 2] Shape diagram of Sibidongpado shipwreck [Figure 3] Hydrostatics Curve of Sibidongpado shipwreck INTRODUCTION In Korea, from the underwater excavation of Sinan shipwreck artifacts in 1976, and to the most recent Daebudo no. 2 shipwreck, a total of 16 ancient shipwrecks have been identified in Korean waters. Ten of these ancient ships are Goryeo Dynasty shipwrecks, along with celadon, grains and salted fish, and coal spoons. Sibidongpado and Wando shipwrecks are important data that can show marine activities in the early Goryeo Dynasty (918–1392 CE). It is characteristic that most of the accompanying artifacts are celadon produced in the Haenam region, and that curved longitudinal member was identified in the hull structure. It is not easy to presume the overall scale only with the limited remaining hull fragments, which are mainly concentrated on the bottom of the ship. The shape variables necessary to identify the hull shape of the Sibidongpado shipwreck were examined from a shipbuilding engineering point of view. The process of 3D scanning and calculating major dimensions of the remaining hull, such as the bottom plate, was reviewed, and 19 shape variables required for hull restoration were extracted and data of each part was made into statistics or each shape variable was defined based on geometric dimension ratio and modeling data. We attempted restoration of the hull shape according to shape variables, deduction of displacement and stability through hydraulic calculation, review of the hull shape from the point of view of shipbuilding engineering, and 3D shaping. CALCULATION OF MAJOR DIMENSIONS BY 3D SCANNING The remaining hull found in the excavation investigation of Sibidongpado shipwreck is a total of 11 including six bottom plates in three rows, two curved longitudinal members in portside and three bow 1 �materials, showing the flat bottom structure of a traditional Korean ship (National Maritime Artifacts Museum 2005, 50-66). For the bottom plates, the two central bottom plates were connected by a concave-convex tenon joint method, and the left and right bottom plates were connected by a shiplap method. It is highly likely that one member was added to the center bottom plate, and there must have been more materials connected butt-to-butt on the left and right bottom plate. As for curved longitudinal member, only two members of the first stage were recovered from the portside. We assume two stages of curved longitudinal member. The bow members are in three fragments, vertically butted together and fixed with a long line, and on the left and right sides, grooved jaws that meet the outer plate have saw tooth markings. For these 11 members, 3D scanning was conducted to estimate the shape of the lost parts of the shipwreck after securing the exact size, connecting methods, and data about the hull shape of the excavated hull pieces. Individual hull pieces are photographed at 24 to 26 locations with a broadband scanner and photogrammetry, and the acquired data are individually made into surface modelling through post-processing such as noise removal, matching, and mapping, and the merged modeling data was regenerated. After that, the image of the scan data was used to calculate the main dimensions and the basic shape of the ship by picking the inner and outer lines, patterns, cracks, and damaged parts. EXTRACTION AND DEFINITION OF SHAPE VARIALBES For the Sibidongpado shipwreck 3D scanning, variables were selected from a statistical point of view using data from ancient ships of a similar age. As the main variables constituting the shape of the shipwreck, the following 19 variables were selected, and among them, the length, bottom width, and bow length of the ship were fixed to the values of the excavated hull pieces from reports of Mado no. 1, Anjwado, and Wando shipwrecks. Subject Value Subject Value Subject Value Length (LOA) 14.5 m Height of a bow structure 2.84 m Angle of hog sheer 0.94° Table 1. Main shape parameters of Sibidongpado shipwreck Deadrise Bottom Bottom Beam Depth Bow angle angle length width 5.41 m 2.45 m 26° 11.2 m 1.81 m 21.67° Height Angle of a Length of Length of Angle of a tail Width of a of a tail bow a bow a tail structure bow structure structure structure structure structure 2.58 m 68° Displacement 45° 1.7 6m 2.48 m 1.18 m/1 m Stern angle 14.67° Width of a tail structure 138 m/1.07 m Waterline 1.25 m The shipwreck is estimated at 14 to 15 meters (m) (NRIMCH 2005). As for the width and the depth of the shipwreck, they were estimated at geometric dimension ratios at 2.45 m respectively. The deadrise angle is the dimension of the slope from the bottom plate to the side of the ship. Sibidongpado shipwreck has a large angle of deadrise as there are two curved longitudinal members. As the exact dimensions of the second stage of curved longitudinal member is not identified, the deadrise of the bottom plate and curved longitudinal member was identified. The bottom plate is identified as the straight-line distance from the part where the bow material and bottom plate are connected to the part where the stern is connected. It is difficult to identify the exact size of the Sibidongpado shipwreck, as the bow and stern parts are lost, although three rows of bottom plates were excavated. In particular, in the process of precise measurement and hull restoration, traces of mortise were confirmed at the stern end of two central bottom plate members, confirmation that the central bottom plate was composed of three members. 2 �The bottom length of the remaining hull is about 6.8 m from the bow end of center bottom plate of one member to the stern end of left bottom plate of two members. However, there is one more central bottom plate, estimated to be larger. Therefore, based on the length of a ship and the width of the bottom of the bow member, installation angle and height of the bow member and the stern member, the profile of the side of the bottom plate was restored, and the length of the bottom plate was estimated 11.2 m. The bow and stern angles are from the baseline to the part where the bottom plate touches the bottom of the bow or stern members. The value is not uniform because the bottom plate does not extend at an exact angle from the baseline to the bow and stern members but is bent round. To estimate the angles of bow and stern, the values of Mado no. 1, Anjwado and Wando shipwrecks, whose structures remain, were made into statistics and 21.67˚/14.67˚ were applied. The stem length is estimated at 1.65 m from 3D scanning results. Whereas the stern length is estimated at 2.5 m. For this latter length we calculated the stern angle, stern member angle, and stern height (see table 1). As the dimensions of the upper and lower surfaces of the bow and stern members are different, they were defined separately. The widths of the top and bottom of the bow members are 1.18 m and 1 m, and the widths of the top and bottom of the stern members are 1.38 m and 1.07 m, respectively. The angles of bow and stern were defined as the angle between the bow and stern members and the baseline. It was estimated based on the V-shaped processing traces on the bottom of two remaining members of the stem and the value of Mado no. 1, and the angle of the bow material is 68˚. In order to estimate the angle of stern member, the data of Mado no. 1, Anjwa, and Dalido shipwrecks were statistically applied and resulted in the value 45˚. As the heights of bow and stern members were estimated through the height ratio of the core and bow and stern members of Mado no.1 and Dalido shipwrecks, and the heights of the Sibidongpado shipwreck are 2.83 m and 2.34 m, respectively. The hog sheer angle is the ratio between the curve formed by the upper deck and the distance from the bow to the stern, or LOA, when the hull is viewed from the side. Among the ancient shipwrecks excavated underwater, the ship whose hog sheer angle can be measured is the Mado no. 1, which is about 0.95 m. The Sibidongpado shipwreck is estimated with similar dimensions. Draft is a dimension representing the vertical distance from the position where the ship's midship touches the water surface to the bottommost part of the ship when the ship is afloat. The draft was determined from the bottom plate to the modeled side profile at 1.25 m. It means the weight of the ship, which indicates the weight of the water displaced when the ship is afloat. When the weight of the ship and the load are unclear, the displacement can be estimated according to the draft. We use the draft. 3 �REALIZATION AND REVIEW OF SHAPE OF SIBIDONGPADO SHIPWRECK Based on the major dimensions above we produced a 3D model using CATIA V5. Figure 1. Result of restoration of hull shape of Sibidongpado shipwreck Figure 2. Shape diagram of Sibidongpado shipwreck Hydrostatics calculations was performed to estimate displacement according to draft. This calculation estimates various linear coefficients and hull characteristics. The hydrostatics curve from the baseline to the range including the draft of 1.25 m are provided in figure 3. 4 �Figure 3. Hydrostatics curve of Sibidongpado shipwreck CONCLUSIONS Sibidongpado shipwreck is an example of marine activities in the early Goryeo Dynasty (918–1392 CE). Most of the accompanying artifacts are celadons produced in the Haenam region, and that curved longitudinal member was identified in the hull structure. Nineteen shape variables necessary to identify the hull shape and structure were examined. Three-dimensional scanning was performed on the excavated hull, including a bottom plate. Statistical data of each part of ancient ships belonging to the similar period of the Sibidongpado shipwreck, or 19 shape variables necessary for restoration of the shape of a ship, were extracted and defined based on geometric dimension ratio and modeling data. Based on the defined shape variables, the Sibidongpado shipwreck hull shape was estimated. As a result, the bottom plate of the structure of each part of Sibidongpado shipwreck shows a flat bottom structure like other traditional Korean ships, and the bow and stern show a gently curved line. The bottom plate is composed of three pieces in a row, and the center bottom plate is connected by a tenon joint, and the left and right bottom plates are connected by a butt joint and a shiplap method. The ‘Lshaped’ curved longitudinal member is raised in two stages with a chin cut out on the outer upper surface 5 �of the bottom plate, and a hole connected to the bottom plate is made in the part where it rests on the chin, and it is joined with a pisak. Each stage of curved longitudinal member consists of three pieces and is connected by a shiplap method. The bow is structured with three members vertically, and on the left and right are sawtooth-shaped grooves. The shape of the lower part connected to the bottom plate was processed into a ‘V’ shape, and a concave jaw was cut out on the upper surface of the bottom plate, and the bow member was erected at an angle of 68˚. Excluding the curved longitudinal member, all the outer plates are raised in five layers, and each layer is composed of three to four members. lateral outer plates curve gently up toward the bow and stern. From a plan view the central part was about three times wider than the bow and stern. The stern structure was formed by removing concave chins on the inside of the outer plate and the upper surface of the end of the bottom plate, with plates horizontally raised. As the garyong was identified in the curved longitudinal member that came out, the interior of the ship was divided into four sections by referring to the garyong spacing. Wando and Dalido shipwrecks shown in port side curved longitudinal member 1-1 and 1-2. Chagaryong was installed on the first and third layers of the outer plate, and the curved longitudinal materials and the rest of the outer plate were reinforced with a garyong and a yoke. As the upper structure has been lost, it is not clear to what extent the deck was installed, but it is assumed that it was installed in the space for sailors' activities that are essential for navigation, and basically protects cargo inside the ship. Therefore, the deck was installed in the stern space where the boatman manipulates the key, and in the central part of the hull and the bow space where the sail and anchor can be raised and lowered. An anchor is essential in the process of anchoring and departing a ship, and a lantern that raises and lowers it too. A cylindrical member thought to be a lantern tube, and a pedestal supporting it, were excavated. The pedestal was connected to the structural wood connecting the square groove on the inner side of the bow member and the garyong. As for the sail, a wood groove on the center bottom plate 2 and a mast structure from Mado no. 3 were applied. A Dang-a horn was installed on the chagaryong on the third layer of the outer plate, this holds the mast in the wood groove. The mast was likely located in front of the garyong in the wood groove of the curved longitudinal member. Through the Okchi structure that goes inside the hull, based on the angle of the stern and the structural stability of a key, the structure and shape of the ship in the early Goryeo Dynasty were identified. Bibliography Cultural Heritage Administration of the Ministry of Culture and Public Information, Underwater Artifacts of Wando, Mokpo: Sanwa Printing Co., 1985 (In Korean). National Maritime Museum, Dalido Shipwreck, Mokpo, Series of Research Report of NRIMCH 3, Mokpo: National Maritime Museum, 1999 (In Korean). NRIMCH, Taean Mado Shipwreck No. 1 Underwater Excavation, Series of Research Report of NRIMCH 20, Mokpo: NRIMCH, 2010 (In Korean). NRIMCH, Taean Mado Shipwreck No. 2 Underwater Excavation, Series of Research Report of NRIMCH 22, Mokpo: NRIMCH, 2011 (In Korean). NRIMCH. Report on Conservation and Restoration of Dalido Shipwreck, Shipbuilding Technique of Traditional Vessel I. Mokpo: NRIMCH, 2012 (In Korean). NRIMCH. Report on Restoration of Jo-un ship (Mado No. 1 shipwreck), Shipbuilding Technique of Traditional Vessel V. Mokpo: NRIMCH, 2015 (In Korean). National Maritime Museum, The Underwater Excavation of the Sea off Sibidongpado, Gunsan, Series of Research Report of NRIMCH 8, Mokpo: NRIMCH, 2005 (In Korean). National Maritime Museum, The Excavation of Anjwaship, Sinan, Series of Research Report of NRIMCH 9, Mokpo: NRIMCH, 2006 (In Korean). 6 � 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 Study on the Restoration of Hull Shapes in the Early Goryeo Dynasty: Focusing on the Case of Sibidongpado Shipwreck Description An account of the resource The Goryeo Dynasty (918–1392 CE) was a period when marine activities were very active centering on Byeokrando. The Sibidongpado and Wando shipwrecks are important data that can show marine activities in the early Goryeo Dynasty. It is characteristic that most of the accompanying artifacts are celadon produced in the Haenam region, and that curved longitudinal member was confirmed in the hull structure. To investigate the shape variables necessary to identify hull shape of the Sibidongpado shipwreck the shape and structure were reviewed from a shipbuilding engineering point of view. First, through 3D scanning of the remaining hull such as the bottom plate, curved longitudinal member, and outer plate, the main dimensions were calculated, and 19 shape variables necessary for hull restoration were extracted. Next, the data of each part of the ancient shipwrecks of similar period was made into statistics, and the geometric dimension ratio was applied, or each pre-calculated shape variable was defined based on the modeling data. Based on the defined shape variables, the hull shape was restored, and the corresponding displacement and restorability were derived, and the ship restoration was attempted from the point of view of shipbuilding engineering. Finally, based on the data of the excavated ancient shipwreck, the structure of each part of the ship was reproduced in 3D shape. It is not easy to restore the original form of an ancient ship based on the limited remaining hull fragments and historical sources. As ancient shipwrecks are an essential element in identifying marine activities of the time, future research is expected. Creator An entity primarily responsible for making the resource Kang Won-Chun 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 2023 Language A language of the resource English Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Won-Chun, Kang . 2023. “A Study on the Restoration of Hull Shapes in the Early Goryeo Dynasty: Focusing on the Case of Sibidongpado Shipwreck.” Edited by Jennifer Craig, Jay Mok, T. Kury Knoerl, and Juhee Kim. In Proceedings of Fifth Asia Pacific Regional Conference on Underwater Cultural Heritage: Gwangju, The Republic of Korea, November 13-18 2023. The Museum of Underwater Archaeology. URL: https://apconf.omeka.net/exhibits/show/apconfproceedings/item/1957 Asia-Pac Session 10 2023