68 10 700 https://apconf-much.org/proceedings/files/original/78e67bdab834d2c9297d77595864c76a.pdf c4477b759806ac9cedf1566504afc09a PDF Text Text Study on Ancient Artifacts Recovered from the West Sea of Korea Yang Ki-hong (Curator, National Research Institute of Maritime Cultural Heritage) ABSTRACT During the Goryeo and Joseon Dynasties numerous ships loaded with ceramics and grains went to the capitals Gaegyeong and Hanyang in the West Sea. We know this from 14 shipwrecks from the Goryeo and Joseon Dynasties and tens of thousands of artifacts such as Goryeo celadon, Joseon grayish-blue-powdered celadon, and Joseon white porcelain. Now as ancient artifacts are excavated in Mado, Taean and Myeongryangdaecheopro, Jindo, there is a possibility of ancient shipwrecks. Key words: Taean Mado, Baekje pottery, Baekje roof tile, Waters of Jindo Myeongryangdaecheopro List of Tables and Figures Table 1 List of artifacts recovered from underwater Figure 1 Hard and plain potteries excavated from waters of Myeongryangdaecheopro, Jindo Figure 2 Baekje potteries and roof tiles excavated from waters of Mado, Taean Figure 3 Fragments of Baekje roof tile (Mado 18-110) INTRODUCTION NRIMCH archaeological excavated fourteen ancient shipwrecks and approximately 55,000 artifacts from in the West Sea. Research on these artifacts has focused on celadon from the Goryeo Dynasty, the largest frequency of artifacts. Chinese ceramic research is also underway. However, research on artifacts from the first to fifth centuries, that is, pottery and roof tiles from the Proto-Three Kingdom period to the Three Kingdoms period, which NRIMCH staff rarely identify from the sea, are lacking. Meanwhile, three pieces of Baekje pottery and 10 pieces of Baekje roof tile were excavated for the first time during the excavation of waters of Mado, Taean in 2018 and 2019, raising the need for the research on ancient artifacts. Lee In-sook’s (2021) study on roof tiles excavated from the sea indicated it was difficult to grasp the overall aspect due to the insufficient number of ancient artifacts excavated. Therefore, this study is a literature review to identify aspects of ancient artifacts excavated from the West Sea. ANCIENT ARTIFACTS RECOVERED FROM THE SEA Waters of Myeongryangdaecheopro, Jindo (NRIMCH 2015; 2018; 2021) Located right to the north of Byeongpahang, 4 to 5km away from Uldolmok in the southeast direction, waters of Myeongryangdaecheopro, Jindo are one of the four most dangerous places including Jindo Uldolmok, Taean Nyanhyangryang, Ganghwa Sondolmok and Jangsanggt Indangsu. Byeongpahang was the port that was connected to Haenam through ships before it was connected via Jindo Great Bridge. The east side of underwater artifact site had very rapid current and west side has a bay-like structure, showing the swirling of water due to strong current from the Uldolmok. The fact that underwater artifacts are scattered in the north of Byeokpahang became known when a thief was arrested in 2011. Based on the testimony of the robber, the National Research Institute of Maritime Cultural Heritage stated exploration in September, 2012. 1,200 items including pottery pieces, celadon incense burner with girin-shaped lid, guns were confirmed through the first to seventh excavation survey from 2012 to 2020. Artifacts from various fields such as hard plain pottery from Proto-Three Kingdoms Period, celadon in Goryeo period and porcelain in Joseon period. In 2013, one hard plain deep bowl-shaped pottery (Jindo-497), one hard plain net pattern pottery (Jindo-498), and one hard plain fragment of pottery mouth part (Jindo-499) were identified. In 2017, one hard plain pottery lower part (Jindo II-271) was identified. As only the lower part and body part remained, the exact shape cannot be certain. Beaten design remains faintly on the outer surface of the pottery. In 2020 excavation was lower part of hard 1 �plain pottery (Jindo III-165) identified. The exact shape cannot be assumed as only part of the lower area and body remained. The shape is widened from the flat bottom to the body area gradually. They have shapes and method of making in common and it seems that it was used before and after Christ. It is from the earliest age among artifacts excavated from waters of Myeongryangdaecheopro. Figure 1. Hard and plain potteries excavated from waters of Myeongryangdaecheopro, Jindo Waters of Mado, Taean (NRIMCH 2021) Waters of Mado, Taean includes many reefs and complicated topography, with strong waves and heavy fog. And since ancient times, it has been known as one of the four rough places where ships had difficulties in crossing the sea. However, it was necessary to pass through it to go to Gaegyeong or Hanyang with the grains collected from Chungcheong-do, Jeolla-do, and Gyeongsang-do, etc. Waters of Mado was known for the first time with the reporting of discoveries of artifacts in 1981 and intensive exploration was conducted after receiving another reporting in 2007. As a result, four old ships called Mado no. 1, 2, 3, and 4 shipwrecks and about 3,500 artifacts were identified, from 2009 to 2015, mainly celadon from the Goryeo Dynasty and white porcelain from the Joseon Dynasty. The excavation survey started for waters of Mado in 2018 and 2019 as th west sea cultural department was established in Taean in June 2017. Accordingly, potteries and roof tiles from the Three Kingdoms period, which are different from those excavated so far, were confirmed. Figure 2. Baekje potterie and roof tiles excavated from waters of Mado, Taean Three potteries from the Three Kingdoms period recovered from the waters of Mado were identified: a mouth part of one deep bowl-shaped pottery, [Mado 18-58], one piece of lower part [Mado 18-84], and one piece of the body part [Mado 19-10]. The firing state of the earthenware was all soft nitrogen, and some of them were excavated in the form of remaining. All of the patterns have a lattice door, and frontal 2 �traces such as some hand-handling marks and beat marks are observed. Also, black spots were confirmed on the outer surface. It was identified as a piece of earthenware, but it is presumed to be a deep-shaped earthenware judging from the morphological characteristics. It is presumed to be pottery of Baekje Dynasty dating from the fourth to fifth centuries. All of them were made with soft firing method and part of them was excavated. They had lattice pattern and traces of trimming them are observed. On the outer side, black spots are observed. They are identified to be fragments of pottery and they are assumed to be deep bowl-shaped pottery given the shape characteristics and they are considered to be Hansung Baekje pottery from the fourth to fifth centuries. 10 concave roof tile pieces from Three Kingdoms Period were identified. Even though it is not even in colors, major colors are divided into greyish, yellowish or brownish colors. All of them are thin with the thickness of about 1.5 cm with clustered line pattern. The common feature is that they were made of well selected soil. There are traces of penetration, framing and connection of frame inside. There are traces of division point and roof tile division inside (Lee In-sook 2021, 136-137). It seems that they were produced in areas in Baekje as elements from Hanseonggi and Ungjingi are observed partially. Table 1. List of artifacts recovered from underwater No. Artifact No. Artifact Name Jindo-497 Hard plain deep bowlshaped pottery 2 Pattern Color - Yellowish grey Jindo-498 Hard plain net-patterned pottery - Bright brown 3 Jindo-499 Mouth part of hard plain fragment of pottery - 4 Jindo II-271 Lower part of hard plain pottery Beaten design 5 Jindo III-165 Lower part of hard plain pottery - 1 Mado18-58 Deep bowl-shaped pottery, mouth part Beaten pattern (lattice) 2 Mado18-84 Deep bowl-shaped pottery, lower part Beaten pattern (lattice) 3 Mado19-10 Deep bowl-shaped body part Beaten pattern (lattice) 4 Mado18-28 Concave roof tile piece Clustered line pattern 1 Grey+ black (Inside) Bright brown (Outside) Dark brown Bright brown (Inside) Yellow brown (Outside) Red brown (Inside) Grayish brown (Outside) Brownish grey (Inside) Yellow brown (Outside) Greyish yellow 3 Grey Specification Remarks Height (18.3-18.8 cm), Mouth diameter (14.7 cm) Black soot traces, reddish oxidation traces Height (25-26.8 cm) Neck diameter (8.7 cm) Maximum body diameter (21.7 cm) Height (10.1 cm) Maximum width (10.0 cm) Black spot - Height (10.4 cm) Bend diameter (8.0 cm) - Height (8.4 cm) Bend diameter (7.1 cm) - Height (6.9 cm), mouth diameter (restored; 16.8 cm), thickness (0.4-0.7 cm) Black spot on the outside Height (7.2 cm), floor diameter (restored; 11.3 cm), thickness (0.5-0.9 cm) Black spot on the outside Length (14.5 cm), width (12.1 cm), thickness (0.50.7 cm) Black spot on the outside Length (21.9 cm), width (14.2 cm), thickness (1.31.5 cm) �5 Mado18-29 Concave roof tile piece 6 Mado18-74 Concave roof tile piece 7 Mado18-69 Concave roof tile piece 8 Mado18-70 Concave roof tile piece 9 Mado18-71 Concave roof tile piece 10 Mado18-72 Concave roof tile piece 11 Mado18-73 Concave roof tile piece 12 Mado18-110 Concave roof tile piece 13 Mado 111 Concave roof tile piece 18- Clustered line pattern Clustered line pattern Clustered line pattern Clustered line pattern Clustered line pattern Clustered line pattern Clustered line pattern Clustered line pattern Clustered line pattern Greyish yellow Length (23.8 cm), width (12.9 cm) thickness (1.2-1.4 cm) Greyish yellow Length (13.6 cm), width (4.9 cm), thickness (1.0 cm) Greyish yellow Length (28.5 cm), width (11.5 cm), thickness (1.31.5 cm) Grey Length (15.0 cm), width (8.4 cm), thickness (1.3 cm) Greyish brown Length (8.6 cm), width (9.5 cm), thickness (1.2 cm) Greyish blue Length (13.1 cm), width (9.1 cm), thickness (1.1 cm) Greyish white Grey Grayish blue Length (12.5 cm), width (10.7 cm), thickness (1.3 cm) Length (15.3cm), width (12.1cm), thickness (1.2 cm) Black soot Length (13.3cm), width (9.3cm), thickness (1.3c m) EXCAVATION BACKGROUND OF ARTFIACTS For antient artifacts, five pieces of hard plain pottery from Proto Three Kingdoms period estimated to be the first century were found in waters of Myeongryangdaecheopro, Jindo and three Hanseong period potteries and 10 roof tile fragments of Baekje period from the fourth to fifth centuries were excavated from waters of Mado, Taean. The number of pieces collected was not huge but let’s examine the background of excavation of antient artifacts not from the land but from the sea based on the recovered artifacts. The reason why artifacts are found in sea can be divided into three-fold: 1) artifacts used in coastal area were discarded and inflowed into the sea by wave. It is the case where artifacts are fragmented and found near the coast. But both waters of Mado and Myeongryangdaecheopro are off from the coastal area, so it is hard for artifacts used on land are flown into the sea. 2) artifacts were discarded from sea crew or artifacts were sunken together with ship. At this time are fragments or original shapes found and the trace of using their remains. In some cases, traces of fire or cooking remain are indicated. 10 roof tiles excavated from waters of Mado, Taean were recovered in the form of fragments and among them, concave fragments [Mado 18-110] showed black soot trace. The side area had black soot traces (Figure.3). The color is reddish brown and inside foreign Figure 3. Fragments of Baekje roof tile material in greyish yellow color is attached. It is hard to confirm (Mado 18-110) as other roof tiles do not show black soot but it seems that fragments of roof tile were used to make fire. This is also shown in Mado no. 2 shipwreck. All roof tiles excavated from Mado no.2 shipwreck were from the area near the second 4 �compartment mast hole. The area was arranged by placing clay on the floor added with roof tile fragments, small number of pottery fragments and stones. The fragments of roof tile confirmed on the site were flat roof tile and 162 fragments of concave roof tiles and 24 fragments of convex roof tiles were identified. The roof tiles from Mado no. 2 shipwreck are all broken fragments and with the black soot traces, it is assumed that they were used not as roof tile but as firing for cooking. The lower part of the pottery excavated from waters of Myeongryangdaecheopro, Jindo [Jindo-497] had red oxidation trace and black soot at the bottom so it is assumed to be used by screw. In addition, potteries recovered from Mado, Taean [Mado 18-58, 84,19-10] are deep bowl-shaped pottery with black spots on the outside and this is traces from firing phase. The deep bowl-shaped pottery has a mouth part with flat bottom part and body part has lattice or clustered line pattern. Given the excavation of fragments of cooking ware, they are considered to be used for cooking by crew on the ship. 3) artifacts fell into the sea while transporting cargo using a ship. As they were loaded on the ship as cargo, artifacts were found in packaged state or they have no traces of use. Among roof tiles excavated from waters of Mado, Taean Mado, nine pieces with no traces of burning showed no signs of use. As they remain as not a complete but fragmentary, the possibility of being a cargo is low but there is a possibility that they were damaged by sea current. Therefore, it is necessary to look into the artifacts of Three Kingdoms Period near waters of Mado, Taean. There are four historic sites related to Three Kingdoms Period including Baekhwasanseong and Dalsanri sites. Seosan has nine sites such as Yecheondong site and Gijiri site. Dangjin has five historic sites. Taean Baekhwasanseong is a representative site where roof tiles are excavated. Baekhwasanseong is located at Baekhwasan, Dongmun-ri, Taea-eup, Taean-gun Chungcheongnam-do. It is stone fortress located in the middle of Mountain Baekhwasan and was established in 1287 during Goryeo Dynasty. The terrain was built on cliffs on all sides and served as a fortress that made it difficult for foreign enemies to approach. In 2011, a prospective excavation was conducted on the east wall section and part of the upper fortress wall at Baekhwasanseong Fortress in Taean, and 79 pieces of tile were excavated. Although it is difficult to clarify the construction period of the fortress wall due to the lack of evidence, it can be assumed that Baekhwasanseong Fortress was built in the early Baekje period (the sixth to seventh centuries), repaired and used until the early Goryeo period, and was abandoned during the Goryeo period. It is not clear as the excavation on Baekhwasanseong was not conducted but as the lattice-patterned roof tile were used Baekje Sabi period, the possibility of finding artifacts from Baekje Hansung period in the fourth and fifth centuries in future studies cannot be excluded. And there is no kiln for Baekje roof tile is identified in the area near Taean and Seosan, it is presumed that roof tiles were supplied through sea route of Mado, Taean. CONCLUSIONS Three pieces of deep bowl-shaped potteries which are artifacts from Baekje Hansung period and 10 pieces of Seungmun roof tile were first identified in 2018 and 2019. Underwater excavation of waters of Mado is the first case that confirms such artifacts since the start of the underwater excavation. So far, as many Goryeo celadons have been found in waters of Mado, Taean, the research on prior periods was not conducted. However, with recovery of the collection of fragments of Baekje pottery and of roof tile for the first time in 2018, the need for research on ancient artifacts and sea route was raised. Therefore, this paper examines the ancient artifacts reocovered from the West Sea. 15 pieces of artifacts were found in waters of Myeongryangdaecheopro, Jindo and Mado, Taean. 5 pieces of hard plain potteries were collected from Myeongryangdaecheopro and the traces of oxidation in red were found at the bottom of the body and black soot were observed so it is considered that those were used on the ship, not a cargo subject to transportation. In addition, the deep bowl-shaped pottery collected from waters of Mado, Taean is also for cooking so it is assumed that the pottery was used for cooking by antient crews on the ship. However, many opinions can be raised for the Baekje roof tiles. First of all, the traces of putting roof tile on fire were found in one roof tile among tiles collected from waters of Mado, Taean. It is likely that the wasted roof tile was used to make fire for cooking. As all pieces from Mado, Taean are fragmentary, there is a possibility to use the waste roof tile as cover for storage container. Or, it is likely to be sunken in the process of being moved for recycling as construction material. Even though official excavation was not conducted for Baekhwasanseong, Seonmun and lattice pattern roof tiles from Baekje 5 �Sabi period in the sixth and seventh centuries were found, so the relevance with waters of Mado, Taean where roof tiles from Baekje Hansung period were collected cannot be excluded. As the places for kiln for roof tiles were not found in areas near Taean and Seosan, it is highly likely that roof tiles were transported to Baekhwasanseong via sea route. Given the pattern of the artifacts, it is likely that many ancient artifacts can be found in waters of Mado, Taean and old ships from Three Kingdoms Area will be found. Bibliography Chungnam Institute of History and Culture. Excavation Report on Baekhwa Fortress, Taean. Gongju: One Design, 2013 (In Korean). NRIMCH. Waters off the Jindo Myeongnyangdaecheop-ro [Ave.] Underwater Excavation I, Series of Research Report of NRIMCH 39. Mokpo: NRIMCH, 2015 (In Korean). NRIMCH. Waters off the Jindo Myeongnyangdaecheop-ro [Ave.] Underwater Excavation II, Series of Research Report of NRIMCH 49. Mokpo: NRIMCH, 2018 (In Korean). NRIMCH. Waters off the Jindo Myeongnyangdaecheop-ro [Ave.] Underwater Excavation III, Series of Research Report of NRIMCH 67. Mokpo: NRIMCH, 2021 (In Korean). NRIMCH. Waters off the Taean-Mado Underwater Excavation, Series of Research Report of NRIMCH .62 Taean: NRIMCH, 2021 (In Korean). Yi, Insuk. “Significance of Roof Tiles Excavated from Sea Routes (Jooun-ro) in the Goryeo Period.” Archaeology 20, no. 2 (2021): 127-149 (In Korean). 6 � Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Study on Ancient Artifacts Recovered from the West Sea of Korea Description An account of the resource During the Goryeo and Joseon Dynasties numerous ships loaded with ceramics and grains went to the capitals Gaegyeong and Hanyang in the West Sea. We know this from 14 shipwrecksfrom the Goryeo and Joseon Dynasties and tens of thousands of artifacts such as Goryeo celadon, Joseon grayish-blue-powdered celadon, and Joseon white porcelain. Now as ancient artifacts are excavated in Mado, Taean and Myeongryangdaecheopro, Jindo, there is a possibility of ancient shipwrecks. Creator An entity primarily responsible for making the resource Yang Ki-hong 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. Ki-hong, Yang. 2023. “Study on Ancient Artifacts Recovered from the West Sea of Korea.” Edited by Jennifer Craig, Jay Mok, T. Kurt Knoerl, and Juhee Kim. In Proceedings of Fifth Asia Pacific Regional Conference on Underwater Cultural Heritage: Gwangju, The Republic of Korea, November 13-18 2023. The Museum of Underwater Archaeology. URL: https://apconf.omeka.net/items/show/1929 Asia-Pac Session 2 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 Chusei setonai no minato machi Creator An entity primarily responsible for making the resource Yasuyuki Suzuki Publisher An entity responsible for making the resource available Shinsensha Date A point or period of time associated with an event in the lifecycle of the resource 2007 Type The nature or genre of the resource Book Zotero Author Yasuyuki Suzuki Item Type Book Date A point or period of time associated with an event in the lifecycle of the resource 2007 Publisher An entity responsible for making the resource available Shinsensha Title A name given to the resource Chusei setonai no minato machi Japan https://apconf-much.org/proceedings/files/original/81a739087cdc24bd84d54084120dcbe6.pdf 5138bd27fa7cbc3b85ea9fbe5fd4cd00 PDF Text Text A Study on the Narrative Display Technique of the Underwater Archaeological Museum: Focusing on Shipwrecks and Underwater Cultural Assets Ye-ree Park (Curator Exhibition & Education Division, National Research Institute of Maritime Cultural Heritage, Korea) ABSTRACT The underwater archeology museum mainly deals with archaeological and historical shipwrecks and artifacts from ancient times to modern times as old as the history of marine activities of mankind, and has been operated with the participation and efforts of many experts for a long time, from underwater excavation to preservation and exhibition. Unlike general archaeological artifacts, underwater cultural properties require sufficient preservation treatment, as they are in a waterlogged environment. In particular, shipwrecks, which are submerged timber cultural assets, should be displayed in a sustainable manner while considering the preservation environment, and there is a need to explore how to effectively introduce the remaining hulls to visitors. The museum's exhibition can be said to be a fact-based narrative realization activity. In particular, a shipwreck that sank at a specific time has a narrative like a ‘time capsule’. In order to examine the narrative display techniques of underwater archaeological museums, this study is conducted as follows: 1) analyzing the shipwreck exhibition cases in Korea and the world to organize the differences of other maritime museums, 2) identifying convergence characteristics such as viewing environment-preservation-restoration strategies, tasks, and issues for effective exhibition of shipwrecks and underwater cultural properties, and presents exhibition directions, and 3) suggesting an exhibition technique to effectively convey the ‘narrative’ and value of shipwrecks and underwater cultural assets. From 1994 to the present, the author has been exhibiting several ancient shipwrecks at the Maritime Artifacts Exhibition Hall of the National Research Institute of Maritime Cultural Heritage (NRIMCH), and has tried various display techniques for them. This study is expected to be the data to think about how spatial curation, which visualizes and spatializes 'time and space of the past' through encounters with convergent exhibition techniques, is carried out. Keywords: underwater archeology, maritime museum, underwater cultural heritage exhibition, shipwreck List of Tables and Figures Table 1 Processes of combining restoration and display of shipwrecks Figure 1 Restoration frames and video display technique of Viking shipwreck Figure 2 A Viking warrior in the animation INTRODUCTION: NARRATIVE OF MUSEUM EXHIBITS Today, the paradigm and central function of museums are rapidly shifting from traditional roles such as collection, preservation, and exhibition to one of user-centered, cultural enjoyment, and consumption. Among them, exhibitions are at the very center of the paradigm shift as an essential activity of museums. In-depth consideration is required for subject selection, exhibition planning, content and scenario composition, archive services, public feedback of academic research and return of research results to the public, and presentation methods and materials. Moreover, it is important to seek an exhibition that moves the hearts of visitors. One of the important elements that move the emotions of the visitors is the narrative. The museum's exhibition can be considered to be an activity of realizing a narrative based on facts. Narrative exhibition contents are curated to visualize and spatialize ‘time and space of the past’ through encounters with design. Narrative realization is importantly treated in museum exhibitions in the field of humanities, such as archeology, history, and folklore. In particular, the ‘shipwreck’, the central exhibition content of the underwater archeology museum, is a product that disappeared at a specific time and place, and has a narrative that contains the story of that point, like a ‘time capsule’. Admittedly, the narrative of the museum is not contained only in the exhibition content. Many maritime museums around the world are located in waterfront spaces such as ports or riversides, providing historical locality to the location environment, and harmony with the sea space and identity to in the architecture. All of this can be said to be a time-space curating and an integrated narrative process. 1 �Research scope and method An exhibition achieves its best purpose when it communicates and exchanges emotions between people in the past and present visitors through exhibits. The theme of the exhibition is a fantasy series that transcends time and space, and the work of creating optimal narrative and storytelling is exhibition design and space curating. This study aims at examining the important 'narrative directing technique' in the exhibition space of the underwater archeology museum and the convergence curating with various fields in the process of realizing it. The scope of the research is museums specializing in underwater archeology, which focuses on 'shipwreck' and 'underwater cultural assets'. EXHIBITION AND NARRATIVE OF THE UNDERWATER ARCHAEOLOGY MUSEUM Underwater Archeology Museum in Korea As for the underwater archaeological museums in Korea, there are two museums: the Mokpo Maritime Artifacts Exhibition Hall and the Taean Maritime Artifacts Exhibition Hall of the NRIMCH under the Cultural Heritage Administration. Other than them, there are two places that focus on humanistic exhibition contents, the National Maritime Museum and the Incheon National Maritime Museum under the Ministry of Oceans and Fisheries. All of these four museums have the identity of the sea and the historical locality. These museums are establishing a narrative environment that connects the sea and exhibition programs from the external environment. Maritime Silk Road Museum in China The museums displaying underwater cultural properties in China include the Shandong Province Penglai Ancient Ship Museum, the Fujian Province Quanzhou Overseas Transportation History Museum, the Zhangzhou Maritime Silk Road Museum, and the Guangdong Provincial Museum and Yangjiang Maritime Silk Road Museum. Yangjiang Maritime Silk Road Museum is China's first museum specializing in underwater archeology, located on the seashore of Hailing Island, Hailing Island, Guangdong Province, in the South China Sea. Nanhai no. 1, the Southern Song Dynasty merchant ship, and about 100,000 artifacts are the main collection. The shipwreck sailed from China to the Arabian Peninsula about 800 years ago, but sank in the South China Sea. The Maritime Silk Road is a huge historical narrative that connects the world by sea and is an important theme in the exhibition of underwater cultural properties in Asia. In 2013, Nanhai no. 1, an underwater merchant ship of the Southern Song Dynasty, was moved to the center of the museum in a large container. Since then, the lower part of the hull has been made into an environment similar to the sea, and archaeological excavations have been carried out on land. All of these processes are open to the public as exhibition contents. It is very experimental and interesting attempt to make the museum into an underwater excavation site. Asian Civilizations Museum in Singapore The Asian Civilizations Museum (ACM, established in 1993) is located on the beautiful seaside of the port city-state of Singapore. ‘Understanding Asia Through Singapore’ is the motto promoted by the Museum of Asian Civilizations, implicitly containing the identity of the museum. It focuses not only on the history of the port city of Singapore, but also on Asian culture, civilization, and globalization. The iconic collection of the Asian Civilizations Museum is the Belitung shipwreck artifact. In the permanent exhibition room no. 1 is an exhibition with the theme of ‘Maritime Trade’. 2 �Museums of Underwater Archeology in Europe Mary Rose Museum in England While, in the UK, there are several maritime museums such as the National Maritime Museum, the Cornwall Maritime Museum, and the Mary Rose Museum. The Mary Rose Museum is about underwater archaeology. The Mary Rose Museum (established in 1982) is located in the Portsmouth Historic Dockyard in Portsmouth, County Hampshire, England. Mary Rose is a warship from the time of King Henry VIII (1509-1547) of the Tudor dynasty in England in the sixteenth century. The museum exhibits remaining restored hull and artifacts. The narrative of Mary Rose begins from the time the ship was built (1509-1511). Henry VIII built the Mary Rose as a product of Tudor naval power and the product of Renaissance science. The Mary Rose was sunk in the Strait of the Solent in 1545 during a battle with a French fleet after 30 years of active service. The narrative of the Mary Rose could be restored with vivid marine paintings and records drawn by court painters at the time The entire journey of Mary Rose, including voyage, sinking, discovery, excavation, preservation, research, and opening to the public, is a historical narrative and exhibition content. The exhibition at the Mary Rose Museum is characterized by the arrangement of a 1:1 scale artifact exhibition space next to Mary Rose. Through this, the exhibition line of movement was directed as if the visitors were active inside the ship.To ensure that visitors and the local community can feel the image of ‘eternal treasure Mary Rose’ rather than a battleship of misfortune, online and offline exhibition techniques with various ideas are being developed. Vasa Museum in Sweden Sweden's representative underwater archaeological museums include the Vasa Museum and the Maritime Museum Stockholm. Along with the Mary Rose Museum, it is one of the European leading underwater archaeological museums. Sunk in Stockholm in 1628 and excavated 300 years later, Vasa is the best-preserved seventeenth century warship in the world. Its artifacts are on display. A total of 64 cannons were installed on the ship, of which only three were found. The Vasa Museum is working on a project to find the remaining cannons by 2028, the 400th anniversary of the sinking. Like the Mary Rose Museum in England, the exhibition is structured to tell the story of the entire journey of Vasa, including voyage, sinking, discovery, excavation, preservation, research, and opening to the public. The narrative of Vasa was introduced along with historical information such as Swedish naval power and shipbuilding in the seventeenth century. Visitors can see the keel at the bottom of Vasa, the interior space, and the end of the stern while moving through a total of six floors. Copenhagen National Museum in Denmark In Northern Europe are many underwater archaeological and shipwreck museum. Shipwreck museums include the Copenhagen National Museum in Denmark and the Viking Ship Museum in Norway, both of which have Viking ships as an exhibition theme. Norway's Viking Museum focused on presenting three Viking shipwrecks: Oseberg, Gokstad, and Tune rather than narrative exhibitions. The National Museum in Copenhagen, Denmark, mainly presents narrative and dynamic exhibitions using various convergence production techniques. The highlight is the Viking exhibition among them. Once active as warriors and raiders on the seas between continental Europe and Britain, the Vikings have historically been both respected and despised. The National Museum of Copenhagen introduces one Viking shipwreck and hundreds of historical artifacts. Although only a small part of the Viking shipwreck was excavated, the narrative of the Vikings was expressed through various exhibition techniques such as restoration frames of the shape of a ship and large-scale videos. 3 �The National Museum in Copenhagen is planning three-series exhibitions with a Viking theme. In 2023, the second special exhibition ‘Join the Viking – on Raid’ is being held. In this exhibition, visitors can encounter the world of Vikings and the rarest treasures of the Viking Age, and experience the journey of joining the Vikings in an epic film. An archaeologist-turned-screenwriter maximized the narrativity of the exhibition by participating in this work. Figure 1. Restoration frames and video display technique of Viking shipwreck Figure 2. A Viking warrior in the animation THE 700-YEAR JOURNEY AND EXHIBITION REALIZATION OF THE EAST ASIAN MEDIEVAL TRADING SHIP, SINAN SHIPWRECK Narrativity of time and space Sinan shipwreck marks the beginning of underwater archeology in Korea. Even now, 50 years after the underwater excavation, it is a representative underwater excavation achievement not only in Korea but also in Asia. Like shipwrecks in many countries around the world, Sinan shipwreck has a journey of about 700 years from voyage to sinking, discovery, excavation, preservation, research, and opening to the public. Sinan shipwreck narrative is a merchant ship that departed from Ningbo, Fujian Province, China in 1323 and sailed to Fukuoka and Tokyo, Japan. It also has the narrative that it was sunk through a marine accident in the process of voyage. In the 700-year long journey and time and space, there are cultural properties excavated underwater and numerous people, including fishermen in the Sinan fishing village who accidentally discovered the Sinan shipwreck, and an investigation group who devoted their passion for about 10 years, and researchers of preservation and recovery of Sinan shipwreck over the 20 years. All of these tangible and intangible records and data were used as exhibition contents for the 40 years of the Sinan Shipwreck Exhibition. Composition of the exhibition The underwater archeology museum, which mainly exhibits the Sinan shipwreck, is the Mokpo Maritime Artifacts Exhibition Hall (Asian Maritime Exchange Room) of the NRIMCH. In addition, the National Museum of Korea (World Culture Center) and the National Gwangju Museum (Asian Ceramic Culture Room) introduce their main collections in their permanent exhibitions. Exhibition of Sinan shipwreck at the National Museum is a comprehensive museum focused on ceramics, especially art history. Unlike this, the Mokpo Maritime Artifacts Museum, an underwater archeology museum, organizes exhibitions focusing on the 700-year journey of the Sinan shipwreck and time and space: Part 1 ' Sinan Shipwreck, Awakening the Underwater Treasure Ship’, Part 2 'Secrets of the Sea, Navigating the Maritime Silk Road', Part 3 'Cultural Exchanges through the Sea Route in Medieval Asia', and Part 4 'Sinan Shipwreck, Opening the Treasure House under the Sea'. The exhibition scenario is developed in the order of discovery (1975 CE) and excavation (1976-1981 CE) of the Sinan shipwreck, voyage (1323), enjoyment of medieval culture and maritime exchange (the fourteenth century), and opening (present). 4 �Convergent time-space restoration and exhibition technique of Sinan shipwreck Most of the underwater archaeological museums examined until now open the restoration process of shipwrecks to visitors, and even utilize the work of the staff as an element of the exhibition. At this point, in addition to the exhibition planner, experts in visual and interior architectural design, conservation science, shipping company, and ship engineering participate together to create a convergence exhibition, empirically restore the wreck, create a safe preservation exhibition environment, and finally visualize the exhibition space, completing comprehensive space curating. No. Country 1 Korea 2 China 3 Denmark 4 Sweden 5 Germany 6 United Kingdom Table 1. Processes of combining restoration and display of shipwrecks Museum Shipwreck Display methods designations Mokpo National Maritime Sinan - display of restoration process Museum of the NRIMCH shipwreck - restoration of hull shape (metal frame) - production of multiple mapping panorama Maritime Silk Road Museum of Nanhai I - display of processes of outdoor archaeological Guangdong excavation for the first time around the world National Museum of Denmark Viking - restoration of hull shape (metal frame) shipwreck - production of multiple mapping panorama Vasa Museum Vasa - display of processes of conservation and restoration International Maritime Museum Bremen cog - display of processes of conservation and restoration Mary Rose Museum Mary Rose - display of processes of restoration The shipwreck exhibition is largely divided twofold: 1) ship structure with frames of the shape of a ship and restoration of lost hulls, and 2) introduction of digital, model, and lighting exhibition directing techniques. Both Viking shipwreck from the National Museum of Denmark and Sinan shipwreck from the Mokpo Maritime Artifacts Museum in Korea introduced both of them. The restoration frame of Viking shipwreck expresses the structural characteristics of the ship and the magnificent yet elegant shape well, and the appropriate lighting directing allows visitors to feel the majesty of the Viking shipwreck. In particular, the animated panoramic video makes it possible for people to understand the dramatic historical story emotionally. The exhibition space was brought back to the dynamic Viking era with the technique of mapping videos on multiple screens. As for the convergent restoration of space and time of Sinan shipwreck since 1994, new attempts have been applied to depending changes in exhibition techniques and technologies. In addition to restoration frames of the shape of a ship, animations and panoramic images were directed, and the audience's immersion was enhanced by maximizing the impression of the images through music direction. CONCLUSIONS The environment for underwater cultural properties includes the sea, rivers, and lakes, and most of them are the sea. As the sea is a space separated from the land, it is an unknown world from ancient times, a subject of fear, challenge, and overcoming, and a space where life and death coexist. This perception of ours is generally overlapped with the gaze of looking at underwater cultural properties. If ship’s voyage and maritime activity had been successful, there would have been no unfortunate archaeological artifacts. This study examined how the narrativity of underwater cultural properties is realized in exhibitions in museums. Through the cases of major underwater archaeological museums and shipwreck museums in the world, it was found that there is a common journey and narrative from sailing -> sinking -> discovery -> excavation -> preservation -> research -> exhibition. Each museum is reducing the distance between the audience and the exhibition contents and expanding the direct or emotional participation of the audience by organizing the exhibition through storytelling of its shipwreck’s narrative. Above all, it was found that the value of underwater cultural properties was being recreated through convergence with 5 �various fields, and museum exhibition techniques were also greatly changed and developed according to the paradigm of the digital age. The basic condition of the exhibition is to make the audience immersed in the time and space through interaction with the exhibits. Narrativity, that is, an exhibition based on storytelling, draws empathy and immersion. The long journey from the narrative and the long journey from sinking to the exhibition of underwater cultural properties is being reinterpreted and reconstructed through the exhibition methodology and is open to the public. This is the reason narrative exhibition techniques and space curating are needed to draw sympathy and emotion in line with the public's gaze on not only the brilliant history and culture, but also cultural properties. This study considered that there is a limit to comprehensively grasping the narrative exhibition techniques and trends of the underwater archaeological museum, as it is limited to the analysis of limited museums and exhibition cases. The Maritime Artifacts Exhibition Hall of the NRIMCH has exhibited several ancient shipwrecks and has been using and attempting various exhibition contents. However, there is still a challenge of how to proceed as a museum specializing in underwater archeology. Bibliography Asian Civilizations Museum Singapore (https://www.nhb.gov.sg/acm). China Yangjiang Maritime Silk Road Museum (https://www.msrmuseum.com). National Museum of Denmark (https://www.natmus.dk). National Research Institute of (https://www.seamuse.go.kr/mokpo). Maritime Cultural Heritage Mary Rose Museum, UK (https://www.maryrose.org). Swedish Vasa Museum (https://www.vasamuseet.se). 6 Mokpo Maritime Artifacts Exhibition Hall � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2023 Session 20: Effective Ways to Deliver Maritime and Underwater Cultural Heritage Subject The topic of the resource Session 20 papers Description An account of the resource Papers presented at Session 20 of the 2023 Asia Pacific Regional Conference on Underwater Cultural Heritage Creator An entity primarily responsible for making the resource Asia Pacific Regional Conference on Underwater Cultural Heritage Publisher An entity responsible for making the resource available The Museum of Underwater Archaeology Date A point or period of time associated with an event in the lifecycle of the resource November 2023 Rights Information about rights held in and over the resource Asia Pacific Regional Conference on Underwater Cultural Heritage Language A language of the resource English Rights Holder A person or organization owning or managing rights over the resource. Asia Pacific Regional Conference on Underwater Cultural Heritage Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource A Study on the Narrative Display Technique of the Underwater Archaeological Museum: Focusing on Shipwrecks and Underwater Cultural Assets Description An account of the resource The underwater archeology museum mainly deals with archaeological and historical shipwrecks and artifacts from ancient times to modern times as old as the history of marine activities of mankind, and has been operated with the participation and efforts of many experts for a long time, from underwater excavation to preservation and exhibition. Unlike general archaeological artifacts, underwater cultural properties require sufficient preservation treatment, as they are in a waterlogged environment. In particular, shipwrecks, which are submerged timber cultural assets, should be displayed in a sustainable manner while considering the preservation environment, and there is a need to explore how to effectively introduce the remaining hulls to visitors. The museum's exhibition can be said to be a fact-based narrative realization activity. In particular, a shipwreck that sank at a specific time has a narrative like a ‘time capsule’. In order to examine the narrative display techniques of underwater archaeological museums, this study is conducted as follows: 1) analyzing the shipwreck exhibition cases in Korea and the world to organize the differences of other maritime museums, 2) identifying convergence characteristics such as viewing environment-preservation-restoration strategies, tasks, and issues for effective exhibition of shipwrecks and underwater cultural properties, and presents exhibition directions, and 3) suggesting an exhibition technique to effectively convey the ‘narrative’ and value of shipwrecks and underwater cultural assets. From 1994 to the present, the author has been exhibiting several ancient shipwrecks at the Maritime Artifacts Exhibition Hall of the National Research Institute of Maritime Cultural Heritage (NRIMCH), and has tried various display techniques for them. This study is expected to be the data to think about how spatial curation, which visualizes and spatializes 'time and space of the past' through encounters with convergent exhibition techniques, is carried out. Creator An entity primarily responsible for making the resource Ye-ree Park Publisher An entity responsible for making the resource available The Museum of Underwater Archaeology Date A point or period of time associated with an event in the lifecycle of the resource 2023 Language A language of the resource English Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Park, Ye-ree. 2023. “A Study on the Narrative Display Technique of the Underwater Archaeological Museum: Focusing on Shipwrecks and Underwater Cultural Assets.” Edited by Jennifer Craig, Jay Mok, T. Kurt Knoerl, and Juhee Kim. In Proceedings of Fifth Asia Pacific Regional Conference on Underwater Cultural Heritage: Gwangju, The Republic of Korea, November 13-18 2023. The Museum of Underwater Archaeology. URL: https://apconf.omeka.net/exhibits/show/apconfproceedings/item/1968 Asia-Pac Session 20 2023 https://apconf-much.org/proceedings/files/original/36c1e9ab7e560160f95b8d2d53e04fa4.pdf 468f5185c0de2dd3885aa02398d0e79e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2021 Session 14: In the Mind of the Boatbuilder: Asia Pacific studies in Maritime Ethno-archaeology Subject The topic of the resource Session 14 papers Description An account of the resource Abstract The study of contemporary maritime cultures and their materials through first hand observation, maritime ethnography is a ‘relatively’ new tool available to maritime archaeologists. By using ethnographic analogies, archaeologists can propose hypothetical reconstructions of incomplete objects or structures, suggest the possible use of enigmatic structural elements, and describe in detail how the object or structure was made. Ethno-archaeology can provide clues or suggest ways of thinking about past cultures, and serve as a launch pad for retrospective enquiry. Analogous applications of ethnography to archaeology allow us to breach temporal and spatial gaps by using information derived from one context (the present) to help explain data found in another (the past). In keeping with the Conference theme and proposed sub-theme (8), ‘Nautical Technology in Asia-Pacific’, this session is intended to provide a forum for researchers from ethnography, archaeology, anthropology, digital humanities and related disciplines, to exchange ideas, present new research and explore challenges in the collection, investigation, interpretation and dissemination of maritime ethno-archaeological data. The focus of ‘In the Mind of the Boatbuilder: Asia Pacific Studies in Maritime Ethno-archaeology’ will be on water transport technology in Asia-Pacific, including regional studies and collaborative projects, which employ innovative and emerging technologies, observe boatbuilding traditions and explore archeological evidence for traditional boats, social practices, maritime rituals and associated traditions. We invite researchers from across the Asia Pacific region to submit papers on topics including, but not limited to: ancient seafaring in Asia-Pacific; boat ethnography in Asia-Pacific; ethno-archaeological studies of water transport systems and practices, new and emerging technologies for recording traditional boats; and ethnographic studies of maritime rituals and traditions in boat construction. We particularly welcome submissions that provide new information about regional seafaring that is changing our understanding of human history and creating opportunities for interdisciplinary collaboration beyond national boundaries. Session Organizers: Sarah Ward and Ying Ying Yan Creator An entity primarily responsible for making the resource Asia Pacific Regional Conference on Underwater Cultural Heritage Publisher An entity responsible for making the resource available The Museum of Underwater Archaeology Date A point or period of time associated with an event in the lifecycle of the resource November 2021 Language A language of the resource English Rights Holder A person or organization owning or managing rights over the resource. Asia Pacific Regional Conference on Underwater Cultural Heritage Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tanka Sampan Boats of Pearl River Delta : A Case Study in Ethno-archaeology Description An account of the resource For the purpose of keeping with the Conference aim of managing and protecting underwater cultural heritage in Asia, this paper will share the outcome of the investigation of the Chinese Tanka Sampan boat and related aspects, disseminate the maritime ethno-archaeological data. This paper is based on the fieldwork undertaken in Shatian in 2017, it aims at carrying out a study of the Chinese Tanka region through the perspective of the major iconic facet of their culture: Tanka sampan boats. Liu-wang boat and Bai-ban boat, which are recognised as commonly used ones by Tanka people, were used as the primary resources for the research. In the absence of the investigation on the sampan boatbuilding and relevant factors in an ethno-archaeological context, this paper will home in on the ethnographic study of these sampan boats, examine the remaining physical sources and provide an archaeological representation of the boats by reconstructing the boats in two and three dimensional, to provide new data for both traditional boat study from a maritime archaeological aspect and ethnological study on Tanka region. The analysis of Tanka sampan boats permits us to explore connections between the boats and the social life behind it intended for a water environment, reveal the relevant technical aspects of boatbuilding. Also, the application of new knowledge for examining the principles and practices that guided their cultural development, could aid with placing this within the wider maritime context of the region. Creator An entity primarily responsible for making the resource Ying Ying Yan Publisher An entity responsible for making the resource available The Museum of Underwater Archaeology Date A point or period of time associated with an event in the lifecycle of the resource November 2021 Rights Holder A person or organization owning or managing rights over the resource. Asia Pacific Regional Conference on Underwater Cultural Heritage Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Yan, Ying Ying. 2021. “Tanka Sampan Boats of Pearl River Delta : A Case Study in Ethno-archaeology.” Edited by Brian Fahy, Hans Van Tilburg, Bill Jeffery, T. Kurt Knoerl, and Riley Smith. In Proceedings of Fourth Asia Pacific Regional Conference on Underwater Cultural Heritage: Keelung,Taiwan, and Virtual, November 1-5, 2021. The Museum of Underwater Archaeology URL: https://apconf-much.org/proceedings/exhibits/show/apconf-muchproceedings/item/701 Asia-Pac Session14 2021 https://apconf-much.org/proceedings/files/original/5ffbd46adae370b15fbecb5fcc917cb3.pdf 70cd0c78ca8b2c90e8bd855005e68d15 PDF Text Text Stone Tidal Weirs in Hainan Island, PRC Yishi Wang (Tokyo University of Marine Science and Technology, wangyishi_2020@163.com) ABSTRACT Around Danzhou City at the northern coast of Hainan Island, PRC, stone tidal weirs are widely distributed. Local history says that immigrants from the southern part of Fujian Province in mainland China came to this area to build many stone tidal weirs during the Ming Dynasty. Each patrilineal linage composed the construction unit of them. One stone tidal weir at the village of Wangzhai has the stone-circled catching trap at the tip of the stone wall, which looks similar to ones in the Penghu islands. On other stone tidal weirs at the village of Shenchong, there are openings between stone walls, which are usually closed by wooden sluice gates; when the openings are opened on the ebb, people set fishing nets just outside of the opened gates. Before the tide is out of stone tidal weirs completely, fishing nets are also used inside them. At night, fishermen light a fire on floats of fishing nets with coconut oil in order to drive fish into the nets. Although one stone tidal weir at the village of Changsha has been registered as a Historical and Cultural Site Protected at the Provincial Level by the Hainan Provincial People's Government, most stone tidal weirs in Hainan island have not been safeguarded properly by local people as well as by the government. Some weirs are abandoned, and others are transformed into fishing ports. As for the intangible aspect, villagers still remember ‘Tide Song’ in Hainanese, which narrates the dates of the spring tides and the commencement times of high tides according to lunar calendar. In former days, in addition, some families held special rituals during high tides so that a haul at stone tidal weirs might be good. INTRODUCTION The stone tidal weir is a large fixed fishing gear constructed by piling up rocks or coral limestone in a horseshoe, semi-circular, square, or linear shape from the intertidal zone towards the sea. Fish schools enter the stone weir during high tide, but they are trapped inside when the tide recedes, so the fish are easy to catch. The stone weir is considered a primitive fishing gear and method, relying solely on tidal changes, and is seen as an ancient fishing technique. Research on stone tidal weirs in China has been primarily focused on Taiwan and Fujian Province, with no existing studies on stone weirs in other regions. Based on the current state of research, this paper presents the first study on stone tidal weirs in regions other than Taiwan or Fujian Province. The study focuses on the stone tidal weirs of Hainan Island. Drawing on fieldwork conducted in autumn 2021 on Hainan Island, this study provides insights into the conservation of Hainan's stone tidal weirs and their potential utilization as cultural resources for tourism. Hainanese Stone Tidal Weirs Hainan Island, located in the southern part of the East China Sea, north of the South China Sea, belongs administratively to Hainan Province in China. Stone tidal weirs are distributed on Hainan Island, Danzhou City. Danzhou City is situated in the northwest of Hainan Island, facing the Beibu Gulf, at approximately 109.5 degrees east longitude and 19.5 degrees north latitude. According to the local dialect known as Danzhou dialect, ‘沖(chong)’ a pond surrounded by sandy beaches or reefs by the seaside, and when combined with ‘石 (shi)’ stone weirs. In the local dialect, however, ‘石沖 (shi chong)’ is also referred to as ‘冲篱 (chongli)’ or ‘魚沖 (yu chong)’. Unlike stone tidal weirs in other regions, the stone tidal weirs in Hainan Island do not have specific names or unique designations. In 2021, stone tidal weirs were surveyed in three villages in Danzhou City, Hainan Province, namely the villages of Wangzhai, Changsha, and Shenchong. Village of Wangzhai Four stone tidal weirs remain in Wangzhai. However, the practice of using these stone weirs for fishing activities has largely disappeared. During the 2021 survey, only two stone tidal weirs were identified. The first stone tidal weir is massive, with a total length of over 800 meters. The second stone weir is smaller, with a total length ranging from 200 to 300 meters. At the curved end of the second stone weir, there is a fishing area similar in the stone tidal weirs of the Penghu Islands. 1 �Village of Changsha Three stone weirs remain in the village of Changsha. Among them, one small-sized stone weir has already suffered significant collapse. Immediately adjacent to its west, however, the second stone weir has been completely preserved, and the village residents still use this stone weir for fishing activities. It is an extremely long stone weir, with a total length of approximately 1,000 meters and a height of around three to five meters. The third stone weir was designated as a ‘Historical and Cultural Site Protected at the Provincial Level’ by the Hainan Provincial People's Government on 24 November 2015, and the ‘Changsha Village Offshore Enclosure Site’ was established in October 2016. During the survey conducted in 2021, however, it was not possible to visually confirm the existence of this third stone weir. Even the nearby village residents have no information about this stone weir, and it cannot be ruled out that it has already completely collapsed due to the impact of wind and rain. Village of Shenchong Three stone weirs remain In the village of Shenchong. Part of the stone wall of the first stone weir has been destroyed intentionally by nearby village residents to facilitate the entry and exit of fishing boats. Therefore, this stone weir primarily serves as a refuge for fishing boats during typhoons. Located northeast of the first stone weir, the second stone tidal weir is perfectly preserved, and its original form is fully intact. It is still being used by the local villagers for fishing activities. The third stone tidal weir is damaged but still usable for fishing, and neighboring villagers come to it during low tide. The stone tidal weirs at the village of Shenchong are significantly different from those in other locations in Danzhou City. While they share the common feature of utilizing tidal variations to retain fish within the weirs, each stone tidal weir's stone walls have two openings. These openings are equipped with two wooden gates that regulate the speed of drainage during low tide. The gates consist of a large gate and a small gate, and depending on the drainage requirements, both gates can be opened simultaneously or only one. To prevent fish from escaping the stone weir during drainage, fishing nets are installed outside the gates to capture them. Inside the stone walls, there are artificial water pools or depressions excavated for the purpose of collecting fish. Before high tide, the villagers stack stones in these depressions. During high tide, when the fish enter the stone weir, many of them have a tendency to hide in the gaps between the stones or gather near the stones. These depressions serve to enhance fishing efficiency. Additionally, the villagers sometimes use fishing nets when fishing inside the stone weir, especially when the tide does not completely recede. Some fish species emit sounds, especially during spawning, and the villagers move the fishing nets towards the source of the sound. During nighttime fishing, the villagers light coconut oil-fueled lamps on the buoys of the fishing nets. The fish are attracted to the light and are led into the nets. Tangible Aspect According to the village residents, in Hainan Island, stone tidal weirs were privately owned by the clans that constructed them. Each branch of the clan would take turns in fishing and jointly repairing the stone tidal weirs. On any given day, only people belonging to the same branch were allowed to use the stone weirs. The usage rights for the stone tidal weirs would transfer between the different branches on a daily basis. Additionally, other village residents who did not belong to the clan could borrow the stone tidal weirs. By paying a suitable fee, these villagers would temporarily acquire the right to use the stone tidal weirs. Furthermore, some stone tidal weirs were not solely built by a single clan but rather through cooperation among several clans. As a result, these stone tidal weirs became co-owned by multiple clans. However, despite involving multiple branches from different clans, the fundamental process of transferring usage rights remained unchanged. These transfers of usage rights not only helped maintain relationships within the clans but also fostered connections between different clans, while simultaneously preserving the relationship between each clan and the village. Additionally, the importance of stone tidal weir repairs surpassed the significance of usage rights. Stone tidal weirs were susceptible to destruction from typhoons and high waves, making regular maintenance essential. Stone tidal weirs brought stable fishing yields to the village, this provided a means for the villagers to obtain wealth and sustain their livelihoods. Therefore, the obligation to repair the stone tidal weirs was considered more significant than the usage 2 �rights. As a result, the repair work for the stone tidal weirs was primarily led by the users themselves, with the respective clans overseeing the repair activities. The stone tidal weirs in Hainan Island are similar to those in Fujian Province and the Penghu Islands. The basic structure consists of arc-shaped stone walls, but in Hainan Island, there are also stone tidal weirs with fishing compartments at the ends of the arcs, similar to those found in the Penghu Islands. Additionally, there are features in the stone tidal weirs of Hainan Island that resemble drainage outlets found in the stone tidal weirs at other regions of mainland China. The construction and management of stone tidal weirs seem to be quite similar in these regions. The construction and maintenance of stone tidal weirs require a large amount of labour. The ownership clans had exclusivity over the usage rights of the stone tidal weirs, which were primarily treated as private property. In other areas such as southern Fujian Province and the Penghu Islands, communal ownership was also observed. The stone tidal weirs at the village of Wufeng of Huian County in Fujian Province had an alternating system where different branches of the Song clan would take turns overseeing the fishing activities in the stone tidal weirs, and the catches were distributed fairly. The distribution of catches in Hainan Island is similar, with usage and distribution alternating among different branches of the family. All this gives a sense that stone tidal weirs in Fujian, Taiwan, and Hainan were privately owned. Furthermore, just like in Fujian Province and the Penghu Islands, it was possible to buy, mortgage, rent, or give away stone weirs in Hainan Island. This indicates that the stone tidal weirs had a certain immovable property nature as a source of productive activity. Intangible Aspect Since the Ming Dynasty, three main religious beliefs have coexisted in Hainan Island: Mazu worship, Xifu Ren worship, and Shuiwei Shengniang worship. Among them, the Shuiwei Shengniang worship and Xifu Ren worship originated in Hainan Island, while Mazu worship entered Hainan Island with the immigrants from southern Fujian and has become the mainstream belief on the island today. Near each stone tidal weir in Danzhou City, Hainan Island, there are traces of religious rituals. According to the villagers, local people participate in formal ceremonies for Xi Furen, Mazu, and Shuiwei Shengniang. They also conduct clan-based ritual activities by building ritual platforms near the stone tidal weirs. In addition to the worship of these three major deities, however, many fishing communities also worship other deities. For example, villagers who worship ‘Ganling Zhenjun’, ‘Lingying Zhenjun’, or ‘Ganying Dijun’ go out to the sea on holidays, wedding days, and full moon days to conduct incense-burning ceremonies, praying for a bountiful catch in the stone weirs and seeking the blessings of these deities. According to the memories of villagers in the village of Changsha, they used to conduct ceremonies for ‘Ganling Zhenjun’ during high tide, praying for abundant tides and the entry of many fish and crustaceans into the stone tidal weirs. However, with the development of modern fisheries and the emergence of industrial zones, the stone tidal weirs are no longer the means of livelihood for most fishing communities. Many have become factory workers or have chosen modern fisheries, so there are now fewer villagers who conduct ritual activities specifically for praying for a bountiful catch in the stone weirs. According to the villagers at the village of Shenchong, they have a ‘Tide Song’ that has been passed down through generations, which describes the laws of tides related to the stone tidal weirs. Although there is no written record of the song, most of the villagers still remember it through oral tradition. Through this song, the villagers grasp the high tides of the spring tide and gather manpower earlier to increase the fishing efficiency in the stone tidal weirs. According to the villagers at the village of Shenchong, they have a ‘Tide Song’ that has passed down through generations, which describes the laws of tides related to the stone tidal weirs. Although there is no written record of the song, most of the villagers still remember it through oral tradition. Through this song, the villagers grasp the high tides of the spring tide and gather manpower earlier to increase the fishing efficiency in the stone tidal weirs. The ‘Tide Song’ is recorded as the following content in modern Chinese: 大正月初七二十一、将门出虎子；二月初四与十九、蟾宫玉兔走；三月初一又十六、龙女会柳 毅；四月初二十五二十九、银蛇走三周；同间切星五月十二二十五、天马行空来往独；六月初 3 �十二十三、苏武牧羊不知年；七月初八二十二、悟空闹天河；八月初五与十九、雄鸡一唱天地 久；九月初二又十六、杨戩纵天狗；十月初一十四二十七、八戒娶妻；效十一月十二ニ十五、 弥勒走失金飞鼠；十二月初九二十四、牛郎会织女甘 The English translation of the ‘Tide Song’ is: ‘In January, there are two spring tides, on 7 January and 21 January, with high tides starting from three AM to five AM. In February, there are two spring tides as well, on 4 February and 19 February, with high tides starting from five AM to seven AM. In March, there are two spring tides on 1 March and 16 March, with high tides starting from seven AM to nine AM. In April, there are three spring tides on 2 April, 15 April, and 29 April, with high tides starting from nine AM to 11 AM. In May, there are two spring tides on 12 May and 25 May, with high tides starting from 11 AM to one PM. In June, there are two spring tides on 10 June and 23 June, with high tides starting from one PM to three PM. In July, there are two spring tides on 8 July and 22 July, with high tides starting from three PM to five PM. In August, there are two spring tides on 5 August and 19 August, with high tides starting from five PM to seven PM. In September, there are two spring tides on 2 September and 16 September, with high tides starting from seven PM to nine PM. In October, there are three spring tides on 1 October, 14 October, and 27 October, with high tides starting from nine PM to 11 PM. In November, there are two spring tides on 12 November and 25 November, with high tides starting from nine PM to 11 PM. In December, there are two spring tides on 9 December and 24 December, with high tides starting from one AM to three AM.’ The ‘Tide Song’ was originally passed down orally among the local villagers in Hainan, who spoke the Hainan dialect. With the influence of urban civilization in modern China, there is now a written version of the Chaozhou song in Standard Mandarin. Hainanese belongs to the Min Nan language group, and the formation of the Hainan dialect is directly related to the large-scale migration of people from Fujian to Hainan. According to Fu Yuchuan's ‘Ancient Migration and Hainan Dialect’, it is believed that Hainanese evolved and developed from a certain dialect brought by the dominant number of Fujian immigrants, and later underwent further changes influenced by other local dialects. Similarly, Taiwanese Hokkien is also a variant of Min Nan language, which has been influenced by the significant influx of Fujian immigrants. CONCLUSIONS The outstanding difference stone tidal weirs in Hainan Island is the conversion of stone tidal weirs into fish ponds. While cases of such conversion, like those observed in the Hawaiian Islands, are known, some argue this should be viewed as a common development trend for stone tidal weirs to become fish farming areas (Nishimura 1981). Similar observed exist for Hong Kong Island. In the past, stone tidal weirs were used as a means of fishing activity in coastal areas, but they faced damage and destruction. In traditional societies, the repair of broken stone tidal weirs was commonly done by the community at the clan level. However, as the fishing catch in stone tidal weirs has decreased, such communal work has diminished. Rapid coastal development at a national scale has led to the abandonment and disappearance of stone tidal weirs, without thorough investigation, causing them to rapidly vanish worldwide. Furthermore, the impacts of recent ocean climate changes, such as sea-level rise and destructive storms, have become the greatest threats to stone tidal weirs. The situation is similar for stone weirs in Hainan Island. In the Penghu Islands located in the Taiwan Strait, conservation efforts are underway for stone tidal weirs as cultural heritage. Extensive surveys are continuously conducted, and the results and statistical data are being compiled into a database. Additionally, conservation of stone tidal weirs is supported, considering its direct connection to marine resource conservation. Restoration activities for stone weirs are sponsored, and linked to cultural and ecological tourism (Lee 2017). In Hainan Island it is necessary to transform the historical and cultural value of stone weirs into practical tourism value. With the development of tourism, the establishment of an economic foundation through the maintenance and conservation of stone tidal weirs becomes possible, thereby increasing awareness for the protection of marine resources. 4 �However, the following principles are essential. First of all, the use of stone tidal weirs must adhere to the fundamental principles of cultural heritage preservation. So development activities that would damage stone weirs as cultural assets are not allowed. Secondly, based on the UNESCO 2001 Convention on the Protection of the Underwater Cultural Heritage, not only the stone tidal weirs themselves but also the coastal landscapes where stone tidal weirs exist are maritime cultural landscapes or seascape and should be protected. It is not possible to isolate stone tidal weirs from their surrounding environment, and while ensuring the integrity of the archaeological site without interfering with the stone tidal weir remains, the good condition and integrity of the ecological environment around the stone weir site must be ensured. Improving the surrounding ecological environment in conjunction with stone weirs is necessary to maximize the preservation of their historical and cultural value. Thirdly, in terms of tourism, ‘experience’ is the keyword. The development of stone weirs as a tourism resource should go beyond mere observation or listening to guide explanations. It should involve excavating the essence of stone tidal weir culture, assimilating tourists into the stone tidal weir experience, enhancing the level of tourist participation, and increasing the attractiveness of stone tidal weirs as a tourism resource. Tourists can have unique experiences by participating in fishing activities and restoration work at stone tidal weirs, gaining special experiences not available in their daily lives. Many tourists seek distinctive experiences. Finally, while utilizing stone weirs as a tourism resource, it is necessary to protect the marine resources in the surrounding sea areas for the conservation of stone tidal weirs. Collaborating with local governments, marine protected areas should be established for the release of fish and shellfish larvae into these protected areas. This would open the path for the revival of stone tidal weirs as traditional fishing and allow tourists to actively participate in fishing activities. Stone tidal weirs in Hainan Island should transcend traditional fishing and be passed down to the next generation as cultural or tourism resources. Bibliography Lee, M. “Study, Survey and Historical Change of Stone Tidal Weirs in the Penghu Island.” In Chong-Wu Stone Fish Weir on Ming Dynasty, edited by J. Chen, 51-72. Quanzhou: Chinese Literature and Culture Studies Association at Hui An County and Villagers’ Committee of Fong-Hou Village at Chong-Wu Town, 2017. Nishimura A. “Maritime Counterpart to Megalithic Culture on Land. » Journal de la Société des Océanistes 3 (1981): 255-266. 5 �6 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2023 Session 1: History and Current Trends of Underwater Archaeology around East Asia Subject The topic of the resource Session 1 papers Description An account of the resource Papers presented at Session 1 of the 2023 Asia Pacific Regional Conference on Underwater Cultural Heritage Creator An entity primarily responsible for making the resource 2023 Asia Pacific Regional Conference on Underwater Cultural Heritage Publisher An entity responsible for making the resource available The Museum of Underwater Archaeology Date A point or period of time associated with an event in the lifecycle of the resource November 2023 Rights Information about rights held in and over the resource Asia Pacific Regional Conference on Underwater Cultural Heritage Language A language of the resource English Type The nature or genre of the resource Conference presentation Date Available Date (often a range) that the resource became or will become available. November 2023 Rights Holder A person or organization owning or managing rights over the resource. Asia Pacific Regional Conference on Underwater Cultural Heritage Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Stone Tidal Weirs in Hainan Island, PRC Description An account of the resource Around Danzhou City at the northern coast of Hainan Island, PRC, stone tidal weirs are widely distributed. Local history says that immigrants from the southern part of Fujian Province in mainland China came to this area to build many stone tidal weirs during the Ming Dynasty. Each patrilineal linage composed the construction unit of them. One stone tidal weir at the village of Wangzhai has the stone-circled catching trap at the tip of the stone wall, which looks similar to ones in the Penghu islands. On other stone tidal weirs at the village of Shenchong, there are openings between stone walls, which are usually closed by wooden sluice gates; when the openings are opened on the ebb, people set fishing nets just outside of the opened gates. Before the tide is out of stone tidal weirs completely, fishing nets are also used inside them. At night, fishermen light a fire on floats of fishing nets with coconut oil in order to drive fish into the nets. Although one stone tidal weir at the village of Changsha has been registered as a Historical and Cultural Site Protected at the Provincial Level by the Hainan Provincial People's Government, most stone tidal weirs in Hainan island have not been safeguarded properly by local people as well as by the government. Some weirs are abandoned, and others are transformed into fishing ports. As for the intangible aspect, villagers still remember ‘Tide Song’ in Hainanese, which narrates the dates of the spring tides and the commencement times of high tides according to lunar calendar. In former days, in addition, some families held special rituals during high tides so that a haul at stone tidal weirs might be good. Creator An entity primarily responsible for making the resource Yishi Wang 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. Wang, Yishi. 2023. “Stone Tidal Weirs in Hainan Island, PRC.” Edited by Jennifer Craig, Jay Mok, T. Kurt Knoerl, Akifumi Iwabuchi, and Kotaro Yamafune. 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/1892 Asia-Pac Session 1 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 Official Relations Between China and Japan, 1368-1549 Creator An entity primarily responsible for making the resource Yit‘ung Wang 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 1953 Type The nature or genre of the resource Book Zotero Author Yit‘ung Wang Item Type Book Call Number DS740.5.J3W3 Date A point or period of time associated with an event in the lifecycle of the resource 1953 Extra Series: (Harvard-Yenching Institute studies ; 9) Item info: Place Hold Physical description: xi, 128 p. ; 26 cm Series: (Harvard-Yenching Institute studies ; 9) Bibliography note: Bibliographical references included in "Notes" (p. 112-116) LCCN: 53005062 Control Number: rla00041695 Library Catalog lib-app3.usc.edu Library Catalog Place Cambridge Publisher An entity responsible for making the resource available Harvard University Press Title A name given to the resource Official Relations Between China and Japan, 1368-1549 China 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 Commerce and Society in Sung China Creator An entity primarily responsible for making the resource Yoshinobu Shiba Publisher An entity responsible for making the resource available Center for Chinese Studies, The Universi Date A point or period of time associated with an event in the lifecycle of the resource 1969-01-01 Type The nature or genre of the resource Book Zotero Author Yoshinobu Shiba Item Type Book ISBN 089264902X Date A point or period of time associated with an event in the lifecycle of the resource 1969-01-01 Library Catalog Amazon.com Publisher An entity responsible for making the resource available Center for Chinese Studies, The Universi Title A name given to the resource Commerce and Society in Sung China China https://apconf-much.org/proceedings/files/original/28b0d3ebe859f5999438bd9b383aee33.pdf 81ff082f50b6c3769f249d86aadd1a36 PDF Text Text Education on Maritime Cultural Heritage for Children with Disabilities: Focusing on Education Program Developed by the National Research Institute of Maritime Cultural Heritage in 2022 for Children with Developmental Disability Yun Bo-rum (Curator of Exhibition & Education Division, the National Research Institute of Maritime Cultural Heritage) ABSTRACT This paper shares the Mokpo Maritime Museum outcome of the 2022 program developed for children with disabilities experience underwater cultural heritage (UCH). Materials on maritime exchanges between Asia and Korea and history of ships are displayed. For example, the hull of Sinan shipwreck excavated between 1976 and 1984 CE was treated for conservation and displayed at the center of exhibition hall 2. Other major exhibition items include jounseon1 and ceramics excavated from the west and south sea of Korean Peninsula and weapons, which are the traces of war that took place on the Korean Peninsula about 400 years ago. We have tried many things to deliver UCH effectively to various groups with different ages and characteristics. For example, we published a maritime cultural heritage braille comic book for the visually impaired in 2021, and on-site experience program for children with developmental disabilities in 2022. Here we discuss the development and utilization of on-site experience program for children with developmental disabilities developed by the Mokpo Maritime Museum. First, the cases of cultural heritage exhibition and education cases for domestic and overseas children with disabilities are examined for this study. Second, the exhibition items and exhibition environment of the Mokpo Maritime Museum are identified. Lastly, this paper shares the design of the program ‘Maritime Cultural Heritage Experience Program for Children with Developmental Disabilities’ and results of pilot operation. We discuss the environmental factors that need to be considered upon production of experience programs that target children with developmental disabilities, to thus design programs depending on disability type and response of participants. Keywords: children with developmental disabilities, education on maritime cultural heritage, Sinan shipwreck, Mado no. 1 shipwreck List of Tables and Figures: Table 1 Education program for people with disabilities provided by institutions that belong to Cultural Heritage Administration (2023) Table 2 Overview of express delivery of dolphins of Goryeo Trading Company! Figure 1 Exhibition of hull of Sinan Ship (exhibition room 2) Figure 2 Educational material (sticker) DOMESTIC AND INTERNATIONAL CASES OF DISPLAY OF CULTURAL HERITAGE AND EDUCATION FOR CHILDREN WITH DISABLITIES The right to enjoy culture for children with disabilities According to the Act on the Special Education for the Disabled Persons in Korea, the types of children with disabilities include visual and hearing impairments, physical disability, emotional behavior disorder, autistic disorder, communication disorder, learning disability, health disorder, developmental delay, and other disabilities prescribed by Presidential Decree.2 In Article 24 (Prohibition of Discrimination in Cultural and Artistic Activities of the Act on the Prohibition of Discrimination Against Persons with Disabilities and Remedy Against Infringement of Their Rights) in terms of the right to enjoy culture of the people with disabilities3, it is stated that ‘the 1 Tax transporting vessel 2 Act on the Special Education for the Disabled Persons (http://www.law.go.kr/Act/, Act on the Special Education for the Disabled Persons), accessed at. May 3, 2023. 3 Act on the Prohibition of Discrimination Against Persons with Disabilities and Remedy Against Infringement of Their Rights (http://www.law.go.kr/Act/Act on the Prohibition of Discrimination Against Persons with Disabilities and Remedy 1 �state, local governments and cultural and art business operators should provide legitimate convenience to people with disabilities to participate in cultural and art activities’ and ‘the state and local governments should come up with measures necessary for the people with disabilities to use cultural and art facilities and engage in cultural and art activities actively. In addition, according to the Article 30 (1) and 30 (5) of the Convention on the Rights of Persons with Disabilities4, prevention of discrimination against people with disabilities for cultural and sports activities and duties to improve environment are stipulated. It shows that the right to enjoy culture and art is included in the basic rights of people with disabilities in the enactment of laws (Lee and Park 2019, 42). However, according to the ‘Study on the Current Status of Cultural and Leisure Activities of People with Disabilities’, it was found that the overall cultural experience of people with disabilities was insufficient and especially the experience of enjoying culture was scarce. In general, the percentage of enjoying movie was relatively high as it has easy accessibility but the percentage of enjoying culture at theaters or art galleries was very limited, indicating that people with disabilities in Korea had very insufficient access to cultural and leisure activities5 (Oh and Gu 2019, 6-12). Institutions that exhibit cultural heritage have a distinctive and important role in realizing right to enjoy culture for people with disabilities. Institutions such as museums and exhibition halls that collect, research, and preserve cultural properties also serve as educational institutions for children. Museums for children, such as the Victorian & Albert Museum of Childhood, have been established for children's education, and studies that emphasize the role of museums as spaces for experiences and interactions prove this (Kirk and Buckingham 2018)6. On the other hand, Object Based Learning based on exhibition items is an element that differentiates exhibition halls and museums from other educational institutions. Exhibits-based education plays a multifaceted role in education through exploration based on exhibits and interaction with exhibits in the area that formal education such as school education cannot fill in the complex modern society (Kang 2011, 15-47). Cases of exhibition of cultural heritage and education for children with disabilities Recently, cultural heritage exhibition institutions in Korea are actively making efforts for the cultural enjoyment of the disabled. This includes exhibition space creation using tactile models, information using Braille boards, and voice guidance for the visually impaired. For example, since 2013, the National Museum of Korea has placed touchable exhibits in the exhibition hall for the visually impaired, and Seoul Museum of Craft Art, which opened in 2021. Here we produce miniatures of artifacts, allowing people to experience the exhibits through tactile senses (Lee 2022). Also, the National Research Institute of Maritime Cultural Heritage (NRIMCH) made the braille book, Is there a treasure under the sea?, and tactile teaching aids in 2021. These were distributed to students of schools for visually impaired across the nation (408 people, 1 book per student) and other relevant institutions. Tokyo National Museum of Japan helps children with visual impairment to participate in experience exhibition by providing printmaking process in braille guidebooks at the Ukiyo-e making experience in the Japanese Culture Plaza7. Against Infringement of Their Rights), accessed at. May 1, 2023. 4 Convention on the Rights of Persons with Disabilities (https://ko.wikisource.org/wiki/Convention on the Rights of Persons with Disabilities), accessed at. May 1. 2023. 5 The raw data for 4,214 people was analyzed utilizing the raw data of the second survey of the second way of employment panel survey conducted by Korea Employment Agency for Persons with Disabilities in 2017, and the cultural experience for the past year of people with disabilities showed: 1) watching a movie (45 per cent), 2) watching performance at a theater (play, music concert, musical, opera, etc.; 9.9 per cent), 3) museum, exhibition, art gallery, zoo and theme park (12.8 per cent). 6 Although this book discusses children's experiences in natural history museums, the same applies to exhibits such as history, art history, and literature. 7 The on-site survey on the experience exhibition for children with visual impairment by Tokyo National Museum was conducted by the author in April 2023 (Experience exhibition at Tokyo National Museum: https://www.tnm.jp/modules/r_free_page/index.php?id=2137). 2 �A representative service for the hearing impaired is a sign language exhibition commentary. Efforts are being made to expand the cultural enjoyment of the hearing-impaired, such as providing sign language video services by attaching QR codes to experience information boards in children's experience spaces, or providing sign language services for avatars using AI. In addition, the Cultural Heritage Administration is conducting face-to-face and non-face-to-face education for the disabled in 2023 (Table 1). Through non-face-to-face education, opportunities are provided to children who cannot visit the exhibition hall to experience cultural heritage, and face-toface education allows children who visit the exhibition hall to experience the exhibits more effectively8. Table 1. Education program for people with disabilities provided by institutions that belong to Cultural Heritage Administration (2023) Name of material Animals in the museum Go, go, go into the royal rites (non-face-toface) Palace story Institution National Palace Museum of Korea City Seoul Journey into the palace forest Goryeo Trading Company – Express delivery of dolphins! NRIMCH Target Special classes at elementary and middle schools Special classes at elementary and middle schools The visually impaired Mokpo Kindergarten for the hearing impaired and school for deaf mutism (the first and second grades of elementary school) Special classes at elementary and middle schools Details A class to understand royal culture through animals in museum artifacts A class comparing our lives with the culture of the Joseon Dynasty Audio commentary + 3D Gyeongbokgung Palace Learning royal culture through tactile models Providing experience kits with sign language videos, educational contents based on the flowers and trees of Changdeokgung Palace Finding relics with the help of video + treasure hunt map EXHIBITION ENVIRONMENT FACTORS OF THE NRIMCH The NRIMCH, located in Mokpo-si, Jeollanam-do, South Korea, is the only institution in Korea that discovers, researches, exhibits, preserves, and educates underwater cultural properties. In 1981, the Mokpo Conservation Center of the Cultural Heritage Administration was opened to preserve the hull of the Sinan shipwreck excavated between 1976 and 1984, and in 1994, the National Maritime Art Museum was opened. At the exhibition center, permanent and special exhibitions are prepared under the theme of ‘seapeople-culture-exchange-history’. There are four rooms for permanent exhibitions composed of exhibition room 1- Korea Maritime Exchange Hall, exhibition room 2- Asia Maritime Exchange Hall, exhibition room 3- Korea Underwater Excavation and exhibition room 4- Traditional Korean Ships to display the materials related to maritime exchanges between Korea and Asia, underwater excavation and history of ships. 8 For the education of children with disabilities, videos, tactile teaching aids, audio commentaries, sign language videos, and experience kits were used. 3 �The exhibition environment of the Mokpo Maritime Museum is dark compared to general exhibition halls, and the plane inside the exhibition hall is atypical. In particular, in the case of the Sinan shipwreck in the exhibition hall 2, the height of the exhibition space is high because the hull is high, and the exhibition hall is created using uphill and downhill roads. Figure 1. Exhibition of hull of Sinan Ship (exhibition room 2) In addition, videos using images of marine artifacts and the sea maximize the exhibition effect inside the exhibition room and are also used as a photo spot for the audience. Such images of dark environment and strong stimuli were pointed out by experts when producing programs for children with developmental disabilities. DESIGNING EDUCATION PROGRAM FOR CHILDREN WITH DEVELOPMENTAL DISABLITIES The Act on Guarantee of Rights of and Support for Persons with Development Disabilities (hereinafter referred to as the Act on Persons with Developmental Disabilities) was passed in the National Assembly and enforced on November 21, 2015. It is the first law enacted for those with certain disabilities. Under this act persons with disabilities refer to people with intellectual disabilities and people with autism (Kim and Kim 2016, 3). According to Ministry of Education 2022 statistics, out of the total number of persons eligible for special education (103,695 persons), 70,742 persons (intellectual disability: 53,718 persons, autism: 17,024 persons), or approximately 68.2 per cent had developmental disabilities, (Ministry of Education press release, November 28, 2022)9. In fact, they account for high proportion in the elementary and middle school special classes. Table 2. Overview of express delivery of dolphins of Goryeo Trading Company! ○ Education title: Education program for children with developmental disabilities ‘Dolphinss’ Express Delivery of Goryeo Trading Company!’ (Developed in 2022) ○ Education target: Students from special classes of elementary and middle schools ○ Education objectives: 1) Providing education where students with developmental disabilities have interest in and enjoy the Mokpo Maritime Museum actively 2) Providing opportunity to students with developmental disabilities to make them have interest in maritime cultural heritage and enjoy exhibition hall ○ Education time:1 hour and 40 minutes ○ Education composition: orientation → treasure hunting at the exhibition hall → making educational materials No. Activity Time Place Education details required 1 Orientation 20 minutes Video room at Watching animation and exhibition hall pre-education 2 Treasure hunt 1 hour Exhibition hall 1 Treasure hunting at the and 2 exhibition hall 3 Making educational 20 minutes Video room at Coloring pottery-shaped materials exhibition hall balloon ○ Education material: Video, treasure map booklet, exhibit stickers (4 types), crafting tools (pottery-shaped balloons), video QR code sticker 9 Fulfilling the national responsibilities for special education by providing education customized to students with disabilities (https://www.korea.kr/briefing/pressReleaseView.do?newsId=156539165 ), November 28, 2022, Ministry of Education 4 �This program is an exhibition hall experience program designed for children with developmental disabilities. It was created to provide opportunities for children with developmental disabilities to experience an educational program that allows them to view the exhibition hall in an interesting and active way to have an opportunity to become interested in maritime cultural heritage and enjoy the exhibition hall fully. To this end, students explore the exhibition hall and search for treasure. They get information on exhibition items (4 items) subject to treasure hunt while watching a video clip and look for treasures in the exhibition hall while holding mission booklet made on the concept of treasure map. When they find an artifact, they receive an educational material (sticker) of the picture of the artifact they found and attach it to the treasure map. In addition, they can watch the video on the stories about the artifacts they found through QR code. After going through this process, the program is finished if they finally color the pottery-shaped balloon (Table 2). Figure 2 Educational material (sticker) An imaginary “Goryeo trading company” was assumed to explain the concept of “Maritime Transportation and Trade in the Goryeo Dynasty,” which is the main keyword of the learning objective. The story went on with the simulation concept of filling out an order form and shipping it by sea. Dolphin characters appear, and students check the order (wooden plate) and make decision on packaging and delivery by using the image of delivery companies familiar to children with developmental disabilities like “Coupang” and “SSG Delivery”. The program was designed to make students understand the concept of artifacts with the concept in the real life while checking the purpose of the relics. In the video, international trade (Sinan shipwreck) and domestic delivery (Mado no. 1 shipwreck) were conducted at the Goryeo trading company, an imaginary company and four artifacts at the exhibition hall: 1) Salted mackerel jar (Goryeo; 1207-1208, Taean Mado no. 1), 2) Celadon mandarin duck-shaped incense burner lid (Goryeo; the twelfth to thirteenth centuries, waters of Jindo Myeongryangdaecheop), 3) Peony pattern vase (Chinese Yuan; the first half of the fourteenth century, Sinan Jeungdo underwater), 4) Black teacup (Chinese Yuan; the first half of the fourteenth century, Sinan Jeungdo underwater) were used to make a story based on historical facts to make children with developmental disabilities understand UCH in a friendly way. For example, stories such as production site of salted mackerel, delivery using pottery upon maritime transportation, existence of secondhand products produced in Southern Song Dynasty among black teacups recovered from Sinan shipwreck are delivered through interesting stories. In other words, the difficult concept of maritime cultural heritage is explained with things encountered in daily life and historical facts are conveyed through interesting stories. In addition, the content of the video is composed of easy language and short sentences at the Literacy 2 level and the name of the artifact used in the video and educational materials (treasure search map and artifact stickers), artifact and image are unified. By doing so, children with developmental disabilities, who take longer to adapt to change than the general public, can experience marine cultural heritage safely. Pilot operation was conducted targeting 13 students from special classes of Gwangju Shinyong Elementary School on Dec. 5, 2022 in order to execute the program effectively. The number of students to be educated was set at around 15, considering the number of teachers per student. Prior to the pilot operation, special classes were contacted to check 1) the number of teachers, 2) special attention required for each student 3) the environment of the exhibition hall and 4) survey was shared with the school so that children with developmental disabilities can experience UCH while they were ready. 5 �Bibliography Cultural Heritage Administration of the Ministry of Culture and Public Information, Wando Underwater Artifacts: Excavation Report. Mokpo: Cultural Heritage Administration, 1985 (In Korean). Joo, Chan-mee. A Study on OBL Program Development Plan for People with Developmental Disabilities in the Museum: Focusing on Housing Life Objects in National Folk Museum of Korea, Master’s Thesis, Graduate School of Education Kyunghee University, 2018 (In Korean). Kang, Jae-young. “A Proposal for Inclusive Museum Considering Disabled Children: Focus on the Cases of 'Another Way of Seeing'.” Journal of Children and Museums 17 (2020): 9-34(In Korean). Kang, In-ae. “Alternative Ways of Education at School: Learning Based on Exhibit through Museum Education.” In Possibility of Museum Education, edited by Kang, In-ae, Seoul: Munemsa, (2011): 15-47 (In Korean). Kim, Sanseop. Na, Gyeong-eun, and Kim, Ki-ryong. Understanding Developmental Disability. Seoul: Hakjisa, 2016 (In Korean). Kirk, Elee. And Buckingham, Will. Snapshot of Museum Experience: Understanding Child Visitors through Photography. London and New York: Routledge, 2018. Lee, Yeon-soo, Park, Seon-yeong. “A Case Study on the Visually Impaired People for Museum Visits.” Journal of Children and Museums 16 (2019): 41-66 (In Korean). NRIMCH. Report on Conservation and Restoration of Dalido Shipwreck. Mokpo: The National Research Institute of Maritime Cultural Heritage, 2012 (In Korean). NRIMCH. Special Exhibition of the 40th Anniversary of Underwater Excavation in Korea. Mokpo: The National Research Institute of Maritime Cultural Heritage, 2017 (In Korean). NRIMCH, A Study on Restoration of Original Shape of Sinan Shipwreck. Mokpo: National Research Institute of Maritime Cultural Heritage, 2018 (In Korean). NRIMCH, A Study on Restoration of Original Shape of Sibidongpado Shipwreck. Mokpo: National Research Institute of Maritime Cultural Heritage, 2023 (In Korean). Oh, Soo-kyeong. And Koo, Bo-kyeong. “A Study on Current Status of Cultural and Leisure Activities of People with Disabilities.” Korean Journal of Culture and Arts Education Studies 17 (2019): 1-17 (In Korean). Internet sources Disability Discrimination Act (http://www.law.go.kr/) Declaration on the Rights of Disabled Persons (https://ko.wikisource.org/wiki/) To Build a museum for all by Seoul Museum of Craft Art (http://museumnews.kr/309column/) Tokyo National Museum (https://www.tnm.jp/modules/r_free_page/index.php?id=2137) Special Education Laws for Persons with Disabilities and Others (http://www.law.go.kr/). https://www.korea.kr/briefing/pressReleaseView.do?newsId=156539165 6 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2023 Session 20: Effective Ways to Deliver Maritime and Underwater Cultural Heritage Subject The topic of the resource Session 20 papers Description An account of the resource Papers presented at Session 20 of the 2023 Asia Pacific Regional Conference on Underwater Cultural Heritage Creator An entity primarily responsible for making the resource Asia Pacific Regional Conference on Underwater Cultural Heritage Publisher An entity responsible for making the resource available The Museum of Underwater Archaeology Date A point or period of time associated with an event in the lifecycle of the resource November 2023 Rights Information about rights held in and over the resource Asia Pacific Regional Conference on Underwater Cultural Heritage Language A language of the resource English Rights Holder A person or organization owning or managing rights over the resource. Asia Pacific Regional Conference on Underwater Cultural Heritage Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Education on Maritime Cultural Heritage for Children with Disabilities: Focusing on Education Program Developed by the National Research Institute of Maritime Cultural Heritage in 2022 for Children with Developmental Disability Description An account of the resource This paper shares the Mokpo Maritime Museum outcome of the 2022 program developed for children with disabilities experience underwater cultural heritage (UCH). Materials on maritime exchanges between Asia and Korea and history of ships are displayed. For example, the hull of Sinan shipwreck excavated between 1976 and 1984 CE was treated for conservation and displayed at the center of exhibition hall 2. Other major exhibition items include jounseon1 and ceramics excavated from the west and south sea of Korean Peninsula and weapons, which are the traces of war that took place on the Korean Peninsula about 400 years ago. We have tried many things to deliver UCH effectively to various groups with different ages and characteristics. For example, we published a maritime cultural heritage braille comic book for the visually impaired in 2021, and on-site experience program for children with developmental disabilities in 2022. Here we discuss the development and utilization of on-site experience program for children with developmental disabilities developed by the Mokpo Maritime Museum. First, the cases of cultural heritage exhibition and education cases for domestic and overseas children with disabilities are examined for this study. Second, the exhibition items and exhibition environment of the Mokpo Maritime Museum are identified. Lastly, this paper shares the design of the program ‘Maritime Cultural Heritage Experience Program for Children with Developmental Disabilities’ and results of pilot operation. We discuss the environmental factors that need to be considered upon production of experience programs that target children with developmental disabilities, to thus design programs depending on disability type and response of participants. Creator An entity primarily responsible for making the resource Yun Bo-rum 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. Yun, Bo Rum. 2023. “Education on Maritime Cultural Heritage for Children with Disabilities: Focusing on Education Program Developed by the National Research Institute of Maritime Cultural Heritage in 2022 for Children with Developmental Disability.” Edited by Jennifer Craig, Jay Mok, T. Kurt Knoerl, and Juhee Kim. In Proceedings of Fifth Asia Pacific Regional Conference on Underwater Cultural Heritage: Gwangju, The Republic of Korea, November 13-18 2023. The Museum of Underwater Archaeology. URL: https://apconf.omeka.net/exhibits/show/apconfproceedings/item/1969 Asia-Pac Session 20 2023 https://apconf-much.org/proceedings/files/original/72cba9dcfbfeb9d7f77dab178f74d97f.pdf e0cbae6d9af160455a5c6fb4a1900d6d PDF Text Text The Archaeological Type of Sambyeolcho and Maritime Route of Korean Peninsula in the Goryeo Dynasty Yun Hyeung-won (Director, National Museum of Korea in Buyeo and Previous Chairman of the Korean Association for Central Asian Studies) ABSTRACT Sambyeolcho, Goryeo Dynasty in Korean Peninsula, the events that took place at Gaegyeong-Ganghwa IslandJindo Island-Jeju Island-Ryukyu take on the aspect of an international war. This subject is proceeding for long time on archeological excavation and historical resesrch in Korea. What is a real shape of Goryeo, according to interpretate Sambyeolcho and Maritime route of Korean peninsula. Anaysis archaeological artifacts and historical records. Synthsis archaeological-historical perspective. This research is necessary that it reveals hidden Goryeo culture and new medieval Korean Maritime route. And it is related with Mongol-Goryeo-Japan military force.The archaeological remains that show the Mongol (Yuan Dynasty)’s active maritime route is the Sinan shipwreck 700 years before. It was a trading ship going from Ningbo, in 1323. Keyword: Goryeo Dynasty, Sambyeolcho, Mongols (Yuan Dynasty), Sinan shipwreck 700years INTRODUCTION Mongol Empire (Chinese branch Yuan Dynasty) in the time of Genghis Khan, the steppe nomadic society was unified. Political and military obstacles to land transportation have been removed. A turning point in trade based on peace covering the north, south, east, and west called ‘PAX MONGOLICANA’ was prepared. The emergence of the Mongol Legion, which boasts fast cavalry and excellent tactics, can be compared to the emergence of ‘Total Soccer’ in modern football. There was a perception that the appearance of the Mongol Corps was 'the world's strongest on land, but not so much on the sea...’. During the Goryeo Dynasty, the military authority moved the capital to Ganghwa Island, The Sambyeolcho fought in Jindo Island and Jeju Island. There are also traces of movement from Jeju Island to Ryukyu (now Okinawa). Kublai Khan (元世祖) encompassed the continent and conquered the Southern Song; he was well aware of the economic benefits of maritime trade, and had great interest in maritime management. Kublai Khan sent edicts to Asian countries encouraging them to trade. He carried out maritime military expeditions to Japan and Southeast Asia (Annam, Champa <now Vietnam> ․ Java <now Indonesia>). As a result, Yuan's trading spheres were greatly expanded. He supports the Saekmok people (色目人), who were well versed in finance and trade during the Southern Song Dynasty, to continue their maritime activities, A state-owned ranch (one of 14 in the Mongol Empire) was established in Jeju Island and used as a bridgehead for maritime expansion. THE EXPEDITION OF MONGOL ARMY SAMBYEOLCHO AND THE MARITIME ROUTE OF Historical background Mongol Expedition to Goryeo was in 1215, when the Mongols entered Goryeo for the first time. In 1225, the Mongol envoy Jeo Go-yeo was murdered. From 1231 to 1259, there were major six invasions in Goryeo. In 1255, the Mongolian army organized a naval force and fought in Aphae Island with about 70 warships. After the Sambyeolcho's resistance in 1273, Jeju Island became a direct Mongol territory. The Sambyeolcho In 1270, they led about 1,000 ships from Ganghwa Island and moved south, focusing on Jindo Island. In 1271, when the Jindo Island front line was collapsed, they moved the centre to Jeju and worked there. In 1273, part of the Sambyeolcho moved from Jeju to Ryukyu (now Okinawa). The Goryeocheopjangbulsimjojo (高麗牒狀不審條條; Tokyo University Historical Archives), which contains notes on the contents of the correspondence sent to Japan from the Sambyeolcho, Jindo Island, remains. It did not get any help. After conquering the stronghold of Sambyeolcho in 1273, the Yuan 1 �Dynasty changed the name of the island to Jeju, meaning ‘a place where everything is perfect’. They installed the Tamra General Headquarters and dispatched Darughachi directly to station troops and set up army agriculture, called dunjeon (屯田). The Mongols’ direct administration of Jeju Island played a role in raising horses, building ships, preparing for the Japanese expedition, and monitoring the Goryeo court and troops. The Mongols’ dominance over Jeju Island had lasted for 98 years until the ‘Mok-ho Rebellion’ broke out in 1374 in the 23rd year of King Gongmin’s reign and was suppressed by General Choe Yeong. Archaeological types of Goryeo Sambyeolcho Ganghwa Island Fortress Ganghwa Island in the Ganghwa period had an outer and a middle structure, and although there was no record of construction, it was a triple structure with an inner structure. The Ganghwa Jungseong (Middle Structure) Fortress was first excavated in 2009, and the construction process is largely based on foundation formation and inner waterway formation → stylobate stone churn formation → center plinth mound formation after lumber facility installation → cladding formation → inner and outer mound embankment → outer skin. It can be classified according to the composition of the soil. Thirteen building sites were identified in the Okrim-ri area, and a large number of roof tiles and celadon were jointly excavated. Jindo Yongjangseong Fortress It was designated as Historic Site No. 126 in 1964. In the 1980s, it was known that it is a double castle structure of gungseong (palace) or naeseong (inner wall castle), and naseong (outer wall castle); additionally, in 1989, the central part was investigated. In 2004, a survey of the city walls, gates, and ancestral rites was conducted. Full-scale excavations had been conducted from 2009 to 2015. In 1270, Sambyeolcho appointed Seunghwahu ‘On’ as king and established a new government. Yongjangseong Fortress was operated with the concept of a capital city, and its shape resembles the structure of Manwoldae in Gaeseong. Yongjangsanseong Fortress as naseong, is 13 km long and is a stone-built structure built by the Hyeopchukbeop-a method of building the inner and outer walls with stone. Excavated artifacts include celadon incense burners, celadon chair (don), bronze utensils, Gwangmyeongdae, and various roof tiles. In particular, roof tiles from 「癸卯三月大匠蕙印」 have been excavated from Sadang-ri, Gangjin, Cheonghaejin·Beophwasa Temple Site, Wando Island, and building sites in Sinyong-ri, Apahae Island, Sinan. It is understood that Yongjangseong Fortress was built before entering Jindo Island. In the underwater excavation at Oryu-ri in the Myeongnyangdaecheop Sea area of Jindo Island, pottery and bottles (‘蒙古甁’, 褐釉四長耳壺) from the Yuan Dynasty were also found. Jeju Island Hangpadu Fortress In 1271, when Jindo Island was captured by the Ryeo-Mon (Goryeo-Mongol) allied forces, the Sambyeolcho led the remaining forces to enter Jeju Island and build it. Until 1273, it was a fierce battleground of the Great Mongolian Rebellion. In 1978, the restoration work of Hangpaduseong was carried out, and in 1997, it was designated as a historic site. In 1993, an excavation of the presumable southern gate was excavated, and in 2012, an earthen fortress was excavated. A survey of the inside of the fortress was conducted from 2010 to 2015, and more than 250 materials from 20 building features were secured. As a result, it was revealed that a three-layered defence system was being built, including the Hwanhae Great Wall (first line of defence), intermediate defence facilities (second line of defence), and it was found that they were building a triple defence system, including Hangpadu Fortress and inner wall castle. As for excavated artifacts, inlaid celadon (cover, chair, and pillow) from the end of the 13th century was found, and ceramics from the Yuan Dynasty was also confirmed. The relic that draws attention is the roof tile inscribed 「敦眉瓦草造辛丑2月日高內村徒上吳」, which is dated to the year of 1241. 2 �Ryukyu (now Okinawa, 流求) A large roof tile from 「癸酉年高麗瓦匠造」 is excavated from a terraced defence facility called ‘Gusk’. There are several theories... The position that the date is set in 1273 suggests that Sambyeolcho's activities were carried out in Ryukyu after Jeju Island based on the similarity with the roof-end tile of Yongjangsanseong Fortress in Jindo Island. GORYEO-MONGOL ALLIED EXPEDITION TO JAPAN Historical Background First round (October 1274) it was Kamakura bakufu (鎌倉幕府) shogun (將軍). Monggoseuprae (蒙古襲來). A total of 40,000 expeditions, with Kim Bang-gyeong’s 8,000 combat soldiers, 6,700 noncombatants, 25,000 Heundo (Hundun) and Hong Da-gu‘s combatants, were organized. 900 battle ships were mobilized, including the Cheonryoju (front vessel), the Baldorogyeongjilju (landing vessel), and the Geupsuju (supply/connection vessel). They returned with the loss of one third of their troops. Second round (1281): conquered the Southern Song in 1279. Kublai Khan prepared for the conquest of Japan in earnest, Beom Mun-ho, a native of Southern Song, sent a personal letter to Japan recommending surrender. In 1280, an order was issued to build 3,500 warships, and Arahant and King Chungryeol took responsibility for the Jeongdonghaengseong. In May 3, 1281, 42,000 Dongro Troops and 100,000 Gangnam Troops mobilized, and in July 30, they were hit by a typhoon (Kamigajae). The court of Yuan Dynasty tried to launch the third expedition to Japan; but the expedition was stopped due to the death of Kublai Khan, who prompted the 3rd expedition to Vietnam. Archaeological data In Japan, an underwater archaeological investigation was started in the Takashima area in 1980 to investigate the Mongol invasion. In 1981, the area of 7.5 km along the southern coast of Takashima and 200 m in the sea area was designated as a cultural property distribution area. Four wooden anchors equipped with anchor stones were unearthed during the excavation of Kanzaki Port embankment construction in 1994-95, and they can be classified as large or small. About 1,000 artifacts were recovered during the port construction of Kanzaki Port in 2001-02. Artifacts such as jars, pottery, knives, bows, no (crossbow), arrows, lacquerware for armor, decorative hardware, and coins were found. In particular, the figurative product made of earthenware seems to be an explosive bomb marked as iron cannon in the ‘Monggoseupraehoesa (蒙古襲來繪詞)’, a documentary painting of the Kamakura period. In 2006, Matsuura City (松浦市) showed interest and conducted an investigation, and in 2012, the area was designated as a national historic site. Professor Yoshifumi Ikeda (池田榮史) of the University of the Ryukyus has been involved in underwater archaeological excavation since 1992, and in 2005 independently conducted sonar surveys and made submarine topographical and geological maps. Based on these achievements, the 'Takashima sunken ship 1' in 2011-12 and the 'Takashima sunken ship 2' were excavated and investigated in 2014-15. Judging from the structure of the hull and the excavated artifacts, it was identified as a ship sunk during the Mongol expedition to Japan in the thirteenth century. CONCOLUDING REMARKS: CELEBRATING THE 700TH ANNIVERSITY OF THE SINAN SHIP’S DEPARTURE The Mongols, a nomadic empire, was aware of the importance of the sea, and the Mongols organized the manpower of the occupied territories into the Mongolian army. The government actively supported Saekmok people so that they could engage in trade with preferential treatment, and maximized their efforts to become a maritime power by making Jeju Island their direct jurisdiction in marine management. In the 60 years of war between the Mongols and the Goryeo, from the military regime of Goryeo to the resistance of Sambyeolcho, the events that took place on the stage from Gaegyeong-Ganghwa IslandJindo Island-Jeju Island-Ryukyu take on the aspect of an international war. The material that shows the 3 �Mongols (Yuan Dynasty)’ active maritime activities is the Sinan Ship. It was a trading ship going from Ningbo, China to Japan via Goryeo in 1323. A vessel with a length of 34 m, a width of 11 m and a total weight of 200 tons, 20,000 pieces of ceramics, 8 million coins, and 1,000 pieces of rosewood were revealed. In October 2016, a special exhibition was held at the National Institute of Maritime Cultural Heritage (40 years of underwater excavation in Korea). There is a great need to recognize the Sinan Ship as a ship of the Mongol Empire, not a ship of China. This year, 2023, marks the 700th anniversary of the departure of the Mongol Empire ship Sinan from the Yuan Dynasty. Bibliography Kwon, O-young, Maritime Silkroad and Ancient Kingdoms in East Asia, ACC, 2019 (In Korean). Inha University Museum, Excavation Report-Ganghwa Jungsung site, Inha University Museum Report, 89, 2011 (In Korean). Ganghwa National Institute of Cultural Properties, Basic Study of Ganghwa palace in Goryeo, Academic Study of Ganghwa palace in Goryeo, 1, 2017 (In Korean). Ganghwa National Institute of Cultural Properties, Archaeological Research of Ganghwa palace in Goryeo, Academic Study of Ganghwa palace in Goryeo, 2, 2017 (In Korean). Mokpo University Museum, Excavation Report-Palace sitr in Jindo Yongjangsung (珍島 龍藏城 王宮址), Mokpo University Museum Academic Series, 180, 2019 (In Korean). 4 � 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 Archaeological Type of Sambyeolcho and Maritime Route of Korean Peninsula in the Goryeo Dynasty Description An account of the resource Sambyeolcho, Goryeo Dynasty in Korean Peninsula, the events that took place at Gaegyeong-Ganghwa IslandJindo Island-Jeju Island-Ryukyu take on the aspect of an international war. This subject is proceeding for long time on archeological excavation and historical resesrch in Korea. What is a real shape of Goryeo, according to interpretate Sambyeolcho and Maritime route of Korean peninsula. Anaysis archaeological artifacts and historical records. Synthsis archaeological-historical perspective. This research is necessary that it reveals hidden Goryeo culture and new medieval Korean Maritime route. And it is related with Mongol-Goryeo-Japan military force.The archaeological remains that show the Mongol (Yuan Dynasty)’s active maritime route is the Sinan shipwreck 700 years before. It was a trading ship going from Ningbo, in 1323. Creator An entity primarily responsible for making the resource Yun Hyeung-won 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. Hyeung-won, Yun. 2023. “The Archaeological Type of Sambyeolcho And Maritime route of Korean peninsula in Goryeo.” Edited by Jennifer Craig, Jay Mok, T. Kurt Knoerl, and Juhee Kim. In Proceedings of Fifth Asia Pacific Regional Conference on Underwater Cultural Heritage: Gwangju, The Republic of Korea, November 13-18 2023. The Museum of Underwater Archaeology. URL:https://apconf.omeka.net/exhibits/show/apconfproceedings/item/1930 Asia-Pac Session 2 2023 https://apconf-much.org/proceedings/files/original/ab98b9028ff6033a29cc8ba493b4838a.pdf 4449d3da0d6f136e9acdac64d5d33dad PDF Text Text Development and Implementation of Media Exhibition on Underwater Excavation Sites Yuri Choi (National Research Institute of Maritime Cultural Heritage, Curator) ABSTRACT This paper’s theme fits the underwater excavation sites into media exhibition and implement of such exhibition. Underwater excavation in Korea has a long history of over 40 years with the start of Sinan shipwreck excavation in 1976 but it is still recognized as an unfamiliar and strange field. The National Maritime Museum has been in operation to improve the public understanding but it has limitation to make the public understand underwater excavation as the exhibition focuses on recovered maritime cultural heritage. Accordingly, exhibition contents were developed for two years from 2021. Basic design started in 2022 and was placed in exhibition room 3 of the National Maritime Museum. The exhibition was designed as immersive. Content introduces digital technology in line with the latest exhibition trend. We included a Sinan shipwreck model, with a similar ratio size to that of the actual site. Unique experience elements were also added. The process started with the classification of underwater excavation process. This exhibition was divided into three spaces: (1) archaeology program ship, which is the starting point of underwater excavation and the last space above water; (2) transfer space to enter the underwater excavation site from the surface; and (3) the space that embodies the underwater excavation site. In order to implement the activities conducted in each space, video content recorded on the underwater excavation site was analyzed and reviewed by those involved in underwater excavation in order to realize characters close to reality. Thanks to the development and implementation of media exhibition on underwater excavation site, audiences are able to feel and experience underwater excavation, which is recognized as strange and unfamiliar field in person. Keywords: underwater excavation, media exhibition List of Figures Figure 1 Mind map of underwater archaeology Figure 2 Interactive exhibitions Figure 3 Immersive video contents of underwater excavation site INTRODUCTION Underwater excavation in Korea has a 40-year history. It began with the excavation of Sinan shipwreck in 1976 but only the National Research Institute of Maritime Cultural Heritage (NRIMCH) can conduct underwater excavation in Korea and as the site is located underwater unlike land one, accessibility to the site by the public is significantly low. Therefore, this field is still recognized as strange and unfamiliar except for experts. The NRIMCH operates two exhibition halls in Mokpo in Jeonnam and Taean in Chungnam to promote maritime cultural heritage and most of the exhibitions focus on excavated artifacts. Photos and videos of the sites are being displayed and played in the exhibition space. We recognize limitations in understanding the process of underwater excavations and their artifacts, which have their own characteristics and features. It is hard for non-experts to understand the background. Therefore, it was planned to reshape the exhibition room 3 into the exhibition titled ‘Underwater Excavation in Korea’ in Mokpo Maritime Museum, to promote information on underwater excavation in a more systematic and active way. Preparation was done for two years from 2021 to 2022. Currently the exhibition hall is in operation. In order to turn the underwater excavation into an exhibition, work was done in three broad steps. First, various information on underwater excavation such as theory of underwater excavation and appearance of the site was collected and reviewed. Second, the way to deliver the information most effectively in the exhibition room was reviewed. Third, exhibition items were selected and video and experience content were made to ensure professional information is received in an easy and interesting manner. 1 �This paper contributes as the theme ‘development of underwater excavation process into exhibition and implementation’ session 20 ‘effective delivery of underwater cultural heritage (UCH).’ PLANNING UNDERWATER EXCAVATION EXHIBITION Selection of exhibition content First, various information on underwater excavation such as theory of underwater excavation and appearance of the site was collected and information to be delivered in the exhibition was reviewed. Direction of exhibition was set, mind map to plan content was prepared and raw data on the theme was analyzed to select the exhibition content. Establishing the direction of exhibition The purpose of this exhibition is easy access to the general public of underwater excavation, which is conducted only by the NRIMCH. Therefore, the direction was set to compose an exhibition to make sure that audiences enjoy and understand various information on underwater excavation. Mind map To select exhibition content, it was necessary to organize overall information on the overall process of underwater excavation. To approach it systematically, a mind map was created with the definition of underwater archaeology, classification, history of development, process, equipment of underwater excavation, UCH and overseas cases centering around underwater archaeology. Figure 1. Mind map of underwater archaeology 2 �Collection of raw data Collection and analysis of raw data were conducted based on the mind map. The data on the definition and characteristics of underwater archaeology, applicable laws, factors that hamper UCH, other basic matters of underwater archaeology, global history of underwater excavation, underwater excavation process and cases of similar organizations (overseas) was collected and organized. Selection of exhibition content As it is not possible to include all information on underwater excavation, the information that is representative and essential and audience interest was selected as exhibition content. Along with providing basic information on underwater excavation, equipment used in actual sites such as wet suits and exploration equipment were introduced, and contents for experiencing underwater excavation sites were selected. 1. Basic information In order to make the public understand underwater excavation, it is necessary to provide basic information. The start and history of underwater excavation, current state of underwater excavation in Korea and underwater excavation process are the most essential information. The minimum information is organized in an easy way. 2. Equipment used on site Introduction on suit and equipment used on site was necessary. It was decided to give the realistic feeling of the site by displaying the outfit and excavation equipment used on site as they are not easy to see in daily lives. Excavation devices are expensive and it is difficult to purchase, so equipment not used anymore was selected for exhibition. It was decided to display Global Positioning System (GPS) that confirms the location of underwater excavation, Side Scan Sonar, which is a representative equipment for underwater exploration, and Sub-Bottom Profiler that can identify underwater strata and anomalies and Underwater Photography Equipment to make record of excavation site. It was also decided to give more realistic feeling by reproducing the actual site such as excavated artifacts and excavation grid. 3. Reproduction of the underwater excavation site The exhibition begins with the control room of an archaeology program ship. In professional practice this is often limited to a number of people within limited period for various reasons such as safety and security. Underwater sites are generally inaccessible to the general public so it was determined to compose the exhibition to make sure that people can experience underwater excavation from the control room. Composition of underwater excavation exhibition Exhibition was organized to show the selected exhibition content most effectively. It attempted to improve the immersion of indirect experience by showing the information such as history at the beginning, organizing items in the order of time and space allowed audience to understand underwater excavation easily. The exhibition is composed of three parts. The first part deals with the start and development of underwater excavation in Korea. The second part handles underwater exploration and excavation and the third part deals with underwater shipwreck excavation site. Start and development of underwater excavation in Korea In ‘Part 1. Start and development of underwater excavation in Korea’ is composed of information starting with the pledge to protect UCH made before starting underwater excavation, history of underwater excavation, current state of underwater excavation in Korea, and experience of control room in archaeology program ship. This shows the history and present of the underwater excavation and indirect experience of the archaeology program ship. 3 �Underwater exploration and excavation In ‘Part 2. Underwater exploration and excavation’, exhibition is composed of the introduction of underwater exploration devices, introduction and experience of wet suit and process of underwater excavation. People have a chance to see and experience the outfit and exploration equipment used in the excavation. Underwater shipwreck excavation site In ‘Part 3. Underwater shipwreck excavation site’, it is attempted to reproduce the excavation site as much as possible in the exhibition space to provide realistic experience of visiting the excavation site to the audience. The excavation site was reproduced close to the actual size, and the exhibition space was filled with realistic images and the excavation process, so that the underwater scene could be vividly experienced. DEVELOPMENT AND IMPLEMENTATION OF MEDIA EXHIBITION Review on media exhibition method and planning Recently, exhibition methods have been diversified to give more realistic experience along with the advancement of media. Unlike existing exhibition based on one-way communication, the trend is to utilize interactive exhibition where audience participate in the exhibition directly. This exhibition is intended to introduce various media exhibition techniques based on the site where underwater excavation is conducted to make the audience understand underwater excavation in an easy and fun way. The media exhibition techniques introduced to this exhibition are as follows. Interactive exhibition with engagement of audience Instead of making the audience accept the information on underwater excavation that could be hard or boring, the exhibition was designed to make the audiences select and accept the information they want. For the history of underwater excavation and underwater excavation process, media wall was utilized and digital archive utilizing media table provide detailed information on the status of underwater excavation. Media wall (excavation process) Figure 2. Interactive exhibitions Digital archive (excavation archive) Immersive video to give more realistic feeling on the site The four sides of the exhibition space were filled with immersive video, which is used frequently in recent exhibitions to give more vivid and realistic feeling on the excavation site. Three kinds of videos were developed: place above the sea, entering into the sea, and activities in underwater excavation site. In addition, it was designed to be more immersive by installing the model shipwreck with similar ratio 4 �size of the Sinan site. Development and implementation of immersive video content A series of underwater excavation processes were produced as immersive images. In order to realize underwater excavation as a video, video content recorded on the underwater excavation site were analyzed and reviewed by experts to implement the characters closest to the actual site. However, it was hard to produce image on the west sea of Korea as it was hard to secure visibility due to water’s high turbidity, so video was produced based on the excavation environment of Shinchang-ri, Jeju. Analysis on the work of underwater excavation site The basic background and characters of the three immersive videos were made to have unity. The basic characters of divers and sailors were set based on the clothes and equipment worn in the field, and all elements inserted into the video, such as probes, exploration equipment, marine plants and creatures, were produced based on facts. Control room in archaeology program ship The video on the control room of archaeology program ship was created from imagery through the window of the control room and landscape of the sea. In addition, monitor images of exploration equipment such as side scan sonar and scanning sonar are on top of the basic image, and images communicating with the underwater site can be played with by visitors, so that they can experience the role of the control room. Images of the actual excavation site are also displayed with buttons. It is configured so that you can check it by pressing. The video on communication with underwater site was made with four themes of diving, discovery of artifacts, problem and ascending, which may occur on the underwater excavation site. Transfer space into the sea A video of diving into the sea was prepared to heighten the expectations of the visitors, and to smooth the connection between the control room on the sea and the underwater excavation site. The video was designed to show the start of diving into the sea from the above the sea and connect the scene to the excavation site. Underwater excavation site The underwater excavation site was prepared as the most important space for the exhibition. The audience can feel they are in the sea. Divers show each underwater excavation process introduced in the previous exhibition space and exploration equipment introduced with actual equipment used is also seen in the video. By installing a model that reproduces the excavation site people can have more realistic experience and have experience in artifacts excavation indirectly. Control room for underwater Transfer space into the sea excavation Figure 3. Immersive video contents of underwater excavation site 5 Underwater excavation site �CONCLUSIONS This exhibition was planned to give indirect experience in underwater excavation to improve the understanding on the maritime cultural heritage of the audience. Various data on underwater excavation was collected and the data was used to develop media exhibition in an easy to understand and fun way to meet the needs of the audience. Making underwater excavation video has been tried continuously but with the development of media production technology, audiences have higher expectation. This exhibition tries to deliver the circumstances of excavation site as objectively as possible. The exhibition was designed to give a realistic feeling about the underwater excavation site. It is also designed to give more realistic and lively feeling by including a correct ratio shipwreck model together with excavation experience. I hope this exhibition serves as an opportunity for the audience who once use to feel underwater excavation difficult and unfamiliar, to now understand the subject in an easy and fun way. Bibliography NRIMCH. Taean Mado Shipwreck No. 1 Underwater Excavation, Series of Research Report of NRIMCH 20. Mokpo: MRIMCH, 2010 (In Korean). NRIMCH. Taean Mado Shipwreck No. 2 Underwater Excavation, Series of Research Report of NRIMCH 22. Mokpo: NRIMCH: Mokpo, 2011 (In Korean). NRIMCH. Taean Mado Shipwreck No. 3 Underwater Excavation, Series of Research Report of NRIMCH 27. Mokpo: The NRIMCH, 2012 (In Korean). NRIMCH. Waters off the Jindo Myeongnyangdaecheop-ro [Ave.] Underwater Excavation I, Series of Research Report of NRIMCH 39. Mokpo: NRIMCH, 2015 (In Korean). NRIMCH. Underwater Archaeology in Korea. Seoul: GongMyeong, 2018 (In Korean). Nautical Archaeology Society. Underwater Archaeology: The NAS Guide to Principles and Practice. Oxford: Blackwell Publishing, 2009. 6 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2023 Session 20: Effective Ways to Deliver Maritime and Underwater Cultural Heritage Subject The topic of the resource Session 20 papers Description An account of the resource Papers presented at Session 20 of the 2023 Asia Pacific Regional Conference on Underwater Cultural Heritage Creator An entity primarily responsible for making the resource Asia Pacific Regional Conference on Underwater Cultural Heritage Publisher An entity responsible for making the resource available The Museum of Underwater Archaeology Date A point or period of time associated with an event in the lifecycle of the resource November 2023 Rights Information about rights held in and over the resource Asia Pacific Regional Conference on Underwater Cultural Heritage Language A language of the resource English Rights Holder A person or organization owning or managing rights over the resource. Asia Pacific Regional Conference on Underwater Cultural Heritage Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Development and Implementation of Media Exhibition on Underwater Excavation Sites Description An account of the resource This paper’s theme fits the underwater excavation sites into media exhibition and implement of such exhibition. Underwater excavation in Korea has a long history of over 40 years with the start of Sinan shipwreck excavation in 1976 but it is still recognized as an unfamiliar and strange field. The National Maritime Museum has been in operation to improve the public understanding but it has limitation to make the public understand underwater excavation as the exhibition focuses on recovered maritime cultural heritage. Accordingly, exhibition contents were developed for two years from 2021. Basic design started in 2022 and was placed in exhibition room 3 of the National Maritime Museum. The exhibition was designed as immersive. Content introduces digital technology in line with the latest exhibition trend. We included a Sinan shipwreck model, with a similar ratio size to that of the actual site. Unique experience elements were also added. The process started with the classification of underwater excavation process. This exhibition was divided into three spaces: (1) archaeology program ship, which is the starting point of underwater excavation and the last space above water; (2) transfer space to enter the underwater excavation site from the surface; and (3) the space that embodies the underwater excavation site. In order to implement the activities conducted in each space, video content recorded on the underwater excavation site was analyzed and reviewed by those involved in underwater excavation in order to realize characters close to reality. Thanks to the development and implementation of media exhibition on underwater excavation site, audiences are able to feel and experience underwater excavation, which is recognized as strange and unfamiliar field in person. Creator An entity primarily responsible for making the resource Yuri Choi 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. Choi, Yuri . 2023. “Development and Implementation of Media Exhibition on Underwater Excavation Sites.” Edited by Jennifer Craig, Jay Mok, T. Kurt Knoerl, and Juhee Kim. In Proceedings of Fifth Asia Pacific Regional Conference on Underwater Cultural Heritage: Gwangju, The Republic of Korea, November 13-18 2023. The Museum of Underwater Archaeology. URL: https://apconf.omeka.net/exhibits/show/apconfproceedings/item/1970 Asia-Pac Session 20 2023