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Title A name given to the resource Ajia No Naka No ChÅ«sei Nihon Creator An entity primarily responsible for making the resource Shōsuke Murai Publisher An entity responsible for making the resource available Azekura Shobō 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 Zotero Author Shōsuke Murai Item Type Book ISBN 4751718800 Date A point or period of time associated with an event in the lifecycle of the resource 1988 Extra Series: (Rekishi kagaku sōsho) Item info: Place Hold : 村井章介, 1949 : アジアの中の中世日本 / 村井章介著 : 東京 : 校倉書房, 1988 Physical description: 438 p. : ill. ; 22 cm Series: (Rekishi kagaku sōsho) : 歴史科学叢書 Bibliography note: Includes bibliographical references and indexes LCCN: 89153650 Control Number: ocm20561473 Library Catalog library.usc.edu Library Catalog Place Tōkyō Publisher An entity responsible for making the resource available Azekura Shobō Title A name given to the resource Ajia No Naka No ChÅ«sei Nihon Japan 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 Skin-boats Creator An entity primarily responsible for making the resource Shinji Nishimura Publisher An entity responsible for making the resource available Society of Navy Architects Date A point or period of time associated with an event in the lifecycle of the resource 1931 Type The nature or genre of the resource Book Zotero Author Shinji Nishimura Item Type Book Date A point or period of time associated with an event in the lifecycle of the resource 1931 Extra External Resources: Find this item at Abebooks.com (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 ... Language: English Note(s): Reprint of the author's A study of ancient ships of Japan, v. 5-8./ Includes bibliographical references. Class Descriptors: LC: GN635.J2; Dewey: 623.8/21 Responsibility: by Shinji Nishimura. More Records: Show record information Vendor Info: Baker and Taylor (BTCP) Entry: 19801002 Update: 20061120 Provider: OCLC Library Catalog OCLC WorldCat FirstSearch Num Pages 248 Place Tokyo Publisher An entity responsible for making the resource available Society of Navy Architects Series His A study of ancient ships of Japan ; pt. 4; Variation: Nishimura, Shinji,; 1879-1943.; Study of ancient ships of Japan ;; pt. 4. Title A name given to the resource Skin-boats Japan 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 Kumano-no-morota-bune, Or, the Many-paddled-ship of Kumano Creator An entity primarily responsible for making the resource Shinji Nishimura Publisher An entity responsible for making the resource available Society of Naval Architects Date A point or period of time associated with an event in the lifecycle of the resource 1920 Type The nature or genre of the resource Book Zotero Author Shinji Nishimura Item Type Book Date A point or period of time associated with an event in the lifecycle of the resource 1920 Extra External Resources: Find this item at Abebooks.com (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 ... Edition: 2nd ed. Language: English Responsibility: by Shinji Nishimura. More Records: Show record information Entry: 19910419 Update: 20060412 Provider: OCLC Library Catalog OCLC WorldCat FirstSearch Num Pages 44 Place Tokyo Publisher An entity responsible for making the resource available Society of Naval Architects Series Nishimura, Shinji, 1879-1943. Study on the ancient ships of Japan ;; pt. 1; Variation: Nishimura, Shinji,; 1879-1943.; Study on the ancient ships of Japan ;; pt. 1. Title A name given to the resource The Kumano-no-morota-bune, Or, the Many-paddled-ship of Kumano Japan 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 Hisago-bune, Or, the Gourd-ship Creator An entity primarily responsible for making the resource Shinji Nishimura Publisher An entity responsible for making the resource available Society of Naval Architects Date A point or period of time associated with an event in the lifecycle of the resource 1918 Type The nature or genre of the resource Book Zotero Author Shinji Nishimura Item Type Book Date A point or period of time associated with an event in the lifecycle of the resource 1918 Extra External Resources: Find this item at Abebooks.com (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 ... Language: English Note(s): Cover title: Hisagobune ko./ Includes bibliographical references. Class Descriptors: LC: VM105 Other Titles: Ground-ship.; Hisagobune ko. Responsibility: by Shinji Nishimura. More Records: Show record information Entry: 19880831 Update: 20070820 Provider: OCLC Library Catalog OCLC WorldCat FirstSearch Num Pages 48 Place Tokyo Publisher An entity responsible for making the resource available Society of Naval Architects Series A Study on the ancient ships of Japan ;; pt. 2 =; [Nihon kodai kohaku kenkyu ; dai 2-satsu]; Variation: Nishimura, Shinji,; 1879-1943.; Study on the ancient ships of Japan ;; pt. 2. Title A name given to the resource The Hisago-bune, Or, the Gourd-ship Japan 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 Hisago-bune: Or, Calabash Boat Creator An entity primarily responsible for making the resource Shinji Nishimura Publisher An entity responsible for making the resource available Society of Naval Architects Date A point or period of time associated with an event in the lifecycle of the resource 1934 Type The nature or genre of the resource Book Zotero Author Shinji Nishimura Item Type Book Date A point or period of time associated with an event in the lifecycle of the resource 1934 Extra External Resources: Find this item at Abebooks.com (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 ... Edition: Rev. and enl. ed. Language: English Class Descriptors: LC: VM105.N72 Responsibility: by Shinji Nishimura. More Records: Show record information Entry: 19810204 Update: 20041126 Provider: OCLC Library Catalog OCLC WorldCat FirstSearch Num Pages 128 Place Tokyo Publisher An entity responsible for making the resource available Society of Naval Architects Series A study of ancient ships of Japan ;; 2. Part 1, Floats ; sec. 1; Variation: Nishimura, Shinji,; 1879-1943.; Study on the ancient ships of Japan ;; v.2. Short Title The Hisago-bune Title A name given to the resource The Hisago-bune: Or, Calabash Boat Japan 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 Ashi-Bune, or the Reed-Canoe. Creator An entity primarily responsible for making the resource Shinji Nishimura Publisher An entity responsible for making the resource available Society of Naval Architects Date A point or period of time associated with an event in the lifecycle of the resource 1925 Type The nature or genre of the resource Book Zotero Author Shinji Nishimura Item Type Book Date A point or period of time associated with an event in the lifecycle of the resource 1925 Extra External Resources: Find this item at Abebooks.com (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 ... Language: English Class Descriptors: LC: VM105 Other Titles: Reed-canoe. Entry: 19881122 Update: 20080828 Provider: OCLC Library Catalog OCLC WorldCat FirstSearch Num Pages 180 Place Tokyo Publisher An entity responsible for making the resource available Society of Naval Architects Title A name given to the resource The Ashi-Bune, or the Reed-Canoe. Japan https://apconf-much.org/proceedings/files/original/dc05f59769da8a205a6bd15e977fb4fc.pdf fef89f39ecc73f1f7ab55d1875be2b68 PDF Text Text Digital Reconstruction of Maritime Heritage in the Ajanta Murals Dr.Shreekant. S. Jadhav (Deccan College, Pune-411006) shreekantjadhav@hotmail.com / shreekantjadhav3@gmail.com ABSTRACT India's maritime heritage dates to around 4,500 years, since the Indus Valley Civilization. The impetus to revisit and re-develop maritime links was trade (primarily in cotton, pepper, and other spices), due to the monopoly of the Persians and, later, the Arabs over land-based caravan routes. Later maritime journeys spread the influence of ancient and medieval Indian civilization as far as the islands of Indonesia to the East, the islands of Japan to the north, and the east coast of Africa to the west. There are many representations of ships and boats in early Indian art. The earliest are those found among the Sanchi sculptures belonging to circa. 2nd century B.C. At the Ajanta caves, paintings from the 5th century C.E. reveal the life of the people of the time. The frescoes depict sea-going vessels conveying goods overseas, representing ships and boats from an era that witnessed India's expansion and the spread of Indian thought and culture over the more significant part of the Asiatic continent. The vitality and individuality of Indian civilization, fully developed during the era of Vakataka-Gupta imperialism, by the end of the 7th century transplanted itself to the farther East, affecting the cultures of Java, Cambodia, Siam, China, and at the most significant distance, even the to Korean peninsula and Japan. A painting on the wall of Cave No. 1 at Ajanta is still easily recognizable as a vivid representation of the Persian envoys' ceremonial presentation of their credentials. Griffiths rightly interprets the representations of ships and boats in the Ajanta paintings as a "vivid testimony to the ancient foreign trade of India." The present paper deals with the ships and boats depicted in the paintings of Ajanta. Several scholars have studied these images, more particularly from Cave Nos. 1, 2, 16 and 17. In continuation of the Magnum Opus work of Dieter Schlingloff, the author shall try to show the missing features depicted in the panels of ships and boats through newly reconstructive line drawings and photographs. Digital restoration utilizing photographs processed to adjust the brightness and contrast forms a significant step in studying the original painting and analyzing its remains and damage. This process allows digital reconstruction with line drawing and color using the original color palette. As a result of this detailed work, one may visualize the paintings and their use of ancient maritime activity as subject matter. ART HISTORY - GENERAL DESCRIPTION The caves of Ajanta (lat. 20 32’ N.; long.75 45’ E.; Dist. Aurangabad), occupies a unique position among the monuments in India by the superb symphony of architectural forms, sculpture, and above all the world-famous mural paintings. The caves are cut in a crescent-shaped bend of a steep rock overlooking the head of a narrow glen, and are completely shut off from the bustle of the mundane world. These caves are cut out of the amygdaloidal trap rock aligned 550 meters in a horseshoe form (Mitra 1971). . In all there are 30 caves of which five belong to the early period or phase (Hinayana) i.e. Nos. 9, 10, 12, 13 and 15A, dated to circa. first century BCE - first century CE on a modest scale. The rock-cut excavation was revived on a more ambitious scale in the middle of the 5th century A.D. This phase of activity began during the supremacy of the Vakatakas (ascribed to the period of Harisena of the Vakataka dynasty who was ruling in this region in the last quarter of the fifth century CE) (Spink 1994). The second phase of Ajanta synchronized with the rule of the Vakatakas, with the high watermarked remains of the painter’s brush-work. Substantial remains of this phase have survived in Caves 1,2, 16 and 17., though originally all the finished caves. The paintings of this period throughout maintain an exalted height and enthrall the spectator by their rich beauty, superb expressiveness, color-scheme, balanced and effective composition, fine shading and highlight bringing into relief a plasticity, suppleness and sensitive modeling of the figures. Infact, the paintings have stood the test of the highest art-standard of mural paintings. The theme of the paintings on the walls is intensely religious in tone and mostly centers around Buddha, Bodhisattvas, incidents from the life of Buddha and the Jatakas (Mitra 2003, 10-11). 1 �The author shall briefly describe the boats and ships depicted in Cave Nos. 1, 2 and 17 with the help of newly made reproductions (line drawings and photographs), on the basis of previous work, more specifically that of Dieder Schlingloff”s Magnum Opus work on Ajanta paintings. There are three stories related to seafaring, the first, on the wall of the left aisle of the hall in Cave 1, depicts the sea voyage and shipwreck of prince Kalyanakarin. The second on the wall of the right aisle in Cave II, represents the experiences of the merchant seaman, Durukarnin: and the third, the shipwreck and oceanic crossing of the sea-traders, and later king Simhala appears on the wall of the right aisle in Cave XVII, (Schlingloff 1988, 195) Cave No. 1- Kalyanakarin/ Shipwreck: Mahajanaka Jataka Figure 1 This subject is delineated on the back wall of the left aisle above the door of the fourth cell. The fresco is considerably damaged (Yazdani 1930, 22). There are no less than ten known versions of the Kalyanakarin story: three in Sanskrit (KaDru, BAK 3I and BAK 45)," four in Chinese (T156, T202, TI428 and TI450), two in Tibetan, and one in Uighur. However, if we discount all those translations or adaptations which merely stem from earlier versions, I5 we are left with five versions from independent. (Schlingloff 1976, 6). The subject, as painted on the rock-wall, may be described thus we see a chief (merchant - prince?) sailing in a boat with several attendants. The gesture of his hands, which is rather conventional, denotes that he is faced with some dilemma. Behind the attendant to the left of the chief is an obliterated figure, overshadowed by a Canopy (chhatar). This figure seems to have been attired in a robe and may represent Mahäjanaka in plain costume, before his acquiring the kingdom of his Father, the canopy above him being emblematic of his divine personality. The boat appears to be of considerable size, and a pavilion, similar to those shown in the palace scenes: is erected in the middle of it. The hull is massively constructed and in its side four courses of planking are visible above the water. The bow and stern have carvings of animal heads at their ends. There are eyes painted on both the bow and stern. A large fish (shark?) is attacking the boat near the Stern; and a sailor has climbed up the ladder placed against the mast and he is steering the boat with a long pole or oar from there. Another sailor is at the helm, but as the fresco is damaged in this part, his action is not quite clear. To the right of this scene, the sinking of the boat has been painted. The stern only is visible, the rest of the boat being submerged nose downwards. A man is being attacked by fishes and a sea-monster. He has raised both his hands in alarm. Another person is shown being carried off by an alligator or shark, while to get free of its jaws he is trying to open its mouth. The wild stare and firmly closed lips of this man show that he is struggling with death itself. One sea-monster resembles a beaver, while another, which is painted white, has the head and ears of a cat (Yazdani 1930, 23). 2 �Significance of Eyes The eyes of Horus, the Egyptian Sun-god, plays an important part in mythology and superstition of the ancient Egyptians. They are called by Egyptologists ujas or mystic eyes on account of the mystic influence which they exercise on enemies of those whom they protect." He further says that this Eye of Horus or ujas “was worn as an amulet hanging down from the neck like a pendant; it also formed the decoration of a bracelet. These ujas acted as " protective amulets " and as such " were found on Egyptian mummies ' Even the Divinities of Egypt were " in danger or attacks from their enemies, the evil spirits," and so, " they are often placed under the protection of the eyes of Horus." They stand on guard in the heavens exactly over the prow and over the helm of the barque (Maspero, Histoire ancienne des peuples de l'Orient Classique page 93)". These ujas '' were excavated in recent years from the ruins of Susa, the Capital of ancient Elam " These ujas or " mystic eyes " of the ancient Egyptians, especially those found " over the prow and over the helm of the barque" remind us of the figures of eyes, which we see on some of our Asiatic boats (Unwala 1928). The custom of providing boats with eyes is very old. Ornamental eyes first appeared on the prows of Egyptian funeral boats and were then adopted by almost all the seafaring people in the Mediterranean area, and did not go out of fashion on larger vessels until the Middle ages. Even today they can still be seen on Indian, Indo-Chinese, and European fishing boats and other smaller craft (Quigley 1955, 191). Among the frescoes in the Ajanta caves, of about 600 CE there is depicted a three masted ship and a royal barge both provided with eyes on the brows (Mookerji 1912, 41) Cave 2: Purna Avadana Figure 2 The subject is painted between the second and third cell doors of the right corridor of Cave 2. The fresco represents some scenes of the Purna Avadana, which are painted with great vividness. The painter has shown in this scene the sea voyage of Bhavila, the elder brother of Purna, who has been caught by a storm raised by a Yaksha Mahesvara. The surf and deep blue water have been rather conventionally shown by curved black and white lines which however, are not displeasing to the eye. Among the fishes are the figures of two Naga spirits who have either come to rescue the boat, or like the traditional mermaids, have appeared on the scene. Their pose is striking, being suggestive of rapid movement. One has a halo of three serpent’s hoods above her head. We see another semi-human figure below the boat itself. We notice a large variety of fishes in the sea, many of them are obviously mythical, but some are real. (Yazdani 1933,46) The representations of ships and boats in the Ajanta paintings are therefore rightly interpreted by Griffiths as only a "vivid testimony to the ancient foreign trade of India." 3 �The sea-going vessel has a high stem and stern, with three oblong sails attached to as many upright masts. Each mast is surmounted by a truck, and there is a lug-sail. The jib is well filled with wind. A sort of bowsprit, projecting from a kind of gallows on deck, is indicated with the out-flying jib, square in form, like that borne till recent times by European vessels. The ship appears to be decked and has ports. Steering-oars hang in sockets or rowlocks on the quarter, and eyes are painted on the bows. There is also an oar behind; and under the awning are a number of jars, while two small platforms project fore and aft. The vessel is of the Agramandirā type as defined in the Yukti Kalpataru, our Sanskrit treatise on ships. (Mukhopadhya 2020, 12-13). Water is no less formally indicated, sometimes by markings like basket-work, in others by flowing wave scrolls; but fishes, tortoises and mermen are generally added to prevent mistakes (Griffiths 1983, 14). Under the awning are a number of jars, while two small platforms project fore and aft as on native boats of today. The sole occupant of the boat is a man with long hair, in the act of prayer to, or in adoration of, two two flying figures: one of whom may represent Chandra (the moon) as a crescent is seen behind him. (Griffiths 1983, 30) This representation is again a production of a special atelier of the Vakataka style painters at this site. The other interesting treatment in this panel is the emphasized and decorative-mat-type treatment of the turbulent sea. On the other hand, following the early Indian art tradition there is no sky; this is suggested by the hovering angel in the sky-region. (Rai 1991). Amphora or Torpedo Jars The pottery depicted in the Purna vadhana scene seems to be torpedo Jars (Balvally et. al. 2019). Similar type of pottery has been revealed in the excavation at Nagardhan, a village located in Ramtek Taluka of Nagpur district, 6 km south of Ramtek, the Taluka headquarter in the state of Maharashtra. The site has been excavated by a joint team from the Department of Archaeology (Nagpur Division, Maharashtra) and Deccan College, Pune since 2015 (Sontakke et al. 2016). Interestingly, images of a boat transporting jars are seen in a painting of the Purnavadana in Cave 2 at Ajanta. The implication of such a painting is of immense significance for the concept of trade (Brancaccio 2011, 307 fig. 114). Apart from Nagardhan, torpedo jars have been reported under the category of ‘Amphora’ from the excavations at Paunar (Dist. Wardha) from levels dated to around 2nd-3rd century CE. (Deo & Dhavalikar 1968, XXII, nos. 5-6) and have been described as jars with their ‘interior bearing ripple grooves and coated with black resin’ (Deo & Dhavalikar 1968, 48). Torpedo jars are also reported from Nevasa as amphora (Lal 1960). Apart from the Sasanians, the Axumites—of East Africa, acting as middle men for the Romans—were also depicted in the Ajanta paintings, thus showing the effect of trade on artistic designs of the period (Brancaccio 2011, 213). Some scholars state that the phase after the Satavahana period (i.e. the Vakatakas period) in Maharashtra is devoid of trade and shows a decline in trade networks (Thakuria 2017, 181-186). Others further claim that most early historic sites in Vidarbha were deserted after the Vakataka period, until the Medieval Period (Sawant 2006; 2010, 57). The excavations at Nagardhan and the finds of the torpedo jars within the Vakataka phase thus exhibit the continuation of trade/cultural contact well into the Vakatakas phase, in particular with the Sasanians. The context of the torpedo jar found at Nagardhan further strengthens the idea of ‘wine carriers’ of the later Sasanian 4 �period imported into western India. The period of Indo-Sasanian contact had both intellectual and economic dimensions, as proven by the textual and archaeological remains respectively. (Ritvik et. al. 2019). Simhala Avdana Cave 17 Figure 3. The story is painted on the entire wall of the right corridor and is continued to the upper part of the pilaster between this corridor and the one at the back of Cave 17. The portion of the fresco showing the shipwreck scene is much damaged, but the wreckage of the boats, caused either by the attack of the monsters or by the striking of the boats against a coral reef, can easily be made out. The coral growth and some sea-anemones with dentate leaves are shown at the bottom of the water. There are large fishes around the boat, two of which appear to be of colossal size; they may be sharks, which abound in the Indian Ocean. Two men may also be noticed holding ropes which would seem to have been thrown from the boats in an attempt at rescue. They are both near the bow of the boat, in the rear. Some men may be seen still in the wrecked boats; in the rear vessel, a tall strong man is visible at the end of the boat, and he is perhaps the steersman. Another stalwart figure is holding firmly to the rear mast near the stern. There is another figure, the head of which is now destroyed, who is clinging to the mizzenmast of the bait, with his arm around it. In the front boat there are also two men, and one of them, in the bows, holds in his hands a box tied with string. The box evidently contains some precious articles which the merchant does not want to lose, even when in peril of his life. The man behind this merchant holds a rope in his hands with a view to throwing a line to such passengers as have fallen into the sea and whose lives he is attempting to save (Yazdani 1955, 82-84). Acknowledgement The photographs and the digital reconstruction (Figs. 1A,2A, & 3A) in this study are by the author, however, in preparing the reconstructive copies the author has received immense help from Shri Devdatta Phule, Artist Deccan College, Pune. 5 �BIBLIOGRAPHY Balvally R. et. al. “Sasanian Contacts with the Vakatakas’ Realm with Special Reference to Nagardhan.” Nameh, Afarin. “Essays on the Archaeology of Iran in the Honour of Mehdi Rahbar.” Edited by: YOUSEF MORADI With the assistance of Susan Cantan, Edward J. Keall and Rasoul Boroujeni Tehran The Research Institute of Cultural Heritage and Tourism (RICHT) 2019. Brancaccio, P. Buddhist Caves at Aurangabad: Transformations in Art and Religion. Leiden: Brill’s Ideological Library. 2011. Deo, S.B. and Dhavalikar, M. Paunar Excavation (1967), Nagpur: Nagpur University 1968. Griffiths, John “The Paintings in the Buddhist Cave Temples of Ajanta Khandesh.” Vol 1 Caxton Publications Delhi 1983. Lal, B.B., . “Report on the Black Deposit of the Inner Surface of a Sherd from Nevasa”, in: H.D. Sankalia, S.B.Deo, Z.D. Ansari, and S. Ehrhardt (eds.), From History to Pre-History at Nevasa (1954-56) (Department of Archaeology and Ancient Indian History, Deccan College Publication No 1), Poona: Department of Archaeology and Ancient Indian History, Deccan College, (1960):527. Mitra, Debala. Buddhist Monuments. Calcuttal Sahitya Samsad. 1971. Mitra. Debala. “Ajanta” Archaeological Survey of India. Bengal Offset Works, New Delhi 2003. Mookerji, Radha kumud “A History of the Sea Borne Trade And Maritime Activity of the Indians from Earliest Times.” Indian Shiping. Longmans, Green and CO 8, Hornby Road Bombay, 303, Bow bazar Street Calcutta, London and New York.1912. Mukhopadya, Radha Kumud. “A History of The Sea-Borne Trade And Maritime Activity of the Indians From The Earliest Times.” Indian Shipping Book 1 Part 1. Mushiram Manoharlal Publishers Ltd. New Delhi 2020. Quigley, C.Certain. “Considerations on the Origin and Diffusion of Oculi.” The Americian Neptune 15 (1955): 191. Rai Anand Krishna. “Certain Ateliers Sub-Schools and Allied Schools of the Vakataka Period Ajanta Paintings.” Edts: Ratan Parimoo Deepak Kannal, Shivaji Panikkar Jayaram Poduval Indramohan Sharma. New Perspective Vol 2. Books and Books New Delhi 1991. Sawant, R., Vidarbha: An Archaeo- Historical Approach, Unpublished Ph.D. thesis submitted to Deccan College Postgraduate and Research Institute, Pune. 2006. Schlingloff, Dieder, “Studies in The Ajanta Paintings,” Identifications and Interpretations. Ajanta Publications, New Delhi, 1988. Schlingloff, Dieder. Kalyāṇakārin's Adventures. The Identification of an Ajanta Painting. Artibus Asiae 38, No. 1 (1976): 5-28 Artibus Asiae Publishers. Sontakke, V., S. Ganvir, S. Vaidya, and P.P. Joglekar. Excavation at Nagardhan.” Nagpur District, Maharashtra (2015-2016), History Today 17 (2016): 43-51. Spink, W.M. “Ajanta A Brief History and Guide.’’ Asian Art Archives of the University of Michigan. Bombay. 1994. Thakuria, T. “Society and Economy during Early Historic Period in Maharashtra: An Archaeological Perspective”, Heritage: Journal of Multidisciplinary Studies in Archaeology 5 (2017):169-190. Unwala, Jamshed, Maneekji, “The Introduction. Eyes of Horus " read before the Anthropological Society of Bombay on the 4th January 1928. Yazdani, M.A. “The Colour And Monochrome Reproduction Of The Ajanta Frescoes Based On Photography With an Explanatory Text.” and an Appendix on Inscriptions By John Allan. PART II Text Published Under The Special Authority Of His Exalted Highness The Nizam. Oxford University Press London, Humprey Milford. 1933. Yazdani, M.A. “The Colour and Monochrome Reproduction Of The Ajanta Frescoes Based On Photography With an Explanatory Text.” and an introduction by Laurence Binyon. Part 1 text published under Special Authority Of His Exalted Highness The Nizam. Oxford University Press London, Humprey Milford. (1930): 23. 6 � Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital Reconstruction of Maritime Heritage in the Ajanta Murals Description An account of the resource India's maritime heritage dates to around 4,500 years, since the Indus Valley Civilization. The impetus to revisit and re-develop maritime links was trade (primarily in cotton, pepper, and other spices), due to the monopoly of the Persians and, later, the Arabs over land-based caravan routes. Later maritime journeys spread the influence of ancient and medieval Indian civilization as far as the islands of Indonesia to the East, the islands of Japan to the north, and the east coast of Africa to the west. There are many representations of ships and boats in early Indian art. The earliest are those found among the Sanchi sculptures belonging to circa. 2nd century B.C. At the Ajanta caves, paintings from the 5th century C.E. reveal the life of the people of the time. The frescoes depict sea-going vessels conveying goods overseas, representing ships and boats from an era that witnessed India's expansion and the spread of Indian thought and culture over the more significant part of the Asiatic continent. The vitality and individuality of Indian civilization, fully developed during the era of Vakataka-Gupta imperialism, by the end of the 7th century transplanted itself to the farther East, affecting the cultures of Java, Cambodia, Siam, China, and at the most significant distance, even the to Korean peninsula and Japan. A painting on the wall of Cave No. 1 at Ajanta is still easily recognizable as a vivid representation of the Persian envoys' ceremonial presentation of their credentials. Griffiths rightly interprets the representations of ships and boats in the Ajanta paintings as a "vivid testimony to the ancient foreign trade of India." The present paper deals with the ships and boats depicted in the paintings of Ajanta. Several scholars have studied these images, more particularly from Cave Nos. 1, 2, 16 and 17. In continuation of the Magnum Opus work of Dieter Schlingloff, the author shall try to show the missing features depicted in the panels of ships and boats through newly reconstructive line drawings and photographs. Digital restoration utilizing photographs processed to adjust the brightness and contrast forms a significant step in studying the original painting and analyzing its remains and damage. This process allows digital reconstruction with line drawing and color using the original color palette. As a result of this detailed work, one may visualize the paintings and their use of ancient maritime activity as subject matter. Creator An entity primarily responsible for making the resource Shreekant. S. Jadhav 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. Jadhav, Shreekant S.. 2023. “Digital Reconstruction and Conservation of Maritime Heritage in the Ajanta Murals.” 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/2024 Asia-Pac Session 22 2023 https://apconf-much.org/proceedings/files/original/8c70732fee795a6471a4cd5110b657e2.pdf b905a878c821138380a90fc834751752 PDF Text Text Antiquities Homecoming：An Experience of Rescue Team of Cultural Relics Tsai, Cheng Chung ZhongKai University of Agriculture and Engineering aaa_maxwell@hotmail.com Shuhan Guo ZhongKai University of Agriculture and Engineering tinakashu@gmail.com Yuping Zhang ZhongKai University of Agriculture and Engineering 1239633011@qq.com Abstract Through five thousand years of Chinese culture, thereare as many ancient cultural relics as there are stars in the night sky. Much like stars, these artefacts are scattered all over the world. For this reason, we established a small antiquity public welfare organization. In this article, we will introduce some details around working in this department and explore our user experience. Some of these activites include; looking for ancient cultural relics, finding ancient cultural relics, identifying ancient cultural relics, and contacting a descendant of ancient cultural relics, and negotiating with the sellers;with the ultimate goal of sending the antiquities back to their home. We felt the sacred sense of mission by bringing antiquities home. We also began to realize the public welfare and the value of the historical relics are common to people all over the world. At present, the problem of the antiquities coming home is emerging in the various rescue operations once again. In particular, as the nation becomes generally wealthier, there is an increase in the number of transactions to acquire ancient cultural relics to obtain profits. In addition, historically, overseas organizations and foreign funding agencies have been acquiring Chinese ancient cultural relics strategically. Because of this, bringing the ancient cultural relics back to their hometown or museum, or returning them to their descendants has become even more difficult. Therefore, our team has decided to create and manage the ancient cultural relic’s rescue and homecoming project. Through which, we will advocate that the ancient cultural relic’s protection and public �welfare for ancient cultural relics is paramount. We will do our best to return these ancient cultural relics back to their hometown, and let the ancient cultural relics engage and influence the public. Key words: Cultural relics, homecoming, descendant, collections, cultural and creative industry The experience of Germany how they dispose "gray antiquities" 1.1Chippindall Law British archaeologist Christopher Chippindall and Dawid Geere began an unprecedented investigation in 2000, using 7 international collections of cultural relics in the collection system to verify the reliability of their source. Officials have the collection directory with those cultural relics, which clearly record every piece of the source. However, of the 1396 items catalogued, up to 75% of these cultural relics lack the source of written documents. They also found that there were more than 500 pieces of relics lack any historical transaction record and has been proved that no one knows why this group of cultural relics made its debut on display in the museum. That means these exhibits illegally posess potentially tomb-raided stolen goods. They have a startling discovery after compared with the same marked when the exhibits on display in different provenance. Generally, those first exhibited marked "unknown sources" cultural relics appeared again with a clear source tag, suggesting that these cultural relics may be a fake story. Their research result is called Chippindall Law. 1.2 Museum admitted "gray cultural relics" There is a hidden rule which allows cultural relics with no transparent background in the marker. A clear experience relic which we call white �cultural relic not only can check all previous possessors and where it came out of that therefore it should be legal. On the other hand, an unclear experienced cultural relic which we call black cultural relic usually came out of the grave or was stolen out of the museum or from private collectors. Actually, most traded relics in the market are gray cultural relics which we do not know where they came out but still could pull wool over some possessors’ eyes. However, archaeologists deem that gray cultural relics are equal to the black cultural relics. In the early 1960s, the British museum with a rich collection of relic objects bought from the market. In 1970, UNESCO issued a convention against cultural products illegally traded, but Germany didn't become signatories until 2007. Although Germany signed, but there were still many excuses to reject the convention, and not to return those illegal cultural relics. Germany started to implement a legislative correction as to ensure the innocence of its collections. It stipulated that acquisitions in the museum should be white relics. Baden state museum curator Eckart Cohen said "museum curator's affection and greed of collection tend to cause them to become accessories of illegal trade." he said "It is not innocent cultural relics derived from an anonymous Swiss collector". 2 Antiquities Homecoming People always marvel at the beauty of an ancient cultural relic when they see it. However, does everyone know where it comes from or who its owner is? Is this a clear origin of cultural relics? As we know the cases in Germany and UK. There are many cultural relics with unclear origins. So, a program came out .This is a program to return relics that belonged to certain families or estates. And there is an overwhelming feeling by the members of our organization that this is the right and just thing to do. We plan to return objects, may they be relics to certain descendants or �surviving families or organizations who manage familial assets we trust. There are many reasons as to why relic objects may be in disarray or disregarded. Our goal as a group is to preserve the legacy and spirit of the relic objects. In doing so, we have to secure adequate funding to purchase relic objects in existing markets that to offer prices to said objects. We plan to setup a process by which we will discern the appropriate prices and appraised value that we deem fair for purchase. We will employ a mechanism that is equitable for all parties involved. We will standard governing practices to regulate the process to ensure �stability. An issue that will be addressed in the future is the question of funding. We will establish a funding process for this project. Fig. 1: Funding Process Flowchart. 3 Antiquities homecoming evaluation criteria There are three indispensable standards for relic objects if they could be sent back home. The first step is to ensure the antiquity has a clear and �certain name. Or it has been recorded from other historical documents. Second, it could be traced to a certain dynasty. The last one is to make sure that we could find its surviving generations of the cultural relics, family ancestral hall, museum etc. According to former experiences certain relic objects such as famous calligraphy, paintings, manuscripts, imperial mandate etc. could be easily up to the three standards. After members of the project found unmistakable name on the relic object and could know its dynasty and background, and antiquary work, they may start searching whether there are descendants of the owner of cultural relic have the intention to collect the family relic from their predecessor. It could be returned to surviving consanguinity of the owners, family ancestral hall, local museums and other related parties. Project team members note the cultural relics "without surviving families" if the descendants could not be found. Then the project team members would start the next steps to find whether there are relevant museums, temples on behalf of the ancestral temple and local administration of cultural heritage that can collect it. 4 The circulation channels of cultural relic objects General, people purchase cultural relics and works of art mainly as private collections, investment of innovation company, decorations and so on. It is important to purchase cultural relics from formal circulation channels for antiquarians. There are three circulation channels to transaction relic objects beyond the seas:  Auction companies: The auction companies are considered as the secondary transaction market. It focusses on the arts trade, as they �have sensitive professional marketing orientation, and pay more attention on the objects with high benefit in a short-term.  Galleries: In the art market galleries are deemed as the primary market. The agents would sign contracts with artists strictly, and they have responsibility to the find, nurture and promote potential artists and their works. One risk of investment of arts in the galleries is the difficulty in evaluating the appreciation due to the agents would promote on its own preferences rather than market orientation.  Private procurement: The term of "private procurement" is relative to the “auction companies". Though it is often misunderstood as lack of professional evaluation, slight influence on art market and low exchange price, so far, top six paintings with astronomical price were unveiled from this channel for the low risks, fewer bidders, efficiency and privacy of transaction, personalized customer services have made it a big draw of investors. Transaction of arts and paintings in western countries compare that in China mainland, the program members could search relic objects in channels below. Fig. 2: Top six paintings with astronomical price. � Network: In the information age, the Internet takes over a large part of one's daily life so that cultural relics can be obtained from the Internet, as well as the historical background of cultural relics which help us understanding. It also became convenient sources of obtaining information of the relic objects. The following chat integrated the Internet purchasing channel for the project members to search. Fig. 3: Antique markets in the Internet. � Commercial market operations for cultural relics: This is for people who prefer to play with, understand the cultural relics in the antiquities market. Here are some famous commercial markets for cultural relics. Fig. 4: Cultural relics market in China.  Enthusiastic people informed the members: it is distinct between private contact and warm-hearted people contact report that mainly depend on the interpersonal connections of the team, like the posterity, ancestral hall, temple museum which the team service before. They will tell the project team members they inadvertently discovered the ancient cultural relics in the market, let us work together. In general, the project team members will be released out of the most important introduction of "mysterious ancient cultural relics” through the interpersonal relationships of museums, the community or union of institutions of higher learning like the ancient cultural relics and director of the famous temple ancestral temple. There are numerous propaganda ways to improve the enthusiasm of the alliance like through the network to seek the aid of enthusiasts, clubs or organizations, or through the "human flesh search", "price set". �Occasionally the team holds the club, in the form of a salon, lectures to promote communication relationship between members. 5 A homecoming case of Guo Rong’s handwritten manuscript Team members in late 2016 found a handwritten manuscript written by Guo Rong who could be dated back to Qing dynasty, named "Confucius in Hsiang-tang”, listing on the internet priced at 1500 Yuan by a relic collector from Hebei province. According to the historical recordation manifests that his family members were very famous and many of his relatives were Jinshi(official position in ancient China) ,and he was a Juren (official position )at that time in Henan province. Lest the scenario of other buyers and speculators from outside purchase this handwritten manuscript once the news of rescue and valve of this relic object has been filtered out occurred. After the agreement of buying this relic first by all the members, rescue plan of this handwritten manuscript initiated. By using all sorts of medium to contact Guo Rong’s descendants with a hope of getting this relic back to where it used to belong, members found an article on the Internet about the big honorable family and its members; released on the newspaper by Mr.Lu Meisong a former director of Research Institute of Culture and History in Fuzhou City. Through whom members found Guo rong’s great-grandson Mr. Guo Zhen, then immediately informed Mr. Guo Zhen of his great-father’s relic object and asked whether they have the intention to purchase the cultural relics, Mr. Guo Zhen first told members: “because it’s hard to know the authenticity of this undeclared cultural relic, together with many of his family cultural relics have been removed to Lin Zexu Memorial Museum, so there was no willingness to purchase it as a private collection... ”then �members tried to contact other parties of the family collections of intent, please refer to the contact members shown in the chart below. Table 1: Willingness to retrieve Guo Rong’s relic Name Identity Willingness Guo Zhen great-grandson of NO Guo Rong Guo Yongmei Guo Baiyin’s NO descendant Sina Blogger Guo of”Guo’s Baiyin’s NO descendant descendants” Lu Meisong former curator of NO Research Institute of Culture and History in Fuzhou city Chen Jiyong Lin Zexu’s NO memorial museum 6 Why relic objects may be in disarray or disregarded There is an interesting phenomenon in cultural relics market that people would buy other people's cultural relics in the commercial market rather than collect the relics of their fathers. And descendants may sell or destroy the inherited collections of cultural relics for various reasons leading to the �cultural relics ending up with vicious circle of disappear or disregarded. The ultimate purpose of establishing homecoming project by the members is to resolve the scenario of never-ending speculation by contacting the museum that could collect and display the relics, other public sectors, and conservation of cultural studies, ancestral hall and surviving generations. Project team members would try their best to preserve the legacy and spirt of the cultural relics. From what have been discussed about the Guo Rong’s case, it could now be speculated that the descendants may or may take the excuse of lacking the financial ability to afford the price. And to some extend this is also attributed to lacking a sense of recall of their old generations due to the functions of modern core families are not tightly connected as it was in hundreds years ago. At that time ancestors were highly respected and earned widely worships by their descendants. Another reason may the owner was a traitor in history, the family members might break off all relations with owner in order to evade from the punishments or outside criticism about this family. So if the descendants receive the relic object belonged to a traitor predecessor, they will bear pretty much stress form the public. The third reason may lay in the distrust the appraisal of cultural relics, as in this profit-driven society, everything could be faked let alone these cultural relics with sophisticated procedure of appraisal its value, all sorts of suspicious attitudes reflect today’s descendants pay more attention to its physical valve rather than its old glories and the meaning of educating and reminding their roots. 7 The indispensable explanation of using the fund-raising as the management costs of the non-profit organizations �All the governments in the world are making great efforts to encourage more public-interest activities and services, and also put their endeavor to develop the explicit rules and stipulations to make the charitable work more efficient and use their funds more smartly to against corruption. Taking the comparison of the two laws for example, the newly launched Charity Law of the people’s republic of China in May, 2016（ http://www.gov.cn/zhengce/2016-03/19/content_5055467.htm) and the regulations of charitable organizations initiated in Taiwan province May, 2006 (http://law.moj.gov.tw/Eng/LawClass/LawAll.aspx?PCode=D0050138) about utilizing fund-raising in managing the charitable organizations and pay the labor costs through charitable activities and other necessary expenditures. Please look at the chart below. Table 2: Comparison of purpose and amount of charitable assets utilization in China mainland and Taiwan (province) The charity Law of the People’s Charity Donations Destined Republic of China For Social Welfare Funds Implementation Regulations(Taiwan) Chapter 6 Charitable Assets Article 5 Fund raising groups Article 51. The financial assets of as referred to by these charitable organizations include: regulations are described as (1)Founding capital from fund-raising; below: (2)Assets collected from fund-raising; (a) Public schools. (3)Other legal assets. (b) Incorporated … Administration. Article 60.Charitable organizations (c) Corporation who has shall carry out charitable activities Social welfare character. actively, use charitable assets fully (d) Corporate bodies. and efficiently, apply the most Based on considerations for necessary principles regarding social welfare, all management fees, practice frugality, agencies/levels of �and cut unnecessary expenditures. Annual expenditures for charity activities by foundations with the qualifications for public fund-raising shall be no less than 70% of the average revenue of the past three years and the annual management fees cannot meet the previous regulations due to special circumstances, the foundation shall file with which it registered and explain the situation publicly. Standards for annual expenditures and the management fees of charitable activities by charitable organizations other than foundations with public fund-raising qualifications are regulated by the civil affairs departments of the State Council together with the treasury and tax departments of the State Council according to the principles stipulated in the last paragraph. If the expenditure and management costs of an individual charitable donation activity are specified in the donation agreement, then the agreement should be followed. government shall be permitted to accept financial funds and gifts donations, bestowed by concerned person[s]; however, such donations are not permitted to be initiated by such governmental agencies. Exempted from this ruling, are incidents of major disaster [force majeure] and international rescue missions. … Article 8 All financial funds and gifts collected through donations, can and must be used only for the purposes as listed below: (a) For Social Welfare Activities. (b) For educational & cultural affairs. (c) For social charity affairs. (d) For international humanity rescue affairs. (e) Other relevant affairs recognized by central governmental agencies.。 … Article 11 If relevant documentations provided, for the application of governmental permission for charity donations, contents therein were to be found to be falsified, then previously �granted permission is to be annulled immediately. … Article 17 All necessary administrative fees/charges occurred during the conducting of charity donations activities, shall following the tabulation limits as described below: (a) Total solicited donation amount under NT$10,000,000.00: 15%. (b) Total solicited donation amount between NT$10,000,000.00 NT$100,000,000.00: Basic toll of NT$1,500,000.00 + 8% of remaining amount over 10 million NTDollars. (c) Total solicited donation amount over NT$100,000,000.00: Basic toll of NT$8,700,000.00 + 1% of remaining amount over 1 Billion NTDollars. If solicited charity donations are physical items [instead of cash funds], then relevant tabulation should be based on the "then" current market prices of the items concerned. We will standard governing practices to regulate the process to ensure stability. An issue that will be addressed in the future is the question of �funding. We will establish a funding process for this project. Introducing the club membership system might be a suitable way of adjusting to this circumstance mentioned above in its future development: one has to register a membership of the relic home returning organization and then provide the historical information of their predecessors. Doing by this at least shows their willingness to buy their own relics. All the information provided will be recorded in our file system. Members have the priority when we scrutinizing thousands of relics in this huge relics market and then match to their owners. When undergo the scrutiny in the selecting procession a series of reduplicative and automatic works in matching and confirming relics and their owners and time waiting for their willingness of buying their dispersed relics can be saved by this targeted combing progress. Reference Gray, B., 1964. The export of Chinese porcelain to India.Transactions of the Oriental Ceramic Society, Vol. 36: 21-37. Tsai, Cheng Chung，2012. Compare present situation and analysis the development of charitable trust in the social among British，America and Japan，social Welfare（The theory of version），12-21 Yuan Yuan. Germany attaches great importance to the source of legitimacy of cultural relics to say no "gray cultural relic",. Xinhuanet http://news.xinhuanet.com/world/2015-01/22/c_127407612.htm Zong he. Gauguin painting "when will you get married" $300 million,http://epaper.bjnews.com.cn/html/201502/09/content_561752.htm?div=-1 Beijing newspaper, The phenomenon of "hyping art works http://finance.qq.com/a/20150413/005044.htm Biography in the market " �Tsai, Cheng Chung (1975-): Taiwan Kaohsiung, Zhongkai University of Agricultural Engineering Department of social work department, the People's Republic of China Ministry of civil society social work research center special researcher, expert committee member of Guangdong Provincial Civil Affairs Department social work professional team construction, master Mentor, doctor of law, psychological counselor. The main research direction: medical social work. Tel: 13640211648. Shuhan Guo (1995- ): Hunan, China. Graduate student of Zhongkai University of agriculture and engineering, bachelor’s degree, President of Social Work Association in ZhongKai University of Agriculture and Engineering. The main research direction: non-government organization management and social work Tel: 18813754680, Yu-ping Zhang (1996- ), Xingning. Guangdong, China Zhongkai University of Agriculture and Engineering, Guangzhou, Guangdong ,China. Job: Project Team Responsible Person. The Assistant Head of the Department of Social Work and Social Policy. The first Vice President of Social Work in association in ZhongKai University of Agriculture and Engineering. The main research direction: Medical social workers and Charity management.Tel:188-19493890, wetchat: yp1239633011, � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2017 Session 4: Ensuring a Sustainable Future for UCH: Museums and Public Engagement Description An account of the resource Cultural heritage derives its value from societal contexts, and so public engagement plays an important role in growing support for, and interest in heritage. Engagement may take many forms, from awareness-raising to formal learning programmes to creating platforms for public participation in the process of heritage conservation, governance, and/or interpretation. Papers bridging theoretical and practical approaches to engagement with UCH are particularly welcome, as are papers which offer collaborative and/or participatory models, stakeholder engagement, capacity-building and development, approaches to the particular challenges of engagement with underwater cultural heritage vs other kinds of cultural heritage. Of course heritage exists in a variety of cultural frameworks, and ensuring sustainability requires approaches to engagement to be both responsive and sensitive to the overlapping cultural contexts in which UCH may exist. As a culturally diverse region, the treatment of heritage must be also tailored to cultural definitions, heritage management frameworks and conventions which may, in some cases, differ across jurisdictions/countries and their interests. The panel will also attempt to explore the ways in which UCH is managed within diverse cultural frameworks, and invites papers to examine topics including contested UCH, ownership, security, etc. The panel invites papers exploring significance within local, national and transnational historiographies and the implications for funding and management of UCH. UCH includes material that has been deposited on the seabed as a result of warfare and catastrophe, so papers which explore and/or engage with topics including loss, warfare, conflicted significance and contested heritage are particularly welcome. Other relevant sub-themes include: * Public engagement in the management of UCH * Interpreting maritime cultural heritage for non-specialist audiences * Significance, interpretative potential, stakeholders and support/sustainability * Museums, Education, Outreach and Conservation * Memory, memorials and memorialisation Creator An entity primarily responsible for making the resource Raphael Igombo National Museums of Kenya, Kenya Michelle Damian Monmouth College (IL), USA Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Antiquities Homecoming: An Experience of Rescue Team of Cultural Relics Description An account of the resource Through five thousand years of Chinese culture, thereare as many ancient cultural relics as there are stars in the night sky. Much like stars, these artefacts are scattered all over the world. For this reason, we established a small antiquity public welfare organization. In this article, we will introduce some details around working in this department and explore our user experience. Some of these activites include; looking for ancient cultural relics, finding ancient cultural relics, identifying ancient cultural relics, and contacting a descendant of ancient cultural relics, and negotiating with the sellers;with the ultimate goal of sending the antiquities back to their home. We felt the sacred sense of mission by bringing antiquities home. We also began to realize the public welfare and the value of the historical relics are common to people all over the world. At present, the problem of the antiquities coming home is emerging in the various rescue operations once again. In particular, as the nation becomes generally wealthier, there is an increase in the number of transactions to acquire ancient cultural relics to obtain profits. In addition, historically, overseas organizations and foreign funding agencies have been acquiring Chinese ancient cultural relics strategically. Because of this, bringing the ancient cultural relics back to their hometown or museum, or returning them to their descendants has become even more difficult. Therefore, our team has decided to create and manage the ancient cultural relic’s rescue and homecoming project. Through which, we will advocate that the ancient cultural relic’s protection and public welfare for ancient cultural relics is paramount. We will do our best to return these ancient cultural relics back to their hometown, and let the ancient cultural relics engage and influence the public. Creator An entity primarily responsible for making the resource Tsai, Cheng Chung Shuhan Guo Yuping Zhan Publisher An entity responsible for making the resource available The Museum of Underwater Archaeology Date A point or period of time associated with an event in the lifecycle of the resource 11/24/2017 Rights Information about rights held in and over the resource Tsai, Cheng Chung Shuhan Guo Yuping Zhan Asia-Pac Session 4 2017 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 Maritime Archaeology: Historical Descriptions of the Seafarings of the Kalingas Creator An entity primarily responsible for making the resource Sila Tripati Publisher An entity responsible for making the resource available Kaveri Books Date A point or period of time associated with an event in the lifecycle of the resource 2000 Type The nature or genre of the resource Book Zotero Author Sila Tripati Item Type Book Date A point or period of time associated with an event in the lifecycle of the resource 2000 Place New Delhi Publisher An entity responsible for making the resource available Kaveri Books Title A name given to the resource Maritime Archaeology: Historical Descriptions of the Seafarings of the Kalingas India https://apconf-much.org/proceedings/files/original/9caf86b1de3baef2a8794c805c811579.pdf 301d3e06b27d03b37c8251ff8e8bc979 PDF Text Text An overview of shipwreck explorations in Goa waters Sila Tripati1 Abstract Since the beginning of maritime archaeological research in Indian waters, marine records housed in archives of India and abroad provide details of the shipwrecks and the loss of Indian ships in foreign waters. Information on more than 200 shipwrecks in Indian waters has been gathered from archival records and attempts made to explore in Goa, Lakshadweep and Tamil Nadu waters. These shipwrecks are dated to the post 16th century AD. Shipwrecks were explored off Sunchi Reef, St George’s Reef and Amee Shoals in Goa waters. Sunchi Reef and St George’s Reef were wooden hulled sailing ships whereas Amee Shoals was a steel hulled steam engine shipwreck. Sunchi Reef exploration led to the recovery of guns, barrels of handguns, storage jars, Chinese ceramics, elephant tusks, hippopotamus teeth, iron anchors and other items that are evidence of Indo-Portuguese trade and commerce in the 17th century. Exploration off St George’s Reef uncovered timber and terracotta artefacts such as column capitals, drums, ridge tiles, roof and floor tiles and chimney bricks The bricks and tiles have the distinct inscription of Basel Mission Tile works 1865. Amee shoals exploration revealed the remains of a steel hulled steam engine shipwreck in which boilers, boiler bricks, and engine parts were found. The stamps on the flanges and the name on the firebricks suggest a British origin, dating from the 1880s or later. Keywords: Shipwreck, Sunchi Reef, St George’s Reef, Amee Shoals, Goa, Portuguese, Basel Mission Company Introduction The geographical context of this paper lies centrally in Goa. The city is located on the central part of the west coast of India. It has its western boundary along the Arabian Sea and eastern border along the Western Ghats. Chandrapura (Chandor) on the bank of river Paroda, (a tributary of the Zuari) was the oldest port of Goa. The discovery of Roman coins and amphorae sherds from Pilar near Gopakapatana port indicates that Roman ships were called in ports of Goa during the Satavahana period (Costa 1997:24-30). The Shilaharas and Kadambas were maritime powers and had trade contacts with West Asia and East African countries (Gune 1990:117-136). The depiction of a naval battle in the memorial stones (l2th-13th centuries) exhibited in the Archaeological Museum, Old Goa, reflect the maritime activity of this region (Rajagopalan 1987:35; Sila Tripati 2006:88-96). During the Portuguese regime, Old Goa was the main centre of commercial activities and garrison. The Nau Cinco Chagas, Galeao Bom Jesus, Madre de Deus and Nau S. Joao Baptista ships were built in the Old Goa shipyard (Mathew 1988:304). 1 National Institute of Oceanography, Council of Scientific & Industrial Research, Dona Paula, Goa 403 004 (India), Email: sila@nio.org 1 �Shipwrecks in Goa Waters Evidence on pre-Portuguese shipwrecks in Goa waters is limited. An inscription source mentioned Guhalladeva-I, from 980 to 1005 Anno Domini2 (AD), sailed from Chandrapura to Somnath, Gujarat on the West coast of India (Oriente Portugues 1938:6-18). The mast of the ship broke off and he took shelter at Gopakapatana port. The stranded king was helped by Mohammed, the chief of the Arab traders (Hanjamananagar) in Goa (Gune 1979:95; Moraes 1990:17172). Portuguese records held in the archive India House, Lisbon mention Portuguese shipwrecks. A. B. Souza (1930:54-57) has compiled a list of 806 ships that sailed from Lisbon to India between 1497 and 1612, among them 20 ships ran aground, 66 were shipwrecked, 4 captured by the enemy, 6 burnt, 285 remained in India while 425 returned to Portugal. Archival records emphasise that a majority of Portuguese ships were wrecked in the shallow waters off Goa mainly due to hidden reefs, sandbars, severe storms and lack of proper maintenance. However, these records do not provide exact locations of shipwrecks the Centro Nacional de Arqueologia Nautical e Subaquatica CNANS, Lisbon has listed the Portuguese shipwrecks along the Indian coast based on archival and archaeological sources (Alves, et al. 2007:97-119). The Portuguese ships wrecked in Goa waters were namely the following: S. Cristovam wrecked in a storm on l7th August 1594 while returning to Goa; The nau Santo Andre left Lisbon on l7th February 1607 and reached Goa in May 1608 but wrecked off Goa. The Nossa Sra Dos and Remedios sank off Goa on 28th January 1616 in a storm, people were saved but cargo was lost (Gudigar, et al. 1995-6:45-48). Twelve Portuguese ships, en route to Calcutta (Kolkata) from Goa sank near Aguada Bay due to an unseasonable storm in 1648 (Boxer 1960:35-54); Five Portuguese sailing ships namely Santa Helena (1654-55), Sao Joao Evangelista (1652-53), St. Francisco and St. Thome set sail to Goa from Portugal, but only two ships reached the coast of Goa but were wrecked in a storm on 10th March 1651 (Esparteiro 1974:93). Findings of shipwreck explorations off Sunchi Reef, St George’s Reef and Amee Shoals are recorded here. The nature of the seabed floor, water current patterns, water depth and visibility vary from site to site. Sunchi Reef Sunchi Reef region is shallow, full of laterite boulders and in a high-energy zone. The shipwreck remains were located in 3 to 6 meters (m) water depth and scattered over a large area (Figure 1). The survey identified and recovered cast iron guns, a iron shot, a barrel of a handgun, various types of stoneware sherds (Martaban pottery), Chinese Blue on white sherds, glass bottle bases, elephant 2 Designation used to label or number years used with the Julian and Gregorian calendars. This calendar era is based on the year of the birth of Jesus of Nazareth, with AD counting years after the start of this epoch. 2 �tusks and hippopotamus teeth, metal handle and dressed granite stone blocks (Figure 2; Sila Tripati, et al. 2004:1238-1245). Figure 1. Location of shipwreck exploration sites (Sunchi Reef, St George's Reef & Amee Shoals) off Goa waters (Tripati, et al. 2004; Tripati 2004; Tripati, et al. 2003b; Tripati, et al. 2010 respectively)3 3 The findings of Sunchi Reef such as ivory, hippo teeth, pottery, Chinese ceramics, handgun, glass bottle bases; some bricks, tiles and other terracotta artefacts of St Georges Reef; and boiler 3 �Figure 2. Cast iron guns, elephant tusks, hippopotamus teeth, handgun, Chinese and stone ware sherds and granite blocks found from Sunchi Reef shipwreck (Sila Tripati, S. N. Bandodker, and Sheikh Ali Karim (2000-2006). bricks and flanges of steam engine shipwreck of Amee Shoals have been collected and displayed at NIO. 4 �Each cast gun is about 2 m long. Their exteriors are overgrown with barnacles, mussels and heavily concreted. The muzzles of two guns lay horizontally on the seabed whereas the other two were oriented towards the seabed. The guns have swivels on both sides but do not have any lifting rings. The iron shot found west of the guns is 1.218 grams (gm). Its surface has an uneven-flaking nature and its shape is slightly conical at the top, flat at the base. Cracks formed after retrieval was due to dehydration and the interior was fully rusted. Marine water in the shot was subsequently removed in the lab. The brass barrel of a handgun 56 centimeter (cm) long and weight 2.200 kilogram (kg) was half buried below the granite blocks. The barrel has two notches, one is intact and the other is broken, these are meant for fixing screws to the wooden part of the gun. It has a screw thread at the back for attaching the firing mechanism. The gun and other parts attached to the barrel are missing. A two fluked, long iron anchor found on the southern side of the guns had fallen between laterite4 boulders. Similar anchors were discovered off Aguada and also resemble the anchors kept in the Archaeological Museum at Old Goa and Goa State Museum, Panaji (Sila Tripati, et al. 2003a: 97-106). The exploration led to the recovery of eight elephant tusks (65 to 32 cm in length) only partially visible in the seabed. Among them two were inscribed, one has three Roman letters “ICM” and the other has some geometrical designs. Nine hippopotamus teeth of different sizes have turned brownish in color. The elephant tusks and hippopotamus teeth have turned soft, brittle, flaky and degraded because of burial in marine water for more than 300 years. Stoneware sherds consisting of rims with loop handles, bases, lids and fragments buried in the sediment and crevices of laterite boulders were also recovered. The paint and glaze coat has been washed out on some whereas a dark brown glaze coat can be noticed on others. All these sherds belong to storage jars. In addition to the loop handles on rims, the sherds with dark brown glaze also have raised dots around the neck and floral designs. Thermoluminescence dating purports the pottery is 360+40 years old. Chinese ceramic sherds with blue on white designs were also found. A number of dark green square and round glass bottle bases were retrieved on which marine growth is present. In addition a number of dressed granite blocks of varied sizes scattered randomly were noticed at the site. They were possibly used as ballast (Sila Tripati 2004:19-29). St George's Reef St George's Reef is situated on the eastern side of Grande Island (Figure 1) and the shipwreck lies in 15 m water depth. The wreck contains a collection of terracotta building materials such as chimney bricks, roof, ridge and floor tiles, column capital and drum (Sila Tripati, et al. 2003b: 111-120). Bricks and floor tiles are inscribed “Basel Mission Tile Works 1865”. Bricks are made of white clay, moulded, the obverse is inscribed and the reverse is plain (Figure 3). A 4 Clay formed by weathering of rocks in a tropical climate, composed chiefly of iron and aluminium oxides 5 �Corinthian type of hollow capital, closed on one side, was found. All artefacts are well burnt and made of well-levigated clay. The timber remains of the ship found near the reef has groove marks on the upper side whereas the lower side is plain and U-shaped. Carbon14 dating (114.3+1.5%) of the timber suggests that the wreck is 115 years old. Anatomical analysis indicates that the timber belongs to the Lagerstromia microcarpa syn Lagerstromia lanceolata species, whose trade name is benteak (Sila Tripati, et al., 2005:1022-1027). Figure 3. Terracotta artefacts and timber collected from St George's Reef shipwreck (Sila Tripati, S. N. Bandodker, and Sheikh Ali Karim (1999-2000). Amee Shoals Amee Shoals lies on the south of Sunchi Reef, close to the Marmagao bay (Figure 1), and the shoals have extended in a larger area with varied depths (Ambre 1991:113-115). The exploration revealed a steam engine shipwreck and boilers, boiler bricks, water tank, flanges, and copper pipes were noticed at 6 to 9 6 �m water depth. Three boilers made of wrought iron were found close to each other, approximately 4 m in height with single riveted lap joint5. Each boiler has three furnaces and a row of heat exchanger tubes, and stay tubes. Manholes and safety valves of the boilers are undamaged. Among nine furnaces of three boilers only one is intact (Sila Tripati, et al., 2010:182-189), while the other eight have been destroyed by local divers robbing brass and copper objects (Figure 4). Different sizes of bricks are placed in various directions in many layers inside the furnaces then a metal flange is fixed on the opening. Figure 4. Boilers, boiler bricks, water tank and hawser of the steam engine shipwreck noticed off Amee Shoals, Goa (Photographs: Sila Tripati, (2006-2008). 5 The connection of edges of plates by single row of rivets. 7 �The bricks inside the furnace resist heat, provide insulation and prevent cracking due to heat exposure. Bricks are made of clay consisting of silica and alumina. The binding material used to join the bricks is made of equal quantities of fireclay and finely crushed firebrick mixed with water to a make mortar. On the obverse some bricks of Amee Shoals have the stamp mark “FURNA…”, followed by illegible words. Below this marked “B 84”. There are no marks on the reverse. Brick sizes vary in measurement. Numerous bricks are still in the boilers and others are scattered nearby. A circular flange of 52 cm diameter with eight holes probably used on the front side of the furnace boiler was found. The other flange could be of an oil tank found near the boiler. It has two stamp marks namely “SOUNDING” and “No. 3 TANK6”. A water tank measuring 4 x 1.65 m, probably used for recirculation of water from the condenser (Sila Tripati 2008:1-19), lay close to the boilers. The tank has a reinforced steel frame with plates on all four sides. Two horizontal pipes are fitted inside and the tank is highly corroded. Water tanks were a common feature in steam engine ships. The bow section hawser hole of the ship has a large lip edge. The hatch door which would be part of the steam drive system, designed for heavy duty and withstand heat, was noticed near the boilers. Discussion and Conclusion Human errors in navigation, submerged rocks and inclement weather have caused most of the shipwrecks in Goa waters. Strong currents during ebb tide reduce visibility and affects survey work. The shipwreck in Sunchi Reef lies in a high energy zone not conducive to preservation of shipwreck remains. The location evidently represents that the ships struck the submerged rocks and subsequently sank. Except pottery, guns, shot, granite blocks no remains of the ship have been observed. The finding of iron guns, anchor and other artefacts suggest that the Sunchi Reef shipwreck could be a wooden-hulled cargo sailing ship not of Indian origin. The Sunchi Reef shipwreck findings are indicative of trade and commerce between Goa and the Portuguese empire as mentioned in the literature (Ahmed 1991:146-156). Sunchi Reef wreck is the oldest wreck so far surveyed in Indian waters and the first Portuguese shipwreck explored and detailed. The discovery of St George’s Reef wreck has elucidated the history of the Basel Mission Company and its trading activities with India. The findings suggest that the vessel came either from Mangalore or Calicut because the mission had a number of tile factories between Malabar and South Canara however the mission had established the first tile factory at Jeppo, Mangalore in 1865 (Raghaviah 1990:35). The underwater exploration and metal detector survey did not reveal any metallic anomalies at St George’s Reef. It appears that the ship could have been a wooden hulled sailing craft. The thermoluminescence dating of pottery 6 A metal dipping rod with graduations for checking the fluid levels in the tank is often called sounding. These were common till the introduction of gauges. 8 �(360+ 40 years) and radiocarbon dating of ivory shows an age of 740 ± 130 yrs with a calibrated age range of 740 to 560 years Before Present (BP), in view of these dates it is suggested that the Sunchi Reef shipwreck could be dated to the Portuguese period (early 17th century AD), whereas the radiocarbon dating of the timber (114.3 + 1.5%) of St George's Reef shows the wreck is more than a century old. The steam engine shipwreck of Amee Shoals imparts significant information about this ship-style development and technological aspects, because the introduction of steam ships brought to an end the sailing ships. This is the first steam engine shipwreck that has been observed in Goa waters and could have occurred while approaching or disembarking from Marmagao port. One of the possible causes for shipwrecks in shallow waters off Goa could be an inadequate knowledge of bathymetry of the region. The preliminary exploration indicates that Amee Shoals shipwreck could be of a single ended scotch boiler, steel hulled, triple expansion steam vessel. These boilers, manufactured during the 1880s, are the last phase of development of fire tube boilers, later replaced by diesel engines. The shape and size of three scotch boilers suggest the ship could be 100 m in length and the wreck could be dated to 1880 AD or later. Possibly, this could be a steel hull with wooden superstructure. Explorations off Goa waters suggest that this region possesses rich potential for shipwreck archaeology, requiring further in-depth exploration which may bring new evidence on the maritime and shipwreck archaeology of Goa. In the absence of such reports the artefacts described in this paper provides new information on this aspect. Acknowledgements The author is thankful to the Director Satish Shetye and Project Leader K. H. Vora for their encouragement. Thanks also to the my colleagues of the Marine Archaeology Centre for help in field work; S. N. Bandodker and Sheikh Ali Karim for photographs, Ravindra Uchil and S. B. Chitari for preparing the drawings. This is NIO’s contribution No: 5061. Bibliography Ahmed, A., 1991 Alves, J. F., Blot, M., Caleja, P., Carvalho, P., Henriques, R., and Rodrigues, P., 2007 Ambre, N. V., 1991 Indo-Portuguese Trade in Seventeenth Century, Gian Publishing House, New Delhi. “A preliminary analysis of shipwreck data concerning Portugal and India based on written and Archaeological sources”, in India and the Eastern Sea, (ed.) Alok Tripathi, Agam Kala Prakashan, New Delhi, pp. 97119. Topography and surface sediment distribution around Amee shoal, Mormugoa”, in Recent Advances in Marine Archaeology, (ed.) Shikaripur Ranganatha Rao, NIO, Goa, pp. 113 -115. 9 �“The Carreira Da India 1650-1750”, in The Mariner’s Mirror, Vol. 46, No.1, pp. 35-54. “Archaeology: Treasure Trove”, in Goa Today, Vol. May 1997, pp. 24-30. Tres Seculos no Mar., Part-1, Lisbon, p. 93. “Some important shipwrecks on Konkan coast”, in Journal of Marine Archaeology, Vol. 5-6, pp. 45-48. Gazetteer of the Union Territory of Goa, Daman and Diu, District Gazetteer, Part-1, Panaji. “Goa's coastal and overseas trade”, In Goa Gune, V. T., through the Ages-ll, (ed.) Teotonio. R. de 1990 Souza, Concept Publishing Company, New Delhi, pp. 117-135. History of the Portuguese Navigation in India, Mathew, K. M., 1988 Mittal Publications, New Delhi. The Kadamba Kula, A History of Ancient and Moraes, G. M., Mediaeval Karnataka, Asian Educational 1990 Services, New Delhi. O Oriente Portugues, Bastora, n. 22, pp.6-18. 1938 Basel Mission Industries in Malbar and South Raghaviah, J., Canara, Gian Publishing House, New Delhi. 1990 Old Goa, Archaeological Survey of India, New Rajagopalan, S., 1987 Delhi. Tripati, S., Gaur, A. S., and “Anchors from Goa waters, Central West Sundaresh., Coast of India: Remains of Goa’s overseas 2003a trade contacts with Arabian countries and Portugal”, in Bulletin of the Australasian Institute for Maritime Archaeology, Vol. 27, pp. 97-106. Tripati., S., Sundaresh., Gaur, A. “Exploration of Basel Mission Company S., Gudigar, P., and Bandodker, shipwreck remains at St George’s Reef off S. N., Goa, West Coast of India: impact of the Basel 2003b Mission Co. on society and culture”, in International Journal of Nautical Archaeology, Vol. 32, No.1, pp. 111-120. Tripati, S.,Gaur, A. S., “Shipwreck archaeology of Goa: Evidence of Sundaresh., and Vora, K. H., maritime contacts with other countries”, in Current Science, Vol. 86, No.9, pp. 12382004 1245. Tripati, S., “Exploration of Portuguese shipwreck in Goa 2004 waters of India: With special reference to Sunchi Reef”, In Proceedings of Conference on the Application of Recent Advances in Underwater Detection and Survey Techniques Boxer, C. R., 1960 Costa, J. C., 1997 Esparteiro, A. M., (ed.), 1974 Gudigar, P., Sila Tripati., Gaur, A. S., and Sundaresh., 1995-96 Gune, V. T., (ed.), 1979 10 �Tripati, S., Sujatha, M., Rao, R. V., and Rao, K. S., 2005 Tripati, S., 2006 Tripati, S., 2008 Tripati, S., Gaur, A. S., and Sundaresh., 2010 Souza, A. B., 1930 to Underwater Archaeology, (eds.), Tuncay Akal, Robert D. Ballard and George F. Bass, Ulu Burun Publishing, INA, Bodrum, pp. 1929. “Use of timber in shipbuilding industry: Identification and analysis of timber from shipwrecks off Goa coast, India”, in Current Science, Vol. 89, No.6, pp. 1022-1027. “Ships on Hero Stones from the West Coast of India”, in International Journal of Nautical Archaeology, Vol. 35, No.1, pp. 88-96. “Exploration and Excavation of Shipwrecks in Goa and adjoining waters 2007-2008”, Technical Report No: NIO/TR1/2008, pp.1-19. “Exploration of a steamship wreck off Amee shoals, Goa, India: A preliminary report”, in International Journal of Nautical Archaeology, Vol. 39, No. 1, pp. 182-189. Subsidios para a Historia Militar Maritima da India, Lisbon, Vol. 1, pp. 1585-1605. 11 � Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource An overview of shipwreck explorations in Goa waters Subject The topic of the resource Session 2 Nautical (Ship and boat) Archaeology of South Asia Description An account of the resource Since the beginning of maritime archaeological research in Indian waters, marine records housed in archives of India and abroad provide details of the shipwrecks and the loss of Indian ships in foreign waters. Information on more than 200 shipwrecks in Indian waters has been gathered from archival records and attempts made to explore in Goa, Lakshadweep and Tamil Nadu waters. These shipwrecks are dated to the post 16th century AD. Shipwrecks were explored off Sunchi Reef, St George’s Reef and Amee Shoals in Goa waters. Sunchi Reef and St George’s Reef were wooden hulled sailing ships whereas Amee Shoals was a steel hulled steam engine shipwreck. Sunchi Reef exploration led to the recovery of guns, barrels of handguns, storage jars, Chinese ceramics, elephant tusks, hippopotamus teeth, iron anchors and other items that are evidence of Indo-Portuguese trade and commerce in the 17th century. Exploration off St George’s Reef uncovered timber and terracotta artefacts such as column capitals, drums, ridge tiles, roof and floor tiles and chimney bricks The bricks and tiles have the distinct inscription of Basel Mission Tile works 1865. Amee shoals exploration revealed the remains of a steel hulled steam engine shipwreck in which boilers, boiler bricks, and engine parts were found. The stamps on the flanges and the name on the firebricks suggest a British origin, dating from the 1880s or later. Creator An entity primarily responsible for making the resource Sila Tripati Date A point or period of time associated with an event in the lifecycle of the resource November 2011 Asia-Pac Session 2