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Title A name given to the resource The Birth of Vietnam Creator An entity primarily responsible for making the resource Keith Weller Taylor Publisher An entity responsible for making the resource available University of California Press Date A point or period of time associated with an event in the lifecycle of the resource 1983 Type The nature or genre of the resource Book Zotero Author Keith Weller Taylor Item Type Book Date A point or period of time associated with an event in the lifecycle of the resource 1983 Place Berkeley Publisher An entity responsible for making the resource available University of California Press Title A name given to the resource The Birth of Vietnam Southeast Asia Vietnam https://apconf-much.org/proceedings/files/original/bec21e9afef5b6a4311e1faeeb70dffe.pdf 7fb9acd932134d309993980df547c6e4 PDF Text Text The Blues of the Santa Cruz: A study of porcelain color and composition Ellen Hsieh Cotsen Institute of Archaeology at UCLA ellenhsieh@g.ucla.edu Christian Fischer UCLA/Getty Conservation Interdepartmental Program chrisfischer@ucla.edu Bobby C. Orillaneda National Museum of the Philippines bobbyorillaneda@yahoo.com Abstract For the study of ceramics found in a shipwreck, stylistic and provenance analysis are two approaches that can provide critical information about period and trade route of the vessel. In this paper, we investigate the characteristics of trade ceramics from the well-preserved Santa Cruz shipwreck, which sunk along the west coast of Luzon Island in the Philippines. Underwater excavation has brought to light more than 15,000 ceramics, mainly Chinese Jingdezhen blue-and-white porcelain and Longquan celadon of the Hongzhi period (1488-1505 CE) as well as other wares from Thailand, Vietnam, and Burma. Here, we have focused on the Jingdezhen blue-and-white porcelain and selected twelve dishes with similar decorative patterns, but showing different tones and shades of the blue color. The dishes were most likely produced in the same workshop or within a small region and the primary goal was to investigate production variability. The chemical composition of the ceramics and the characteristics of the blue pigment were studied non-invasively with portable X-ray fluorescence pXRF) and fiber optics reflectance spectroscopy (FORS). Results have shown that pXRF data are relatively homogeneous which reflects some constancy in term of raw materials procurement usage. On the other hand, although the blue pigment was as expected a cobalt-based material, FORS spectral profiles present significant differences which might be due to variations in the pigment composition and/or firing conditions, while for others, they could also be �related to weathering. From an archaeometry perspective, this research provides some insight on production standardization in Jingdezhen as well as on subsequent modifications that can affect ceramics found in an underwater archaeological context. Key words: Ceramics, shipwreck, Philippines, blue-and-white, pXRF Introduction Chinese blue-and-white porcelain was one of the most popular commodities during the pre-modern and early modern periods, and it was frequently found along the maritime trade routes. Because the decorative patterns of blue-and-white porcelain changed over time, the artistic style of this type of material is usually the primary research focus for clarifying dating issues. However, the chronology of Chinese blue-and-white porcelain was established based on fine wares made mostly for the court, and the variability of the production was relatively ignored. Regarding the color of the decoration observed with naked eyes, there is a broad range of “blues” on blue-and-white porcelain, ranging from blue, green, purple, gray, and sometimes even black.1 In this research, we have used scientific analysis to investigate the causes of the color difference among a selected set of blue-and-white porcelain from a shipwreck. This archaeological context provides a particular opportunity for this research: loaded in the same boat as merchandise, a same kind of mass-produced cargo was most likely made around the same time and was even from the same or nearby workshops. The artifacts were selected from the cargo of the Santa Cruz shipwreck that sunk about ten nautical miles off the northern Zambales coast on Luzon Island. This shipwreck is one of the representative fifteenth-century vessels in maritime Asia (Fig. 1). The underwater excavation was conducted in 2001 by the National Museum of the Philippines in �collaboration with the Far Eastern Foundation for Nautical Archaeology. The vessel was about twenty-five meters long and six meters wide and was built following the so-called South China Sea Tradition of shipbuilding. The structure itself is well preserved as 80 percent of the lower hull was discovered and the cargo was still loaded in the 16 transverse bulkheads. A variety of materials were found in the Santa Cruz including ceramics, metal products, glassware, wooden and stone materials. Among these artifacts, more than 15,000 ceramics were recovered during the campaign, including Chinese and Vietnamese blueand-white porcelain, Chinese celadon, as well as Thai and Burmese stoneware (Orillaneda, 2008, 2016). Mainly based on the style analysis of the ceramics, the Santa Cruz shipwreck could be dated to the Hongzhi period in Ming China (1488~1505 CE). The discovery of the Santa Cruz shipwreck and its cargo is an important piece of evidence for the so-called Dongyang (Eastern Sea, from the Chinese perspective) trade route during the “Age of Commerce” in Southeast Asia (Reid, 1988, 1993). Additionally, the vast amount of late fifteen-century CE Jingdezhen blueand-white porcelain on board marked the end of the “Ming Gap” (Brown, 2009) and the revival of the trade of Chinese ceramics in Southeast Asia. This research therefore, not only contributes to the general issue of color variation among blue-and-white porcelain but also sheds light on the production process and trade of Chinese porcelain during this particular period. �Fig. 1: Map of East and Southeast Asia with the location of the Santa Cruz Wreck (left) and images taken during the excavation (right). Materials and methods Blue-and-white porcelain Twelve blue-and-white dishes were analyzed with a particular focus on the different tones and shades of the blue color (Tab.1; Fig. 2). The porcelain ware was loaded in piles mostly at the port side of the boat, and the dishes were distributed in bulkhead 1, 3, 5, 7, and 9 (Orillaneda, 2008). The locations of these samples show that those from the same bulkhead did not necessarily share similar appearance or quality (e.g. III-2001-Z2963 and III-2001-Z-3245). The selected dishes are all saucer-shaped and of similar size: diameter of the mouth rims is about 26cm, height is about 4cm, and the diameter of the foot rim is about 13cm. Most of them �are entirely decorated with the same kind of casual-style patterns (e.g., flora and rock, deer and pine tree). The blue decoration was applied on both the interior and exterior of the dishes. To leave the foot rim unglazed, the transparent glaze was applied separately at the bottom of the dishes. In many cases, the glaze applied on the bottom looks different from the glaze in the other parts. While all dishes have been cleaned and desalinated after the excavation, some still show shell encrustations. Methods Two non-invasive technologies were used in this study: portable X-ray fluorescence (pXRF) and fiber optics reflectance spectroscopy (FORS). Previous research has shown that these two techniques are suitable for the compositional analysis of blue-and-white porcelain and details of the settings used here for the two instruments can be found in the corresponding paper (Fischer and Hsieh, 2017). For pXRF, soil mode was used to acquire data on minor and trace elements from both the blue and white areas while mining mode was used for major elements from the transparent glaze. Measurements on the blue areas (glaze + blue pigment) were all taken on the main decoration at the center of the plate. As to the white area, due to the difference of the glaze application mentioned above, measurements were taken on two locations: one on the area next to the blue decoration and another one at the bottom. Depending on the size of the ‘white’ areas, the location of the first measurement was sometimes on the external side of the dishes. Compositional data of the body was collected on the only dish with a bare bottom (i.e. III-2001-Z-7026). Regarding FORS, measurements were taken on the blue decorated areas and on the ‘white’ at the bottom because there was not enough space for the measuring probe in between the blue decor. �Fig. 2: The dishes selected and analyzed in this study, with the color references of the decorations. �Table 1. Characteristics of the selected blue-and-white porcelain dishes Results and discussion Visual observations The selected blue-and-white dishes share general characteristics regarding size, form and decoration styles. The shape of the foot rims and the way of applying the glaze show that the manufacturing process might be similar. In general, the glaze is quite transparent though a bit grayish, but for a few dishes, it shows a milky and opaque appearance that influence the visibility of the blue pigment beneath. Cracks and dewetting features related to shrinkage are also commonly observed. In some cases, these characteristics are only visible on one side of the dish, suggesting that the variations of glaze might be mainly due to firing conditions, such as the temperature of the kilns and where the plates were loaded in kilns. The surfaces of the glaze are weathered to various degrees after staying hundreds of years under the sea. In some cases, it is however hard to tell whether the opaque aspect of the plates is due to �their inferior quality or weathering at first glance. The blue areas are generally dull and look greenish or grayish with the naked eye. The primary motifs are outlined and filled with light colors, whereas the small leave patterns were drawn directly with thicker pigments favoring the formation of darker spots after firing. Sometimes, a brownish material can be observed on the top of those dark blue areas, which is most likely due to weathering. Chemical composition and production kilns Chemical composition data obtained with pXRF on the transparent glaze indicate that the blue-and-white plates were produced in Jingdezhen based on the concentrations of some discriminative elements such as zirconium, thorium and titanium (Tab. 2), a result consistent with the stylistic analysis and historical context. Values for these elements are close to the ones measured in previous studies despite the different time periods (Fischer and Hsieh, 2017; Ma, et al. 2012) and such compositional similarities could correspond to a relative constancy in the procurement of raw materials and processing technologies from the middle to late-Ming period. However, variations in rubidium levels, i.e. the higher values reported in the present study, also found for the Guanyinge and other unspecified late-Ming kiln sites (Rb: 428±78 ppm, Zhu et al. 2016; Rb: 436±84 ppm, Ma et al. 2012) compared to the lower averages measured on Jingdezhen blue-and-white ware from the Nan’ao One shipwreck in China (Rb: 270 ppm, Zhu et al. 2016) and sherds from the Philippines and Indonesia (315±40 ppm, Fischer and Hsieh 2017) dated to the lateMing and early-Qing periods, might reflect some intra-site variability among the numerous kilns in Jingdezhen. Based on the analyzed elements2, the chemistry of the glaze measured in the ‘white’ area, corresponds to an alumino-silicate glassy network �containing calcium and potassium added as fluxing agents and network modifiers. The composition of the glaze is relatively homogeneous, independently of its degree of transparency, making it difficult to identify the origin of the opacity which could be linked to the firing process, underwater weathering, or both. For some dishes, calcium levels are low and such levels, associated with lower firing temperatures in some areas of the kiln, could indeed contribute to opacify the glaze. On the other hand, almost invisible defects in the glaze induced by composition and firing conditions could favor the weathering in an underwater environment as well, and explain the lack of transparency for the glaze of some dishes. Also noticeable are some differences in the composition of the glaze applied to the base which shows lower calcium and higher iron and titanium in comparison to the ‘white’ and decorated areas. Although this trend is not systematic (see e.g. III-2001-Z-3245), it could suggest usage of a slightly different recipe for the glaze applied to the bottom. Finally, it can be mentioned that the desalination process was rather effective as the levels of chlorine and sulfur, not reported here, are generally low, apart may be for the dish with reference III-2001-Z-14679. �Table 2. Compositional data from pXRF and FORS analysis. Major (% oxides) Accession N° Spot CaO K2 O III-2001-Z-256 blue white 4.4 5.2 base 3.9 5.1 III-2001-Z-789 blue white 6.1 4.0 base 5.5 4.0 III-2001-Z-1269 blue white 5.4 5.0 base 3.4 5.0 III-2001-Z-2797 blue white 6.9 4.2 base 5.8 4.3 III-2001-Z-2963 blue white 6.6 3.9 base 5.7 4.0 III-2001-Z-3245 blue white 5.4 4.2 base 5.5 4.3 III-2001-Z-3851 blue white 8.1 4.1 base 6.6 4.1 III-2001-Z-5135 blue white 5.6 4.2 base 5.0 4.7 III-2001-Z-7026 blue white 5.9 4.2 base** 4.1 3.5 III-2001-Z-13671 blue white 5.9 4.8 base 4.4 4.6 III-2001-Z-14679 blue white 5.9 4.3 base 4.9 4.5 III-2001-Z-14878 blue white 5.9 4.6 base 4.9 4.1 Selected Elements from pXRF Analysis Minor and Trace (ppm) Fe Ti Mn Rb Sr Zr Co Cu 2546 -- 7265 408 87 46 1276 47 2104 116 340 412 95 45 -28 84 495 403 71 58 -28 4019 128 3035 385 99 44 279 37 3585 125 348 411 97 50 -27 139 391 406 101 48 -19 2996 103 3038 385 82 57 442 54 2553 251 326 392 87 53 -33 187 254 395 62 63 -28 3375 115 1796 448 109 45 275 51 2697 116 295 408 136 40 -32 228 371 475 122 56 -37 4678 -- 3840 307 100 45 611 45 4591 -440 318 95 53 -37 95 464 326 72 59 -26 3484 -- 2150 322 111 48 343 58 2997 156 262 335 97 54 -33 133 233 334 73 63 -29 3408 -- 8910 333 94 50 1047 112 3194 148 602 331 112 49 -52 229 439 361 78 62 -32 3376 285 2011 417 106 49 186 113 3131 81 229 457 84 53 -47 151 327 492 71 58 -37 2925 105 1305 573 88 39 133 48 2835 202 240 601 92 48 -24 266 310 669 42 57 -19 3884 133 3543 392 92 50 355 56 3061 191 428 394 91 52 -49 117 398 414 66 55 -29 3416 103 2516 400 54 52 356 34 2561 214 438 391 71 50 -35 172 528 415 49 61 -27 4335 129 3169 539 84 45 166 71 3752 142 347 567 85 54 -66 255 607 655 57 66 -43 Th 11 8 17 10 10 9 11 11 12 9 -15 9 10 14 9 12 14 12 12 16 9 10 10 8 -18 12 10 13 10 8 14 21 10 13 FORS Analysis Spectral absorptions (nm)* Co (II) Ni Mn(II) Mn(III) H2O 341 421w 491vw 519w 583s 678s -71 244 422m 491w 517m 582s 673m --206 420m 489vw 521vw 584m 679s +++ 83 57 115 424w 493w 520m 585s 676s 67 77 415 422w 491w 517m 583s 677m 107 83 281 423w 491w 521m 581s 665br ++ -54 237 423w 491w 520m 583s 677s 87 82 164 426w 491vw 522m 585s 675s ++ -86 218 421m 491w 519m 583s 670s ++ --465 421m 492w 520m 581s 672m 111 64 351 421w 490w 518m 584s 671m + 88 -701 422m 492w 522m 586s 655br 93 56 * Absorptions: vw: very weak, w: weak, m:medium, s: strong, br: broad ** body Composition and color variations of the blue decorations The pXRF analysis of the blue decorated areas has shown that the cobaltbased pigment contains high levels of manganese, low iron and significant amounts of nickel as well as traces of copper. After subtraction of the manganese and iron contribution from the transparent glaze (white area), normalized percentages of Mn, Co and Fe are similar to the blue pigment analyzed on other export blue-and-white porcelain produced in Jingdezhen (Fig. 3). This compositional profile is consistent with the results of previous studies (Chen et al., 1978; Cheng et al., 2005; Fischer �and Hsieh, 2017; Wen et al., 2007) and also supports the use of Mn-rich asbolite ores in folk kilns during the Hongzhi period of the Ming dynasty. Fig. 3: Ternary plot showing the blue pigment composition based on the relative proportions of Co, Mn and Fe. FORS analysis provided colorimetric data using the 1964 CIE 10° XYZ standard which were converted to visible references, confirming the variability of the blues based on visual observations (Fig. 2). Spectral profiles obtained with FORS on the blue decorated areas (Fig. 4, left) show the characteristic absorptions of Co2+ in tetrahedral coordination with the triplet located around 520, 580 and 670 nm (Ceglia et al., 2012; Fischer and Hsieh, 2017). For some plates, darker colors translate in an overall lower spectral reflectance in the visible, but the cobalt absorptions are always present though with variable intensities (Tab. 2). However, in these darker areas obvious signs of weathering are often visible (Fig. 4, right) and the associated brownish color is most likely due to an oxidation �of Mn and Fe phases. Moreover, the grayish or blackish hue of the decoration might be correlated with high levels of manganese in the composition of the pigment, combined with redox firing conditions favoring the crystallization of Mn-rich oxide phases (Wen et al., 2007). Some analogy can be made with ‘black’ glasses containing several percent of MnO making the glass appear black to the human eyes (Möncke et al., 2014). Similar dark colors were also found on blue-and-white from the Chenghua period (1465 ~1487 CE) though the amount of manganese in the blue pigment was not analyzed (Qu et al., 2014). In the FORS spectra, the presence of Mn-rich phases might be associated with the absorption of Mn(II) at 420 nm and a broad but weak Mn(III) absorption around 490 nm (Tab. 2), although the latter attribution would need to be confirmed by further research on reference materials. Finally, in the near infrared spectral range, some plates show a strong and asymmetrical combination band around 1910 nm which seems to be correlated to the degree of opacity and can be attributed to the presence of water adsorbed in the glaze and/or in the body that might result from the weathering and/or indirectly reflect a more porous body and lower firing temperatures. �Fig. 4: FORS spectra of the blue decorated area from selected dishes (left) and weathering features of the glaze and dark spots concentrated in blue pigment. (III-2001-Z-14878, right) In this preliminary study, the variability of the blue colors of blue-and-white porcelain from Santa Cruz shipwreck was explored by using pXRF and FORS. Factors associated with composition, recipe and production process as well as underwater conditions can all affect the appearance of the excavated ware, the most critical ones being the recipe of the glaze, the firing conditions and the weathering induced by water. The results of the pXRF data have shown that regardless of the appearance variability, the chemical composition of the selected dishes share the characteristics of middle and late Ming blue-and-white porcelain produced in Jingdezhen. The pXRF data also shed light on some aspects of production processes of the dishes. FORS provided colorimetric data which are well correlated with the visual perception and variability of the ‘blue’ colors. Also, the spectral profiles and related absorptions have given some insight on the potential causes for the darker colors. To further examine the variability of the blue-and-white porcelain loaded in the Santa Cruz, it would be �necessary to investigate a larger set of dishes and if possible, compare dishes from the same pile. Endnotes 1 It is worth noting that the Chinese name of blue-and-white porcelain is “Qinghua,“ meaning “patterns with qing color.” And qing can refer to colors ranging from green, blue and black. 2 For major elements, values for Si and Al are considered qualitative and not reported in Table 2. References Brown, R. M., 2009. The Ming Gap and Shipwreck Ceramics in Southeast Asia: Towards a Chronology of Thai Trade Ware. The Siam Society Under Royal Patronage, Bangkok. Ceglia, A., W. Meulebroeck, K. Baert, H. Wouters, K. Nys, H. Thienpont and H. Terryn, 2012. Cobalt absorption bands for the differentiation of historical Na and Ca/K rich glass. Surface and Interface Analysis, Vol. 44:219-226. Chen, Y.-c. , Y.-y. Kuo and T.-g. Chang, 1978. An investigation on Chinese blue-and-white ware and its blue pigment. Journal of the Chinese Ceramic Society, Vol. 1978(4): 225-241. Cheng, H. S., B. Zhang, D. Zhu, F. J. Yang, X. M. Sun and M. S. Guo, 2005. Some new results of PIXE study on Chinese ancient porcelain. Nuclear Instruments and Methods in Physics Research Section B: Beam Interactions with Materials and Atoms, Vol. 240(1-2): 527-531. Fischer, C. and E. Hsieh, 2017. Export Chinese blue-and-white porcelain: compositional analysis and sourcing using non-invasive portable XRF and reflectance spectroscopy. Journal of Archaeological Science, Vol. 80:1426. Ma, H. , J. Zhu, J. Henderson and N. Li, 2012. Provenance of Zhangzhou export blue-and-white and its clay source. Journal of Archaeological Science, Vol. 39(2012): 1218-1226. �Möncke, D., M. Papageorgiou, A. Winterstein-Beckmann and N. Zacharias, 2014. Roman glasses coloured by dissolved transition metal ions: redox- reactions, optical spectroscopy and ligand field theory. Journal of Archaeological Science, Vol. 46: 23-36. Orillaneda, B. C., 2008. The Santa Cruz, Zambales Shipwreck Ceramics: Understanding Southeast Asian Ceramic Trade during the Late 15th Century C.E., Archaeological Studies Program, The University of the Philippines, Diliman. Orillaneda, B. C., 2016. Of Ships and Shipping: The maritime archaeology of fifteenth century CE Southeast Asia. In C. Wu (ed.), Early Navigation in the Asia-Pacific Region: A Maritime Archaeological Perspective, Springer, Singapore: 29-57. Qu, Y., J. Xu, X. Xi, C. Huang and J. Yang, 2014. Microstructure characteristics of blue-and-white porcelain from the folk kiln of Ming and Qing dynasties. Ceramics International, Vol. 40: 8783-8790. Reid, A., 1988 Southeast Asia in the Age of Commerce 1450-1680, Volume One: The Lands below the Winds. Yale University Press, New Haven and London. Reid, A., 1993 Southeast Asia in the Age of Commerce 1450-1680, Volume Two: Expansion and Crisis. Yale University Press, New Haven and London. Wen, R., C. S. Wang, Z. W. Mao, Y. Y. Huang and A. M. Pollard, 2007. The chemical composition of blue pigment on Chinese blue-and-white porcelain of the Yuan and Ming dynasties (AD 1271-1644). Archaeometry, Vol. 49(1): 101-115. Zhu, J., H. Ma, N. Li, J. Henderson and M. D. Glascock, 2016 The provenance of export porcelain from the Nan'ao One shipwreck in the South China Sea. Antiquity, Vol. 90(351): 798-808. Bios Dr. Ellen Hsieh is a research affiliate at National Chengchi University in Taiwan. She started her archaeological career from Neolithic Asia and then switched to concentrate on historical archaeology. She received her PhD degree in archaeology at the Cotsen Institute of Archaeology at the �University of California, Los Angeles. Her research interests include maritime archaeology, historical archaeology, global history, archaeometry and cultural heritage. She has worked on archaeological projects in Taiwan, China, the Philippines and Cambodia and has published several articles about trading networks, colonialism, and scientific analysis of trade ceramics. Dr. Christian Fischer received a PhD in Geochemistry and Physical Chemistry from the Louis Pasteur University in Strasbourg. After years of scientific research in the private sector in France and China, he returned to academia in 2001. At UCLA since 2005, he has been teaching on various topics including archaeometry, conservation science and stone conservation as well as spectroscopy for the analysis of archaeological materials. He conducts research on raw materials sourcing and conservation of cultural artifacts, particularly of stone in Cambodia and neighboring countries in collaboration with the École Française d’Extrême-Orient (EFEO), Chinese export blue and white ceramics in Southeast Asia, and is involved in other projects in Cyprus, Chile and Mexico. Dr. Fischer is also the co-director of the Archaeomaterials group and the Molecular and Nano Archaeology Laboratory at UCLA as well as a scientific consultant for UNESCO on the preservation of cultural heritage. Bobby Orillaneda is a Museum Researcher at the Maritime and Underwater Cultural Heritage Division, National Museum of the Philippines. He is also finishing his doctoral studies at the Oxford Centre for Maritime Archaeology, University of Oxford in England. He has been involved in maritime archaeology since 1999 and has worked in a number of projects in the Philippines, Egypt, Thailand, Indonesia and Sri Lanka. He was also part of a training team that carries out underwater training programs in Thailand and Indonesia. His areas of interest include Southeast Asian maritime history, Asian ceramics and World War II shipwrecks. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2017 Session 3: Ceramic trade and cross-cultural exchange from Asian-Pacific region to the world Description An account of the resource Ceramics are the crucial cultural materials for understanding the cross-cultural exchange from Asian-Pacific region to the world. This session will discuss how interdisciplinary approaches such as archaeology, art, history, geophysics, and material science can broaden our horizons on the study of ceramic trade and cross-cultural exchange. Second, we will discuss the connection of ceramic trade and exchange between the early age of commerce (c.900-1300 C.E.) and the age of commerce (1450-1680 C.E.) in Southeast Asia and other regions. This established some challenges in ceramic trade including the influence for new creativity and production development, such as in Europe where some trademarks were developed under the Chinese influence. Our goal is to deepen our knowledge on the application of interdisciplinary approaches on the study of ceramic trade and cross-cultural exchange across the two historical periods. Creator An entity primarily responsible for making the resource Sharon Wong Wai-yee Department of Anthropology, The Chinese University of Hong Kong, Shatin, N.T. Hong Kong Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Blues of the Santa Cruz: A study of porcelain color and composition Description An account of the resource For the study of ceramics found in a shipwreck, stylistic and provenance analysis are two approaches that can provide critical information about period and trade route of the vessel. In this paper, we investigate the characteristics of trade ceramics from the well-preserved Santa Cruz shipwreck, which sunk along the west coast of Luzon Island in the Philippines. Underwater excavation has brought to light more than 15,000 ceramics, mainly Chinese Jingdezhen blue-and-white porcelain and Longquan celadon of the Hongzhi period (1488-1505 CE) as well as other wares from Thailand, Vietnam, and Burma. Here, we have focused on the Jingdezhen blue-and-white porcelain and selected twelve dishes with similar decorative patterns, but showing different tones and shades of the blue color. The dishes were most likely produced in the same workshop or within a small region and the primary goal was to investigate production variability. The chemical composition of the ceramics and the characteristics of the blue pigment were studied non-invasively with portable X-ray fluorescence pXRF) and fiber optics reflectance spectroscopy (FORS). Results have shown that pXRF data are relatively homogeneous which reflects some constancy in term of raw materials procurement usage. On the other hand, although the blue pigment was as expected a cobalt-based material, FORS spectral profiles present significant differences which might be due to variations in the pigment composition and/or firing conditions, while for others, they could also be related to weathering. From an archaeometry perspective, this research provides some insight on production standardization in Jingdezhen as well as on subsequent modifications that can affect ceramics found in an underwater archaeological context. Creator An entity primarily responsible for making the resource Ellen Hsieh Christian Fischer Bobby C. Orillaneda Publisher An entity responsible for making the resource available The Museum of Underwater Archaeology Date A point or period of time associated with an event in the lifecycle of the resource 11/24/2017 Rights Information about rights held in and over the resource Ellen Hsieh Christian Fischer Bobby C. Orillaneda Asia-Pac Session 3 2017 https://apconf-much.org/proceedings/files/original/674c7f4c5129063426008a5a99efa1ca.pdf 4f4c925bbfb63b654fb281e57eb5aa6f PDF Text Text The Boats and Ships in the Indian Paintings: Examining the Commercial and Domestic Aspects in Maritime Activities Vishi Upadhyay (Curatorial Associate, Bihar Museum, Patna, India) vishi.arch@gmail.com ABSTRACT Paintings are visual artefacts and one of the significant art narratives supplemented as a primary source in the construction or reconstruction of social and cultural lifeways of different periods since the Early Historic period—for example, the murals of Ajanta, Cholas, Vijayanagara, and the Mughal School of paintings. Among the diverse visual content, the Indian paintings consist of the depiction of the relationship between the water and humans in the forms of navigation activities through boats and ships of various kinds. Such images are further connected with social and economic aspects, which need to be examined and analysed to differentiate between domestic and commercial functioning. The analysis has been much on identifying trade-related activities and largely has ignored the other side of the social construct with the paintings bearing the marine activities. For example, the sailors and pilgrimage are on the riverside temples, and the boats and sailors in recreational activities. Which have been lesser known and studied. In this paper, the paintings in the collections of museums in Bihar shall be examined to narrate the visual craftsmanship surrounding the identity of boats and ships in detail, including but not limited to their forms/ models, designs, and their functions. Further, they are categorically examined and studied for commercial (interstate trades) or private uses (personal rides). The paintings in Rajput, Mughal, Patna Kalam, Boondi, Pahadi, Rajasthani, Kagada and Delhi School of Art, representing the beautiful boats and ships in different fabrics and shapes, are the focus of this study. This paper is well fitted to session-29 because of the discussion on the riverine craft and associated activities. The paper deals with riverine craft i.e. boats and ships, which are illustrated on paintings of Rajput school of art, Patna school of art and Banaras school of art. Boats and ships are the obligatory part of marine activities and this paper well describes the function of boats along with design and discussion of similar riverine craft in ancient text. INTRODUCTION The association of human and water have been represented in different expressions like art, literature, Numismatic, epigraphy and travelers’ accounts. Depicting boats and ships is a very prominent and favorite part of Indian art as well as a strong representation of Indian tradition. How boats and ships are imperative in Indian society could be seen in votive boat tradition in Odisha (Tripathi 2011, 1084), boat race in Kerala and so on. Out of these, Paintings are visual artefacts and one of the significant art narratives supplemented as a primary source in the construction or reconstruction of social and cultural lifeways of different periods since the Early Historic period. The purpose of this paper is to accomplish a comprehensive study of paintings in collections of Patna museum and Bihar museum for detailing out the types and functions of boats in Indian society. CASE STUDY Types of boats The only recorded Sanskrit Sastric treatise which includes a section on ships, their classification and technical features and functions, is the Yuktikalpataru, preserved in the Calcutta Sanskrit College Library and first examined for its nautical interest by R. K. Mookerji in his pioneering 1912 publication A History of Indian Shipping and Maritime Activity from the Earliest Times (Mookerjee 1912). The Yuktikalpataru is a compilation of information on a variety of subjects, under the authorship of Bhoja Narapati. The identity of the author is unknown, but the extent to which the information it contains conforms to riverine boat type’s points to an eastern Indian, probably Bengali, origin. It is believed to date from the fourteenth century but, like other prescriptive Sastric books of this type, no doubt embodied much older knowledge. An extensive list of boat types is provided, classified according to their size and to their suitability for different sailing conditions. The critical 1 �distinction is between two classes of vessels, Samanya or "Ordinary", that is, river craft and Vishesa or "Special", that is, ocean-going vessels. The Samanya are subdivided into ten categories: Ksudra, Madhyama, Bhima, Capala, Patala, Bhaya, Dirgha, Patraputa, Garbhara, Manthara (Mukherjee 1912, 15). The boat which forms the subject of this paper broadly fits the Madhyama category under the river craft classification. This describes a vessel with a cabin in the centre (when it is identified under a further subdivision as Sarvamandira and Madyamandira), used as a pleasure boat by the king and suited for the rainy season. The Yuktikalpataru also details the appropriate colour for the masts, materials for metal fittings (gold, silver, copper), and the choice of figureheads drawn from the animal world, and the use of garlands to festoon the prows (Guy 1999, 106). These features can be seen clearly in a Bengal boat depicted in a nineteenth century Bengali patta painting of The Story of Gazi (Guy 1999, 110) as well as the paintings of Patna school of Art also known as Patna Kalam. Sastric sources refer to the organization and regulation of both riverine and ocean trade. The Arthashastra of Kautilya, for example, names the official post of Navadhyaksa, the Superintendent of Ships, whose duties included the customs control of ports, the provision of toll ferries and the assisting of vessels in distress. Other Sanskrit texts which concern themselves with ships and sailing are the Abhidhanaratnamala and the Vaijayanti. The activities of traders from such eastern Indian centres as Kausambi, Varanasi, Pataliputra, and Campa are recorded in the Buddhist Vinaya texts and Jatakas, supplying the Bengal port of Tamralipti (Ramachandran 1970, 79) on the mouth of the Ganges for the Southeast Asian trade. From the Gupta to Pala eras eastern India maintained large navies, and many battles were fought on the Ganges and its delta. The dual stimulus of commerce and warfare must have ensured a high level of ship building technology and skills in eastern India. Royal Pleasure boats The boats in this category are prolific in numbers in paintings of Patna Kalam. The deck of such boats has a number of interesting features with animals and birds’ heads. Author found the boats with the shapes of peahens, lions, sea monsters or crocodile and hoarse. A decorated cabin is erected on the centre of the vessel, where royal persons are enjoying the trip. A flag is flowing at the last corner of each ship and may represent the province. At the bottom of the flag oarsmen are stirring the pedals and moving the ship ahead. A whisk man is blowing the whisk and his face is toward the prow (Fig. 1). These types of boats represent the Survmandira type of ships as per the Yuktikulptaru.( Mookerjee 1912:18) Such kinds of boats have the largest cabin extending from one end of the ship to the other and are used for transport royal treasures, horses and women. The text gives elaborate information for decorating and furnishing such kinds of vessels. The prows of ships admit of a great variety of fanciful shapes and forms: these comprise the heads of lion, buffalo, serpent, elephant, tiger, birds, such as duck, peahen, or parrot, the frog, and man thus arguing a great development of the art of the carpenter or the sculptor. Other elements of decoration are pearls and garlands of gold to be attached to and hung from the beautifully shaped prows (Mookerjee 1912, 17). Four kinds of metals are recommended for such kinds of ships: gold, silver, copper and compounds of all three. 2 �Figure 1 : Peacock shaped royal pleasure boat, in collection of Patna Museum The convention of having an animal, natural or mythical, as a figurehead is a feature of ceremonial vessel design from the earliest times in India, as witnessed by the relief on the western gateway at Sanchi Stupa no. 1, in which a sandstone relief medallion depicts a pleasure boat with a pavilion, the bow represented in the form of a mythical winged gryphon, and the raised stern as the tail of an aquatic creature. It is interesting to note that it records the involvement of the Satavahana king Satakami through an inscription left by his chief of works (Harle 1986, 34, n. 37). The Satavahana dynasty of the western Deccan actively supported the maritime ventures of their Buddhist merchants and clearly pleasure boats were a part of royal life in this early period (Ray 1986). The earliest depiction of a boat in Indian sculpture, to be found in a decorated roundel of the Bharhut stupa railing of the second century ВС, shows two vessels (one disappearing into the jaws of a ferocious sea-monster or makar) with steeply rising prow and stern sections, constructed of broad planks of timber secured with what appear to be metal staples but in reality was more probably fibre stitching. The vessel is without masts and appears only to be propelled by two oars not dissimilar to those seen in our model. One can surmise that this scene depicts the perils of sea travel as undertaken by enterprising Buddhist and other merchants (and monks) in the Mauryan and Sunga periods (fourth-first centuries ВС) and recounted in the Buddhist canonical literature, notably in the Vinaya Pitaka, and in the later Buddhist literature, including the Jataka stories1 (Guy 1999, 107). In one of Patna Kalam paintings, a big vessel resting at the bank of a river along with attendants of some royal person, might be waiting for their lord/queen with a decorated palanquin. Boat comprises a single mast and a big cabin with a golden throne. Shapes of such boats show the function of pleasure trips. In another painting, there is a big boat being ridden by a royal man and his subordinates. The royal person is sitting at the centre of the cabin and others are sitting around him. Prow of the hull portion is in the shape of a mermaid. Boat is a single mast which is topped by a flag and a sail. Two helmsman are shown in boat, one is maintaining the sail as per the direction of wind and another one is stirring a long handle peddle at other last corner of the boat. 1 Judging from the frequent references to stitched hull construction as a feature of Indian ship building, it may be assumed that this is the method being employed in the Bharhut relief. 3 �Figure 2: Royal pleasure boats, in collection of Patna Museum In figure 2, there are nine decorated boats with a single cabin at centre, single mast and sail. These colourful boats perfectly show a scene of pleasure trips in river Ganga. The painting of Banaras school of art must show the scene of Banaras Ghat (Bank of the river Ganga) Royal ceremonial boat Shape and design of boat in fig no 3 best fits it with the Madhyamandira category as per Yuktikulptaru which are used by kings (Mookerji 1912, 18). The painting of Rajput school of art represents a scene of some festival. In the courtyard of the palace, royal women are preparing for ritual and decorating idols of goddess (Parvati?) few are keeping the idol over their head and blowing fly-whisk. Another beautiful part of this painting is a royal boat which is made of wood and painted red in colour. It is surmounted by an open pavilion which is in the shape of chatari (umbrella) and resting upon the four columns. Three decorated staircases are connected to the pavilion to rest part of the boat. A King is sitting under the pavilion and looking at the ceremony/festival, he might have come to attend the ceremony. Oarsmen are stirring the boat and a helmsman is standing at the last corner of the boat. Two umbrella and palm leaf fan bearers are up righting between the oarsmen and helmsman. The Stern section is in the shape of a swan. However, a relief sculpture of a similar boat in the Indian Museum, Calcutta, throws light on the identity of this device. The relief has an umbrella bearer mounted on the standing figure of an elephant, both of which have royal affiliations. It may be that this device is not a vase but an attempt to represent the umbrella (chattari) in the round (the sculptor has obviously not dared to cut away the stone around the umbrella's post). The elephant figurehead is flanked by two attendants, one holding a fly-whisk (chamar), the other a palm-leaf fan (taal pakka). The final feature of this vessel is the mandapa-type super-structure, a pavilion supported by four turned columns and a two-tiered pitched roof with capping finial. This covered pavilion houses three seated figures: a warrior with a bow (on the port side), a bearded priest holding a rosary (facing starboard) and a figure in princely attire in the centre, facing the prow. Interestingly, in the Calcutta relief, the side of the pavilion depicted shows the warrior figure. I shall return to the possible symbolism of this ship and its royal passenger, but first I want to situate this vessel in the long tradition of Indian royal pleasure barges reaching back at least to the Satavahana period of the early centuries AD (Guy 1999, 107). 4 �Figure 3: Royal ceremonial boat, in collection of Patna Museum Merchant, Rider boats Paintings of Patna Kalam are designated by the merchant and rider boats. The hull of merchant boats looks huge. In fig no 4 merchant boats are shown with single mast and sail and overloaded with goods, along with that two rider boats appear with elongated cabins at the centre. Roof of the cabin is downwards. Rider boats are useful for river traffic and that are the lifeline of contemporary societies. One of the rider boats in the painting shows an interesting feature. A medium size boat is resting at the bank of the river. Boat has a single mast which is topped by a flag and another flag erects at the other last corner which shows its possession by high class. Two mariners are sitting upon the deck of the boat and other three are cooking food at the surface of the river bank. 5 �Figure 4: Merchant and Rider type boats, in collection of Patna Museum Fishing boats Fig. No 5 in paintings, represents the living scenes of fish boats in different river banks of Bihar. Such kinds of boats are small in size and sometimes show a small cabin at the centre. Figure 5 : Fishing boats, in collection of Patna Museum RESULTS Describing the marine activities through the narratives is an exciting part as it echoes the context. Paintings of Patna Kalam, Rajput school of art and Banaras school of art well captured the scenes of marine activities and river crafts. Colorful and enormously designed boats show the passion of artists and classifications of classes in contemporary society as well as the occupations. Animal headed boats show the affluent classes. Horse, sea monster, mermaid, peacock, lion headed boats are instances of wonderful craftsmanship. This is noteworthy that most of the artist in Patna Kalam paintings captured the scenes of decorated boats with pleasure trips by royal persons, an eye catchy view of boats could be the reason for so but the unvarying marine activities like riding boats for ordinary people, merchant boats and fishing boats also could get a space in painting. The comparative study of these boats in paintings with prescribed boats in ancient text gives a consolidation to this paper. 6 �BIBLIOGRAPHY Guy John. 1999, A Boat Model and State Ritual in Eastern India. In: Bulletin de l'Ecole française d'Extrême-Orient. Tome 86. Harle, J.C. 1 986,The Art and Architecture of the Indian Subcontinent, Harmondsworth, Penguin Mookerji, R.K. 1912, A History of Indian Shipping and Maritime Activity from the Earliest Times, London, Longmans, Green, [repr. Allahabad. Ramachandran, K.S. 1970, Ancient Indian Maritime Ventures , in L. Chandra et al. (eds.), India's Contribution to World Thought and Culture, Madras. Ray, H.P. 1986, Monastery and Guild: Commerce under the Satavahanas, Delhi, Oxford University Press. Tripati Sila, 2011, Ancient Indian maritime trade in eastern Indian littoral, current science Vol 100, no 7, Current Science Association, Bengaluru. 7 � Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Boats and Ships in the Indian Paintings: Examining the Commercial and Domestic Aspects in Maritime Activities Description An account of the resource Paintings are visual artefacts and one of the significant art narratives supplemented as a primary source in the construction or reconstruction of social and cultural lifeways of different periods since the Early Historic period—for example, the murals of Ajanta, Cholas, Vijayanagara, and the Mughal School of paintings. Among the diverse visual content, the Indian paintings consist of the depiction of the relationship between the water and humans in the forms of navigation activities through boats and ships of various kinds. Such images are further connected with social and economic aspects, which need to be examined and analysed to differentiate between domestic and commercial functioning. The analysis has been much on identifying trade-related activities and largely has ignored the other side of the social construct with the paintings bearing the marine activities. For example, the sailors and pilgrimage are on the riverside temples, and the boats and sailors in recreational activities. Which have been lesser known and studied. In this paper, the paintings in the collections of museums in Bihar shall be examined to narrate the visual craftsmanship surrounding the identity of boats and ships in detail, including but not limited to their forms/ models, designs, and their functions. Further, they are categorically examined and studied for commercial (interstate trades) or private uses (personal rides). The paintings in Rajput, Mughal, Patna Kalam, Boondi, Pahadi, Rajasthani, Kagada and Delhi School of Art, representing the beautiful boats and ships in different fabrics and shapes, are the focus of this study. This paper is well fitted to session-29 because of the discussion on the riverine craft and associated activities. The paper deals with riverine craft i.e. boats and ships, which are illustrated on paintings of Rajput school of art, Patna school of art and Banaras school of art. Boats and ships are the obligatory part of marine activities and this paper well describes the function of boats along with design and discussion of similar riverine craft in ancient text. Creator An entity primarily responsible for making the resource Vishi Upadhyay 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. Upadhyay, Vishi . 2023. “The Boats and Ships in the Indian Paintings: Examining the Commercial and Domestic Aspects in Maritime Activities.” 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/2028 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 The Book of the Wonders of India: Mainland, Sea and Islands Creator An entity primarily responsible for making the resource Buzurg ibn Shahriyar of Ramhormuz G.S.P. Freeman-Grenville Publisher An entity responsible for making the resource available East-West Publication Date A point or period of time associated with an event in the lifecycle of the resource 1981 Type The nature or genre of the resource Book Zotero Author Buzurg ibn Shahriyar of Ramhormuz Translator G.S.P. Freeman-Grenville Item Type Book Date A point or period of time associated with an event in the lifecycle of the resource 1981 Place London Publisher An entity responsible for making the resource available East-West Publication Title A name given to the resource The Book of the Wonders of India: Mainland, Sea and Islands India https://apconf-much.org/proceedings/files/original/e8283281db42da3c0b3898c48550e33c.pdf ad8910bc010314434243720d02d3e0d6 PDF Text Text The Centenary Impact Since RMS Titanic Sank upon Universal Regulation of Underwater Cultural Heritage in International Waters, and the Necessity of New Law-Making in Japan NAKADA, Tatsuya1 Abstract 2012 is Centennial since Royal Mail Ship (RMS) Titanic sunk. The Titanic was found in 1985, as early as 1986 United States of America (USA) enacted the RMS Titanic Maritime Memorial Act. It aimed at the conclusion of international agreement for the conservation of the Titanic by states concerned. The agreement was started drafting in 1997 and adopted in 2000. It was USA, France, England and Canada that adopted Agreement concerning the Shipwrecked Vessel RMS Titanic (the Agreement). On the other hand United Nations Educational, Scientific and Cultural Organization (UNESCO) 2001 Convention on the Protection of the Underwater Cultural Heritage (2001 Convention) was made through four diplomatic conferences since 1998, and entered into force in 2010. Thanks to 2001 Convention, the term “Underwater Cultural Heritage” (UCH) has been well-known to people around the world. Be that as it may, to be an UCH needs passage of 100 years; the Titanic will be an UCH next year. Although the importance of 2001 Convention has recently attracted considerable attention, its new trend toward universal regulation has just started emerging from international society. It is the Article 9.2 of the Agreement that attention should be paid. It provides, “If a general multilateral Convention on the protection of underwater cultural heritage enters into force for all Parties, they shall consult to discuss the relationship between this Agreement and that Convention.” Assuming an appropriate coordination of them gives rise to a new trend, it appears more desirable to foresee the near future and timely accede to 2001 Convention after the preparation of domestic laws in Japan referring to 2001 Convention. Introduction Next year is Centennial since RMS Titanic sank. According to the definition of Article 1.1.a of Convention on the Protection of Underwater Cultural heritage (2001 Convention) the Titanic will be an Underwater Cultural Heritage (UCH). While large projects at Southampton (Bates 2009) are being prepared toward the day, a wide variety of plans are also being pondered all the world. Since 1985 United States of America (USA) and France joint-party, led by Robert Ballard, found the Titanic and, some 6,000 artifacts have been raised (Murphy 2002). As early as 1985, Nancy 1 Tokyo University of Marine Science and Technology, picono@kaiyodai.ac.jp 1 �Foster, former assistant administrator of the National Oceanic and Atmospheric Administration (NOAA) Ocean Service, testified before Congress on a house Resolution to protect the Titanic. Ballard also stated that the most desirable option for the conservation of the Titanic be to take separate measures among cooperating states as it was located in international waters. R.M.S. Titanic Maritime Memorial Act （ ） of 1986 1986 Act was enacted. The Agreement concerning the Shipwrecked Vessel RMS Titanic (the ） Agreement drawn up by USA, United Kingdom (UK), France and Canada states, “the agreement shall enter into force on the date on which two states have indicated their consent to be bound” (Art. 11.2). Signing the Agreement and enacting new legislation in November 2003, the UK set up the legal institution no. 2496 Merchant Shipping, Casualties, Wreck and Salvage, The Protection of Wrecks (RMS Titanic) Order 2003, [Dft 13155], (no.2496), which entails summary conviction to a fine not exceeding the statutory maximum (£5,000) or conviction to an limited fine to the salvage in unconformity with the criteria in the Agreement (Art. 6.1 and 6.2). On April 12th 2001 NOAA published the Guidelines for Research, Exploration and Salvage of RMS Titanic, 66 Fed.Reg. 18905, 18908-09 (Fed.Reg. 18905) according to 1986 Act. Moreover a Draft Charter for a Titanic Preservation Alliance (the Alliance) was drawn up to make it clear the standard of explorations of the Titanic. In 2003 and 2004, NOAA conducted scientific research with various partners. On June 2004, Ballard with NOAA carried out research which surveyed how the Titanic has deteriorated since its discovery. This progress of research resulted in the Return to Titanic (directed by Tracy Barry and Peter Schnall, 7th June 2004) and was put on publicly accessible media throughout the world. This campaign induced the USA to sign the Agreement on 18th June 2004. RMS Titanic Inc. (RMST) has exclusively explored the Titanic, recovering and conserving some 5,500 artifacts. RMST has fascinated more than 25 million people through many exhibitions. In 2010, RMST carried out the latest survey in conjunction with NOAA, Woods Hole Oceanographic Institution and the USA National Park Service (http://www.rmstitanic.net/about-us.html). How the entry into force of the Agreement impacts upon a series of the Titanic litigations in USA admiralty courts will be examined. In fact, the USA movement toward the entry into force has made steady progress. Taking universal publicity into account, it seems the Agreement will be approved by Congress which was transmitted Bill titled R.M.S. Titanic Maritime Memorial Preservation Act of 2009 (re-amendment of 1986 Act) around 15th April 2012, the Titanic’s 100th anniversary. The day has two implications, the fact that the Titanic becomes UCH in 2012, and the turning point of shifting salvage law to cultural heritage law. 2 �Two Trends in USA: 1986 Act and Admiralty Court The Trend of 1986 Act Ballard has not raised artifacts that he found on the Titanic as it is considered a non commercial and scientific research (Ballard and Sweeney 2004: 72-73). The location was not precisely proclaimed so as not to be plundered (Ballard and Michael 1985: 704). 1986 Act attempted to make the Agreement among states concerned, to enact national law in accordance with the Agreement. 1986 Act directed the Department of State to enter into negotiations with interested nations to establish an international agreement to designate the wreck as a maritime memorial and protect it from looting and unscientific salvage. UK is a flag state, France is the joint finding state and has Cherbourg port of call on her route, and Canada is the nearest coastal state from the shipwrecked point. USA continuously offered a consultation to other states. Also Russia and Japan are expected to participate in the Agreement to make it more Ⅰ Ⅱ effective (Dromgoole 2003:7). The Russian submersibles Mir and built in 1987 are able to explore efficiently in cooperation with each other, having researched the Titanic 41 times from 1991 to 2003. Japan Marine Science and Technology (JAMSTEC) upgraded the Shinkai 2000 built in 1981 to the Shinkai 6500 built in 1990, which exceeded the 1000th dive in 2007. While 1986 Act was not in support of others, French Research Institute for Exploitation of the Sea (IFREMER) which knew the location of the shipwreck site undertook an independent exploration. Taking advantage of the circumstance, RMST (since 1987) set up with a view to profiting from artifacts. IFREMER raised more than 800 artifacts since the first 1987 exploration. The USA promptly enacted the Abandoned Shipwreck Act against such actions, which stated, “it would prohibit the import with a view to the proceeds through the recovering from the Titanic and further, such measures would be maintained until the Agreement comes into force”. On the contrary, RMST has continuously carried out the explorations chartering the Nautile and raised some 4,000 artifacts over seven expeditions. Since 1997 the draft of the Agreement has the purpose of controlling non-regulated salvage and other harmful activities over the Titanic. The Fed.Reg. 18905 is essentially almost the same as the annexes attached to both the Agreement and 2001 Convention based mainly on the 1996 Charter on the Protection of the Underwater Cultural Heritage (for details see Craig 2008:3). The Annex attached to 2001 Convention is established as the international criteria of underwater research (Oppenheimer and Varmer 2006:15). However there is room for flexible interpretation of salvage law, while continuing to observe strict scientific, cultural and historical significance. The Agreement generally does not conceive RMST to be the sole 3 �salvor-in-possession. Implementing the Agreement, the sole salvor-in-possession will be obliged to collaborate with the admiralty court and/or NOAA. USA Admiralty Court The shipwreck is located at high seas, RMST raised a number of artifacts and brought a part of them to the USA admiralty court; maritime affairs belong to the jurisdiction of the federal court. While the court upheld RMST as the legal salvor-in-possession, Ballard was not legally supposed to be the finder of the Titanic (Garabello and Scovazzi 2003:73-75). Even though the court actually awarded RMST the exclusive rights of the Titanic, USA courts can only enforce their law on USA nationals, France has carried artifacts back to its territory since 1987. British Deep Ocean Expeditions (DOE) carried tourists to the Titanic in 1988. RMST notified DOE of its unauthorized underwater cruising. One of the tourists with DOE filed an action suit to USA district court for declaration of access and photograph rights to the site. The court had already issued an injunction barring all visitation to the Titanic including photographing it without permit by RMST in 1998. DOE had planned an expedition to view and photograph the Titanic in the late summer of 1998, and Christopher Haver had planned to be a passenger. Haver filed a declaratory judgment action in the district court to challenge the 1998 judgment. The court held that the right of divers and tourists aiming at visiting and photographing the Titanic belonged solely to RMST (April 28th 1999: 171 F.3d 942-943, 958-959, 970). DOE filed an intervention as co-party with Haver in response to the judgment. During the lawsuit, DOE ignored the order of USA court and continued underwater cruising (Nafziger 1999: 315). The appeal court held that while RMST has the exclusive right of raising artifacts, the exclusive rights do not involve visiting, viewing and photographing the site. In a series of the Titanic litigations, RMST represented its intention to raise funds through artifact exhibitions (selling tickets, replica licenses, and product rental fees, etc.). These actions were a way of recovering costs and keeping the share prices up because the USA courts would only uphold RMST as sole salvor-in-possession as long as they did not sell artifacts. In the following year, the appeal and supreme courts held that RMST had not ever directly owned artifacts only the trustees (Murphy 2002). 1989 Salvage Convention and Four States International Convention on Salvage, 1989 (1989 Convention) was concluded in London on 28th April 1989 and came into force on 14th July 1996. It has 62 State 4 �parties (as of July 2011). USA, France, UK and Canada are all State parties (for details on definition see Browne this volume) to 1989 Convention. It indirectly provides the salvage of historic wreck in the form of reservation provision. Nothing is referred to the relationship between law of salvage and UCH law in 1989 Convention. The provision simply allows a State to reserve the right not to apply 1989 Convention, “when the property involved is maritime cultural property of pre-historic, archaeological or historic interest and is situated on the sea-bed.” (Art. 30.1.d). Since USA and France did not make reservations to this provision, they are able to salvage UCH. Negotiations commenced. In the process of drawing up the 1989 Convention France attempted to exclude UCH. The attempt resulted partially in Article 30.1.d. United Nations Convention on the Law of the Sea (UNCLOS) and 2001 Convention: Coastal Jurisdiction Apart from two trends in USA mentioned above, the movement of regulating underwater antiquities was in rapid progress in the late 1970’s. UNCLOS (Art. 149 and 303) only provided lex lata (existing law) including maritime law and international agreements regarding the protection of objects of an archaeological and historical nature in parallel outside the Contiguous Zones (24 nautical miles from the shoreline) except in deep sea bed, the Area (outside Continental Shelf, at 350 nautical miles to the maximum from the shoreline, of every country). The European Council drew up the Draft of European Convention on Underwater Cultural Heritage in 1984 based upon Recommendation 848 in 1978 (Roper 1978), the draft did not enter into force. However International Law Association deliberated “the draft of Convention on Underwater Cultural Heritage” in 1994 based on the draft of the European Convention. From 1996, through the governmental experts meeting (1998-2001), 2001 Convention was adopted by UNESCO’s 31st General Assembly on the 2nd November 2001. Be that as it may, the international regulation of actions directed at underwater cultural heritage, at present, is mixed with Law of the Sea, Maritime Law and Cultural Heritage Law. As 2001 Convention coherently emphasizes UCH, “shall not be subject to the law of salvage or law of finds” (Art. 4), and “shall not be commercially exploited" (Art. 2.7). On the other hand 2001 Convention grants the competence to coastal states to make 2001 Convention effective as an aspect of UNCLOS (Art. 9 and 10). USA, France and UK are in favor of the aspect of cultural heritage law, while in disfavor of the aspect of UNCLOS. USA proposed that a certain commercial action is permitted subject to the scientific criteria of 2001 Convention (Nafziger 2000: 88). The universality and effectiveness of 2001 Convention in international society 5 �remains to be clear since, amongst others, the USA, France and UK’s salvage laws do not comply. On the other hand Rules concerning Activities Directed at Underwater Cultural Heritage (Annex) embodies the protection and conservation of UCH in accordance with the regime provided in the 2001 Convention. This shows that the universality of international norms concerning standards of underwater archaeology is shifting to the establishment of Standard Practice. For example, Fed.Reg. 18905 and the annex attached to the Agreement are almost alike. The Adoption of Titanic Agreement and Its Effect Consulting from 1997 to 2000, the Agreement was adopted on 5th January 2000. While the Agreement regulates the shipwrecked site and prefers in situ preservation. The Agreement forbids illegal exploration and selling of recovered artifacts. However the Agreement does not apply to some 6,000 already recovered artifacts. The Agreement regards the shipwrecked site as scientific, cultural and historical memorial. In breach of articles of the Agreement and its annex (Rules), each party is given enforcement jurisdiction including civil and/or criminal sanction. A glance on the Agreement tells us how each provision were drawn up in an effort to be reconciled with 2001 Convention, and how the Agreement carefully paid attention to 2001 Convention. This means how USA, France, UK and Canada consent to the aspect of cultural heritage law (Dromgoole 2003: 8). Article 3 of the Agreement states that each party shall take all reasonable measures to conserve and curate artifacts in recognition of Rules, specifically for them to be kept together and intact as project collections. Article 4 of the Agreement states that each party shall take the necessary measures, to regulate through a system of project authorizations of entry into the hull sections of the Titanic so that they, other artifacts and any human remains are not disturbed. It is noteworthy that the Agreement refers to salvage law. The draft of article 4.3 is the product which USA negotiation team tried to insert the fact that USA admiralty court granted RMST the salvor-in-possession into the Agreement. However the attempt resulted in the provision so as to secure non-intrusive access to the site. It seems counteractive against judgments of USA admiralty court which kept granting salvors the exclusive right. The Agreement does not so much exclude application of salvage law as permits salvage activities in conformity with Rules. In a series of Titanic litigations concerning RMST’s salvage, RMST instituted a lawsuit to the Secretary of State, the Secretary of Commerce and NOAA in September 2000 so as not to adopt the Agreement because it was unconstitutional. The subject matter is that (1) an effort to promote making the Agreement deprives 6 �USA admiralty court of the jurisdiction, (2) Implementing the Agreement, the right of recovery or ownership of RMST will not be compensated by USA. The court rescinded the claim since RMST was able to appeal again when the Agreement enters into force. In the public hearing of district court over the Titanic, it is interesting that the court states the exclusive status of RMST must be appraised even though the Agreement comes into force (2004: 323F. Supp.2d 724, 741). Finally Article 9.2 of the Agreement provides, “If a general multilateral Convention on the protection of underwater cultural heritage enters into force for all Parties, they shall consult to discuss the relationship between this Agreement and that Convention.” Canada is most likely to join 2001 Convention compared with USA, France and UK. A general multilateral convention probably suggests 2001 Convention. If all four states join it in the future, Canada will be favorably presumed its ownership including the Titanic in the context of relationship between the Agreement and 2001 Convention. The fact that the paradigm shift from salvage law to cultural heritage law in Canada might also induce USA, France and UK to shift the similar paradigm through consultation. Prospect Annex, Rules, Fed.Reg. 18905 and the Alliance will be replaced with salvage law in principle. It seems to me that these instruments are highly appraised as code of conducts taken away provisions of so-called creeping jurisdiction of 2001 Convention, therefore such norms are also acceptable to USA, France, UK and Canada. While the system of 2001Convention has been gradually pervaded to international society, the rigid application of underwater archaeology to UCH in the Agreement, prior to the issue of coastal jurisdiction, will make it possible to prevent loss of artifacts and promote the dissemination of knowledge gained from UCH to people around the world. The approval of USA Congress is expected during the anniversary events of the Titanic around 15th April 2012. The time might be a symbol of shifting from salvage law to cultural heritage law. On reflection, from a series of research of Lake Biwa and so forth, the forerunner of underwater archaeologist in Japan, OE Yoshio had insisted on the necessity of underwater archaeology since 1960’s (OE 1971: 266-269; OE 1982: 236-238). Although the tendency of underwater archaeology actually rose up in the early of 1980’s (OE et al. 1980: 23-87), symbolically as seen in A Special Issue written by the leading person including OE at that time, the systematic mapping method of UCH subsidized by Nippon Foundation (from 1st April 2009 to 31st March 2012) has just started by Non Profit Organization, Asian Research Institute of Underwater 7 �Archaeology (ARIUA) established in 12th August 2005, the former Kyushu-Okinawa Research Institute of Underwater Archaeology established in 1991. Every product of research divided into four coastal regions will be gradually opened on the web (http://www.ariua.org/database/). Nevertheless Agency for Cultural Affairs is not necessarily positive for the strenuous and steady effort of ARIUA in both legal and financial aspects. The report attached to a tentative translation of 2001 Convention in July 2002 by Ministry of Education, Culture, Sports, Science and Technology reads; “Whereas it seems that the purposes and effects of the Convention is generally valid, our political decision making system will be reconsidered” because the Convention addresses primarily legal systems of extra-territorial waters (Report Technology 2002). The circumstance simply leads to lacuna of underwater cultural heritage related laws in Japan. The basic standard that OE sought is almost the same as provisions in the Rules. OE states; It is deeply hoped that the necessity of archaeological research of sea-bed be understood by underwater archaeologists as well as ordinary people, the research system demands much closer cooperation internationally and mobilize to each site in any case (OE 1977: 337). Utilizing Centenary of the Titanic to great extent as the best chance that the paradigm shift of regulations of UCH is certain to arise in international waters, Japan should promptly establish its own national underwater cultural legal system as the first step of international cooperation. Using the Sinkai 6500 effectively enable Japan to contribute to underwater archaeology even in international waters. Bibliography Ballard, R., and “How We Found Titanic”, in National Geographic, vol. 168, pp. Michael, J.-L., 696-718. 1985 Ballard, R., and Return to Titanic: A New Look at the World’s Most Famous Lost Sweeney, M., Ship, National Geographic Society, Washington. 2004 Bates, Stephen., 2009 “Titanic museum to open in Southampton by 2012”, in The Guardian, Tuesday 31st March, 2009. Accessed 8th 2011 at http://www.guardian.co.uk/artanddesign/2009/mar/31/titanic-south ampton-exhibition Craig, J., Multilateral Approaches 8 to an International Convention, �2008 conference paper for International Council of Monuments and of Sites (ICOMOS) 16th General Assembly proceedings. Dromgoole, S., 2003 “Treasure Salvage in International Waters: Two Alternative Methods of Control”, in Maritime Law Subject Section, Society of Legal Scholars, Oxford, pp. 1-12. Accessed 8th 2011 at http://www.le.ac.uk/law/staff/skd2.html Garabello, and R., THE PROTECTION OF THE UNDERWATER CULTURAL Scovazzi, HERITAGE: BEFORE AND AFTER THE 2001 UNESCO T., (eds)., 2003 CONVENTION, Martinus Nijhoff Publishers, Leiden / Boston. Murphy, G., 2002 “RMS Titanic: A Legal Update 1”, in encyclopedia titanic, 15th March 2002, Accessed 8th 2011 at http://www.encyclopedia-titanica.org/item/1503/ Nafziger, R., 1999 J.A. “The Titanic Revisited”, in Journal of Maritime Law and Commerce, vol. 30, pp. 311-329. Nafziger, R., 2000 J.A. “Historic Salvage Law Revisited”, in Ocean Development and International Law, vol. 31, pp. 81-96. OE, Yoshio., 1971 Marine Archaeology: History and Culture Searched on Sea-bed, Shinjinbutsu Oraisha, Tokyo. OE, Yoshio., 1977 “Underwater Archaeology”, an essay attached in Japanese translation of George F. Bass, 1975, Archaeology beneath the Sea, Walker and Company, New York. OE, Yoshio., 1982 An Introduction to Underwater Archaeology, NHK Books, Tokyo. OE, Yoshio et “A Secial Issue: Challenging Sunken Ships” written by ARAKI, al., Shinsuke (the Kaiyo-Maru), MOZAI, Torao (Mongol Invasion), 1980 YAMADA, Michio (RMS Titanic), TANAKA Ko (the Admiral Nakhimov), TSUMAKI, Eijirou (the Yamato), HASEBE, Gakuji (Shinan offshore at Korea), KUDOU, Masao (SS Andrea Doria), HUJII, Yuto (The Mutsu), KATAOKA, Koukichi (the Yasaka-Maru) and OE Yoshio (Lake Biwa-Ko) , in Le Mer, Vol. 25, pp. 24-87. Oppenheimer, P., and Varmer, O., 2006 “Implementing the International Agreement to Protect RMS Titanic”, International Environmental Law Committee Newsletter, Vol. 9, No. 1, pp. 14-16. Accessed 8th 2011 at http://apps.americanbar.org/environ/committees/intenviron/newsl etter/dec06/IELC1206.pdf 9 �Report Technology Report of the convention and recommendation adopted at 31st General Assembly of United Nations Educational, Scientific and Cultural Organization, BZ-8-28, Ministry of Education, Culture, Sports, Science and Technology, National Diet Library, 2002. Roper, J., 1978 The Underwater Cultural Heritage: Report of the Committee on Culture and Education, Council of Europe, Strasbourg. Doc. 4200. 10 � https://apconf-much.org/proceedings/files/original/e7dfa149dd3792aa39568d017df38d49.jpg 53627ec6558796c99a5ccff5e924cd40 Omeka Image File The metadata element set that was included in the `files_images` table in previous versions of Omeka. These elements are common to all image files. Width 472 Height 445 Bit Depth 8 Channels 3 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Centenary Impact Since RMS Titanic Sank upon Universal Regulation of Underwater Cultural Heritage in International Waters, and the Necessity of New Law-Making in Japan Subject The topic of the resource Session 3 History and Current Trends of Underwater Archaeology around East Asia Description An account of the resource 2012 is Centennial since Royal Mail Ship (RMS) Titanic sunk. The Titanic was found in 1985, as early as 1986 United States of America (USA) enacted the RMS Titanic Maritime Memorial Act. It aimed at the conclusion of international agreement for the conservation of the Titanic by states concerned. The agreement was started drafting in 1997 and adopted in 2000. It was USA, France, England and Canada that adopted Agreement concerning the Shipwrecked Vessel RMS Titanic (the Agreement). On the other hand United Nations Educational, Scientific and Cultural Organization (UNESCO) 2001 Convention on the Protection of the Underwater Cultural Heritage (2001 Convention) was made through four diplomatic conferences since 1998, and entered into force in 2010. Thanks to 2001 Convention, the term “Underwater Cultural Heritage” (UCH) has been well-known to people around the world. Be that as it may, to be an UCH needs passage of 100 years; the Titanic will be an UCH next year. Although the importance of 2001 Convention has recently attracted considerable attention, its new trend toward universal regulation has just started emerging from international society. It is the Article 9.2 of the Agreement that attention should be paid. It provides, “If a general multilateral Convention on the protection of underwater cultural heritage enters into force for all Parties, they shall consult to discuss the relationship between this Agreement and that Convention.” Assuming an appropriate coordination of them gives rise to a new trend, it appears more desirable to foresee the near future and timely accede to 2001 Convention after the preparation of domestic laws in Japan referring to 2001 Convention. Creator An entity primarily responsible for making the resource Nakada, Tatsuya Date A point or period of time associated with an event in the lifecycle of the resource November 2011 Asia-Pac Session 3 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Century of Reform Creator An entity primarily responsible for making the resource Mitsusada Inoue Delmer M. Brown Delmer M. Brown Publisher An entity responsible for making the resource available Cambridge University Press Date A point or period of time associated with an event in the lifecycle of the resource 1988 Type The nature or genre of the resource Book Section Zotero Author Mitsusada Inoue Delmer M. Brown Editor Delmer M. Brown Item Type Book Section Book Title Ancient Japan Date A point or period of time associated with an event in the lifecycle of the resource 1988 Pages 163-220 Place Cambridge Publisher An entity responsible for making the resource available Cambridge University Press Series The Cambridge History of Japan Title A name given to the resource The Century of Reform Volume 1 Japan https://apconf-much.org/proceedings/files/original/361c8fba9d747e636de118d5d7008455.pdf ccc39a87fd2c065c60b3bef56ceb97f9 PDF Text Text The ceramic and porcelain collections on shipwreck in Vietnam Sea at History Museum in Ho Chi Minh City (Vietnam): History, Preservation and Promotion. MA. Nguyen Thi Huynh Nhu – History Museum in Ho Chi Minh City - Vietnam ABSTRACT In Vietnam, underwater cultural heritage is a new field developed in the late twenty century until now. Interest in this field began with the discovery of shipwrecks in Vietnamese waters in the 1990s. Through international cooperation as well as the support of modern equipment, Vietnam has approached and explored ancient shipwrecks in Hòn Dầm (Phu Quoc), Hòn Cau (Con Dao), Cà Mau, Cù lao Chàm (Quang Nam), and in recent years, the ancient shipwrecks Chau Thuan Bien in Quang Ngai. From 1993 to 2000, The History Museum in Ho Chi Minh City received more than 7000 artifacts from these shipwrecks assigned from the Ministry of Culture and Sports of Vietnam. Most of these archaeological materials are Chinese ceramics dating from the Ming to Qing Dynasties, some Thai ceramics such as Sawankhalok ceramics, Sukhothai ceramics, and Vietnamese Chu Dau ceramics dating from the 15th century. In this paper, we would like to give a brief introduction to these collections, preservation and promotion agenda alongside the History Museum in Ho Chi Minh city. Accordingly, the article will include three parts: the first is an overview of the historical museum and underwater heritage collections which include the number and types of artifacts. In the second part, we will present about our museum’s actual preservation and exhibition covering the difficulties and limitations that we are facing. In the discussion part, we will present possible ideas about cooperation on exhibition, communication and conservation of the UCH collection in our museum case. Keywords: Cu Lao Cham ceramic, Chu Dau ceramics, History Museum in Ho Chi Minh City, Vietnamese shipwrecks Table of Figures and Tables Figure 1. Cu Lao Cham collection in The History Museum in Ho Chi Minh city Figure 2. Some objects of Ca Mau shipwreck collection in the Museum Figure 3. Some of objects of Hòn Cau shipwreck collection in the Museum Figure 4. Hòn Dầm shipwreck ceramics found in in the Museum: Sawankhalok (left), Sukhothai (right) Figure 5. Cu Lao Cham storage view; Checking and detecting the damaged objects by salt intrusion; Treatment Figure 6. Market exhibiting thematic "Trading ceramics on the East Sea trade route" at History Museum in 2022 Table 1. Distribution chart of UCH collection kept at History Museum. Table 2. Cu Lao Cham collection detail Part 1: MUSEUM BACKGROUND WITH UNDERWATER CULTUAL HERITAGE The History Museum in Ho Chi Minh City is a large museum and has a long history of development in South Vietnam. Located in the heart of the city, the Museum is a popular destination for both domestic and international visitors. The exhibition content includes two main parts: Part one introduces Vietnamese culture and history from the Primitive period to 1945 CE. Part two introduces some typical ancient cultures in Southeast Asia such as Oc Eo culture and Champa culture. In addition, there are a number of galleries on Asian arts such as Buddhist statues,ceramics, and stone sculpture. The first milestone was that the museum had access to the UCH artifacts in 1993. The museum received a group of 97 excavated artifacts at Hon Cau. In 1994, the museum continued to receive 49 artifacts which had been excavated at Hon Dam. In 1995, the Museum received 229 artifacts from Hon Cau. Those were the early milestones of the museum's work on accessing the UCH from shipwrecks. In 2000, the museum received 4366 artifacts which were excavated in Cu Lao Cham shipwrecks. This was the biggest UCH collection that the museum had before. Since then, the History Museum has had a colorful UCH collection with the number of about 7000 artifacts; mainly were Vietnamese, Chinese and Thai ceramics. 1 �About UCH collections The history of underwater archeology in Vietnam began in the late twentieth century. Up to now, after 30 years, there were six shipwrecks that have been officially discovered and excavated in Vietnam: Hon Cau, Hon Dam, Cu Lao Cham, Ca Mau, Binh Thuan and Binh Chau. In addition, as there are more newly discovered underwater archaeological sites, agencies and organizations also conduct small-scale salvage excavation. The History Museum in HCM city is one of the major museums in Vietnam, the museum was honored to receive nearly 7000 artifacts which were of good quality, some of them also were rare objects from shipwrecks. They were displayed and exhibited in various museums in the country and abroad. The most typical collection is Chu Dau export ceramics that was found in Cu Lao Cham shipwrecks. Table 1. Distribution chart of UCH collection at History Museum. Display number of objects in collection and percentage of total. Cu Lao Cham shipwreck collection Kien Giang 217 / 3% Binh Thuan 116 / 2% Vung Tau 418 / 6% Ca Mau 1414 / 20% Cu Lao Cham 4757 / 69% Cu Lao Cham Ca Mau Kien Giang Binh Thuan Vung Tau The shipwreck was found at a depth of 70 metres below the sea surface, coordinates at N16o16'08" latitude and E108o27'00" longitude, in Cu Lao Cham area. The excavation was conducted under the cooperation of the archaeologists from the Vietnam History Museum-Hanoi, Vietnam Salvage Joint Stock Company (Visal), and Saga Horizon Company (Malaysia); the project has also brought together archaeologists from the United Kingdom, Malaysia and Slovakia. The project was carried out in three years, from 1997-2000. 240,0001 ceramic items were recovered from the wreck. Those items came from Vietnam, Thailand, and Chinese. The date of the shipwreck has been debated. Vietnamese researcher believe the vessel dated from the mid-to late-fifteenth century during the Le dynasty while some other researcher suggested of late fifteenth to early sixteenth century date (Butterfields 2000, 107; Guy 2000, 125-128) There were five museums designated by the Ministry of Culture, Sports and Tourism to receive, manage and display: The Hanoi National Museum, The History Museum in HCM city, Vietnam Fine Arts Museum, Hai Duong Museum and Quang Nam Museum was assigned 4366 artifacts on 24 March 2000. In addition, from 2000 up to now, the museum has added 385 objects from various sources, bringing 1 Organization of excavations of the ancient shipwreck of Cu Lao Cham (2000), Excavating the Cu Lao Cham shipwreck (1997 – 1999), New discoveries in archeology in 2000 in Vietnam, page 549 2 �the total number to 4751 objects. Collection content mainly daily ceramics such as dishes, bowl, ewer, cup; some of them are religious objects. Figure 1. Cu Lao Cham collection in The History Museum in Ho Chi Minh city Table 2. Cu Lao Cham collection detail Name Amount Brief introduction Dishes 368 They have many different sizes, from 25 to 48cm in diameter. Mostly blue drawing of flowers, animals and landscapes. A few were drawn colorfully, combined gold inlaid on the decoration. Bowl 1731 This was a large number, different sizes from 7cm to 15cm in diameter. Decorative patterns are mainly painted in blue on the outer wall and bottom with floral and animal themes, a few are smooth. Container 1501 The containers include kettles, vases, jars which used in daily life; some used in religion such as vial of vial, kendi. In the group, jars in spherical shaped painted with flowers or plain decorating accounted for a large number of 1376 artifacts. Especially, there were some vases shaped like animals such as birds, fish, turtles, monkeys, toads. Small boxes 1146 They have spherical shaped, an average diameter of 5cm to 8cm and were shaped like a mangosteen fruit, or petal-shaped, flattened sphere. Decorative patterns are mainly blue drawings of flowers, animals, and human landscapes. Others 05 There are some blocks of dent and chip plates and cups that were stuck together due to fire in shipwreck. These ceramic artifacts reflect the development of export ceramics with rich glaze colors, designs and patterns; creating a distinct tradition of Vietnamese ceramics. This was a spectacularly demonstration that Vietnamese ceramics was participation in asian international trade in the fifteen and early sixteen century (John Guy 2005, 107). Cà Mau shipwreck collection A shipwreck was found in the sea of Cà Mau province, coordinates at N7o41'12'' latitude and E105o29'18'' longitude. The excavation were carried out from August 1998 to October 1999. Nearly 1130,000 items recovered were ceramics, including blue-and-white or multi-colored glaze, possibly from Chinese pottery such as Jingdezhen (Jiangxi) and Guangzhou (Nguyen Dinh Chien 2005, 359). Notably, there were some European-style porcelains such as milk bottles, wine jugs with handles, plates 3 �decorated with flowers and a Dutch landscape. Inscriptions on some objects suggest that they were probably made under the Yongzheng reign (Chinese character: ‘雍正’), Qing Dynasty (1723-1735). On 25 June 2002, the Museum received 1051 artifacts from the Ba Ria - Vung Tau Museum. From 2002 up to now, this collection has added 363 artifacts from the following sources: the customs police transferred and the museum collected, bringing the total number of collections to 1,414 objects. Figure 2. Some objects of Ca Mau shipwreck collection in the Museum These objects were used in daily life: 1333 artifacts including cups, bowls, plates, kettles, dishes, ewers. Decorative patterns are mainly Chinese traditional arts such as flower, landscapes. Group of flat round chalk boxes painted with stylized flowers and leaves: 54 artifacts. Sevaral statues: human shaped, horseriding mandarins shaped, toad shaped: 25 artifacts. Hòn Cau shipwreck collection The Hon Cau shipwreck was located under 40 meters of water, and was submerged in the sand layer from 0.6m to 1m, about 15km from Hon Cau island. The shipwreck was excavated in 1990 - 1991, obtained 63,856 artifacts including: 28,556 ceramics, 34,710 porcelains, 70 stonewares, 448 bronzes, 18 wooden objects, 25 other material artifacts and 39 specimens (Nguyen Quoc Hung 2005, 293). On 23 January 1995, the Museum received 229 artifacts which were delivered by Ba Ria - Vung Tau. Before that, in 1993, the Museum had received 97 objects of this collection from the Fine Arts Museum. In addition, the Museum also collects more objects from different sources, so far this collection now has 418 artifacts. The main of collection are traditional Chinese ceramics and Chinese ceramics according to European orders. The dating were in Kangxi Emperor (Chinese character: ‘康熙’), Qing Dynasty (1654-1722). Traditional Chinese motifs such as chrysanthemums, orchids, peonies, and landscapes are arranged in diagonal, vertical or subdivision strips. European-style themes are the way of drawing flowers and leaves with criss-cross lines, checkered, a type of decoration on 18th century European fabric and silk (Nguyen Dinh Chien, Pham Quoc Quan 2008, 25-27). 4 �Figure 3. Some of objects of Hòn Cau shipwreck collection in the Museum. Most of the artifacts were chipped because the ceramic was thin and light, so they are easy to be damaged and impacted by external forces. A few were in fairly intact condition with little intrusion of sea salt. Hòn Dầm (Kien Giang) shipwreck collection The shipwreck was found at a depth of ten metres below the sea surface, five kilometres far from the shore of Dầm Island (Hòn Dầm in Vietnamese) in Kiên Giang province; coordinates at N9o59'00' latitude and E104o02'00' longitude. More than 16,000 ceramics have been found, mostly celadon and brown glaze, such as Sawankhalok ceramics and Sukhothai ceramics dating back to the fifteen century. Figure 4. Hòn Dầm shipwreck ceramics: Sawankhalok (left), Sukhothai (right). Some reflect the Vietnamese blue-and-white styles such as boxes, kendi, lidded jars painted blue flowers on white enamel. Some other large celadon bowls reflect the style of the Southern Song dynasty (南宋 1127–1279) in South China. This collection is not as large and rich as the above collections, with only 217 artifacts, but it is also possible to review a full representation of the types which were excavated in Hòn Dầm shipwreck. 5 �Part 2: PRESERVATION AND PROMOTION Preservation: Since 1993, when the first excavated artifacts from the shipwreck was carried out, the museum has made efforts in classifying, inventorying and building storage areas for these special collections. In particular, the Cu Lao Cham collection is the largest collection: we have built a distinguished storage which separates the excavated artifacts from other collections. The artifacts are classified by period and type for better management. Figure 5. Cu Lao Cham storage view (top), Checking and detecting the damaged objects by salt intrusion (middle), Treatment method (bottom) However, due to the limited staff of experts in underwater archeology, lack of knowledge in preservation about UCH objects, the museum preservation work faces certain difficulties. Currently, we have only one person for the management of this collection which also makes us haven’t done well in taking care of the collection, some damaged artifacts haven’t been detected and treated in time. In training: Every year in Vietnam, museum staff are allowed to participate in many training courses on preserving objects which are organized by the Department of Heritage as well as international organizations such as ICCROM. They gave us the knowledge of basic preservation on various materials such as wooden, bronze, stone, textile, ceramic. But the limitation of foreign languages was a barrier that prevented us from accessing cooperation and training projects of foreign experts/organizations. 6 �Technically equipment condition: Artifacts are managed and kept by a wooden cabinets and shelves system and don’t have specialized equipment for preservation attached. The management and care of artifacts is done mainly by manual methods. Preservation treatment: Because this is a specific type of excavated artifacts, of which they were soaked in sea for a long time, so a huge amount of salt has been accumulated in the ceramic core. The management by manual methods couldn’t control the damaged artifacts. Every year, the museum’s preservation team regularly treats this problem by soaking these damaged objects in fresh water and exchanging water many times until the salt inside object amounts gets low. Each batch, we perform an average immersion of about 100 artifacts for a period of about three months with many water changes. The preservation team has treated heavy damaged artifacts by desalination methods in fresh water. For the remaining ones, we managed by regular checking without technical equipment supporting. We realized that we still didn't have a good way to preserve and developed a roadmap for the sustainable preservation of this UCH collection. Promotion From 1993 to 2000, the Museums were assigned to manage the collections and built a plan to display this collection to people. The museum also has carried out many exhibitions and displayed at the Museum. In addition, the Museum also performs well in coordinating exhibitions at many other museums in the country and abroad. Exhibition in Vietnam: At beginning, the Museum mainly carried out thematic introduction of artifacts from shipwrecks in Vietnam Sea. The exhibition attracted the attention of the people in the city. In the following years, the Museum collaborated with other museums such as Hue Royal Museum, Khanh Hoa Museum to display on the sea festivals occasion. This was a good occasion for UCH artifacts to be widely introduced to the public and international visitors. In recent years, with strong development of various digital initiatives, access to information on underwater archeology has helped the Museum update its display methods and build the story in exhibition. The display content have not only introduced objects in UCH collection, but has more scientific research to outline the itinerary, location of the ship, and the role of Vietnamese sea in international trade. Figure 6. Market exhibiting thematic "Trading ceramics on the East Sea trade route" at History Museum in 2022 Abroad exhibition: Cu Lao Cham shipwreck ceramics collection is not only a large underwater heritage collection of the Museum, it’s also a Vietnamese particularly famous export ceramic in the fifteen century. In 2009, its ceramics were displayed at the Houston Fine Arts Museum - USA with the theme "Arts of Ancient Vietnam" (Nancy Tingley 2009, 292-298). In 2010, some of them were displayed in Busan - Korea with the theme "Vietnam from the Hong River to the Mekong" on the occasion of the 7 �fifteen anniversary of the twinning between the two cities of Busan and Ho Chi Minh. (Busan Museum 2010). Part 3: DISCUSSION AND CONCLUSION Since the Convention for the Protection of Underwater Cultural Heritage was established in 2001 by UNESCO. Many coastal countries that owned UCH have developed the Protection of Underwater Cultural and education programs. Some countries in Asia have been doing well, they are Korea, Thailand, Philippines, Singapore. In Vietnam, with 30 years history, the field of underwater archeology was still in the formative stage and had a lot of difficulties. Currently, there is only an underwater archeology institution with some staff and has difficulties in operating funding which compared to the rich marine resources and the underwater cultural heritage. Research articles on underwater archeology are still modest compared to other research contents on culture and history. Every year, the Vietnam Archeology Institute publishes new archaeological discoveries, the number of articles about UCH accounts is small. Statistics are as follows: in 2018 there were 11/322 articles, in 2019 there were 11/360 articles, in 2020 there were 15/339 articles, in 2021 there were 18/349 articles2. In our museum case, as presented in part two, we realize that our efforts have not been able to preserve and promote the UCH collection well. In preservation, our difficulties are lack of knowledge, experience, facilities, and funding for management UCH collection. In the exhibition and promotion, the total number of UCH artifacts displayed on the museum's exhibition system is small, about 250 artifacts, accounting for 3.6 percent of the Museum UCH collection. Although we have made great efforts to communicate about UCH, we have found that public awareness of underwater heritage is still limited. For changing, there should be synchronous policies and programs from the government, education system and research agencies. Underwater cultural heritage is not only the property of the countries that own it, but has become a world heritage. Measures, policies, and the very implementation of maritime cultural heritage policies need to align with the overall global developments and not just Vietnamese, but scholars from any AsiaPacific regions, must work together with regional partners who might share similar challenges. Therefore, we realized that positive value from international programs to protect underwater heritage and these activities need to be continued on a more national scale. It's necessary in building awareness of underwater heritage for countries. In our museum case, we think that we were late to access international programs on UCH, we have missed several opportunities to absorb knowledge and experience from many countries around the world. We also found that the collaborations abroad exhibiting underwater heritage was a good and meaningful activity in disseminating heritage outside the country which we have previously collaborated with Busan Museum and Houston Fine Arts Museum. Our collection is quite large and we are ready for exhibitions not only abroad but also in the country. 2 Institute of Archaeology, Conference to Announce New Findings on Archeology (2018 – 2021), Ha Nọi 8 �Bibliography Organization of excavations of the ancient shipwreck of Cu Lao Cham (2000), Excavating the Cu Lao Cham shipwreck (1997 – 1999), New discoveries in archeology in 2000 in Vietnam. Busan Museum, Vietnam from the Hong River to the Mekong, Special Exhibition celebrating the 15th anniversary of sister-city affiliation between Busan & Ho Chi Minh City, Busan, 2010. Butterfields, Treasures from the Hoi An Hoard. Important Vietnamese ceramics from a Late 15th early 16th century cargo, Auction Catalogue, Vol 1 & 2, 2000. Guy, John. The Hoi an (Cu Lao Cham) Shipwreck cargo and Asian ceramics trade, in Proceedings of the International Conference: Chinese Export Ceramics and Maritime Trade, 12 th-15th centuries, Chief Editor: Pei-kai Cheng, Editors Guo LiChui Ki Wan, Zhonghua Shu Ju, Xianggang, 2005. Guy, John, Vietnamese ceramics from the Hoi an Excavation: The Cu Lao Cham ship cargo”, Orientation, 2000. Tingley, Nancy. Arts of Ancient Viet Nam from River plain to open sea, Asia Society the Museum of Fine Arts, Houston, 2009. Nguyễn Đình Chiến, “Archaeological excavation of the Ca Mau shipwreck”, in A century of Vietnamese archeology, part 2, Ha Noi, 2005. Nguyễn Đình Chiến, Phạm Quốc, Ceramics in five shipwreck, The National museum in Ha Noi, Ha Noi, 2008 Nguyễn Quốc Hùng, “More than a decade of underwater archeology excavations in Vietnam”, in A century of Vietnamese archeology, part 2, Ha Noi, 2005. 9 � Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The ceramic and porcelain collections on shipwreck in Vietnam Sea at History Museum in Ho Chi Minh City (Vietnam): History, Preservation and Promotion. Description An account of the resource In Vietnam, underwater cultural heritage is a new field developed in the late twenty century until now. Interest in this field began with the discovery of shipwrecks in Vietnamese waters in the 1990s. Through international cooperation as well as the support of modern equipment, Vietnam has approached and explored ancient shipwrecks in Hòn Dầm (Phu Quoc), Hòn Cau (Con Dao), Cà Mau, Cù lao Chàm (Quang Nam), and in recent years, the ancient shipwrecks Chau Thuan Bien in Quang Ngai. From 1993 to 2000, The History Museum in Ho Chi Minh City received more than 7000 artifacts from these shipwrecks assigned from the Ministry of Culture and Sports of Vietnam. Most of these archaeological materials are Chinese ceramics dating from the Ming to Qing Dynasties, some Thai ceramics such as Sawankhalok ceramics, Sukhothai ceramics, and Vietnamese Chu Dau ceramics dating from the 15th century. In this paper, we would like to give a brief introduction to these collections, preservation and promotion agenda alongside the History Museum in Ho Chi Minh city. Accordingly, the article will include three parts: the first is an overview of the historical museum and underwater heritage collections which include the number and types of artifacts. In the second part, we will present about our museum’s actual preservation and exhibition covering the difficulties and limitations that we are facing. In the discussion part, we will present possible ideas about cooperation on exhibition, communication and conservation of the UCH collection in our museum case. Creator An entity primarily responsible for making the resource MA. Nguyen Thi Huynh Nhu 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. Thi Huynh Nhu, Nguyen . 2023. “The ceramic and porcelain collections on shipwreck in Vietnam sea at History Museum in Ho Chi Minh City (Vietnam): History, Preservation and Promotion.” Edited by Jennifer Craig, Jay Mok, and T. Kurt Knoerl. 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/1984 Asia-Pac Session 7 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 The Ceramics of South-East Asia: Their Dating and Identification Creator An entity primarily responsible for making the resource Roxanna M Brown Publisher An entity responsible for making the resource available Art Media Resources Date A point or period of time associated with an event in the lifecycle of the resource 2000, 1988 Type The nature or genre of the resource Book Zotero Author Roxanna M Brown Item Type Book ISBN 1878529706 Date A point or period of time associated with an event in the lifecycle of the resource 2000, 1988 Extra External Resources: Find this item at Abebooks.com (Bookseller) Find this item at Alibris (Bookseller) Find this item at Antiquarian Booksellers Association of America (Bookseller) Find this item at Biblio (Bookseller) Cite This Item Search for versions with same title and author | Advanced options ... More About This In: Books in Print (Publication status and optional reviews) Edition: 2nd ed. Language: English Contents: Introduction. Guangdong wares ; The Tak/Omkoi burial sites ; New findings at Sawankhalok ; Gulf of Thailand sunken ships -- Vietnamese ceramics. Recent archaeology in Vietnam ; The Han Period ; The imtermediary wares ; The Ly Dynasty Period ; The Ly-Period chronology (AD 1009-1225) ; Early exported wares ; The introduction of blue-and-white ; The fifteenth and sixteenth centuries ; The seventeenth and eighteenth centuries ; Domestic cult wares ; The modern period -- The Go-Sanh kilns -- Khmer wares. The Phnom Kulen kilns ; Lie de Vin wares ; The Buriram kilns ; Prasat Ban Phluang ; General characteristics ; Dating -- The Sukhothai and Sawankhalok kilns. Origins and dating ; Chalieng wares ; Mon and Mon-associated wares ; 'Transitional' underglaze iron decorated wares ; Later chronology ; The old Sukhothai kilns ; Later Sawankhalok stonewares ; Later stoneware shapes ; Characteristics of decoration ; External influences ; The rebirth of celadon -- The northern and other Thai kilns. Northern Thai kiln sites ; A Lao tradition ; North-central and central Thai sites -- Burmese ceramics. The green-and-white group ; 'Martaban' storage jars ; Celadon wares ; Pegu temple plaques ; The historical setting. Note(s): Reprint. Originally published: Singapore ; New York : Oxford University Press, 1988./ Includes bibliographical references (p. 113-124) and index. Class Descriptors: LC: NK4154; Dewey: 738.0959 Responsibility: Roxanna M. Brown. More Records: Show record information Vendor Info: Baker & Taylor YBP Library Services (BKTY YANK) 49.95 Status: active Entry: 20001106 Update: 20091210 Provider: OCLC Library Catalog OCLC WorldCat FirstSearch Place Chicago, IL Publisher An entity responsible for making the resource available Art Media Resources Short Title The Ceramics of South-East Asia Title A name given to the resource The Ceramics of South-East Asia: Their Dating and Identification 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 The Chinese World Order; Traditional China's Foreign Relations. Edited by John King Fairbank. With Contributions by Ta-Tuan Ch‘en [and Others Creator An entity primarily responsible for making the resource John King Fairbank Tatuan Ch‘ên John King Fairbank Tatuan Ch‘ên Publisher An entity responsible for making the resource available Harvard University Press Date A point or period of time associated with an event in the lifecycle of the resource 1968 Type The nature or genre of the resource Book Zotero Author John King Fairbank Tatuan Ch‘ên John King Fairbank Tatuan Ch‘ên Item Type Book Call Number DS740.4.C35455 Date A point or period of time associated with an event in the lifecycle of the resource 1968 Extra Series: (Harvard East Asian series. 32) Physical description: x, 416 p. maps. 25 cm Series: (Harvard East Asian series. 32) Bibliography note: Notes and bibliographies": p. 291-382 LCCN: 68014255 Control Number: ocm00322527 Library Catalog lib-app3.usc.edu Library Catalog Place Cambridge, Harvard University Press, 1968 Publisher An entity responsible for making the resource available Harvard University Press Title A name given to the resource The Chinese World Order; Traditional China's Foreign Relations. Edited by John King Fairbank. With Contributions by Ta-Tuan Ch‘en [and Others China Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Christian Topography of Cosmas, An Egyptian Monk Creator An entity primarily responsible for making the resource Cosmas Indicopleustes J.W. McCrindle Publisher An entity responsible for making the resource available Hakluyt Society Date A point or period of time associated with an event in the lifecycle of the resource 1897 Type The nature or genre of the resource Book Zotero Author Cosmas Indicopleustes Translator J.W. McCrindle Item Type Book Date A point or period of time associated with an event in the lifecycle of the resource 1897 Place London Publisher An entity responsible for making the resource available Hakluyt Society Title A name given to the resource The Christian Topography of Cosmas, An Egyptian Monk