8 10 700 https://apconf-much.org/proceedings/files/original/b65cbf0cbec872baa0ddbb28f16f76e6.pdf 1b17632f5b816ae268b5ec79c4e15964 PDF Text Text Lessons from the Inland Seas: A Submerged Landscape Study in the Great Lakes Dr. Ashley Lemke (Department of Anthropology, University of Wisconsin – Milwaukee, Associate Professor) ABSTRACT The topic of this abstract fits best within Session15 because it is a case study of 9,000-year-old archaeological sites on a submerged landscape under a lake. The case studies under consideration are the following 1) conducting prehistoric archaeology 30 meters below water, 2) studying a submerged landscape in an inland setting, in this case, a large freshwater lake, and 3) novel data preserved underwater in the Great Lakes challenges our previous ideas about hunter-gatherer societies. The resources available to conduct the work include funding from the National Science Foundation and National Oceanic and Atmospheric Administration (both based in the United States) and methods include sonar surveys, remote operated vehicle investigations, photogrammetry, scuba diving, environmental sampling, and virtual reality computer modeling. The research questions/approach/problems are 1) how can we conduct anthropologically relevant underwater archaeology, 2) how do you investigate sites 30 meters below water, and 3) what can submerged data tell us about prehistoric peoples? The [expected] results are stone tools and debitage, stone constructed hunting features, and ancient peat deposits.   Keywords: Submerged landscapes, North America, Great Lakes, Deep-water archaeology List of Figures Figure 1. Lake Huron and the Alpena-Amberley Ridge Figure 2. Two obsidian flakes recovered from a submerged landscape below Lake Huron, Great Lakes, United States Figure 3. Sampling an exposed peat layer on a submerged landscape below Lake Huron, Great Lakes, United States. INTRODUCTION The topic of this article fits best within Session 15, The Archaeology of Submerged Landscapes and Inland Waters because it is a case study of Early Holocene (9,500-8,900 cal. yr. BP) archaeological sites on a submerged landscape under an inland lake. Over the past 200,000 years the earth experienced several phases of glacial and interglacial climates and associated changes in global water level. During these periods, when large amounts of water were frozen, sea-level lowered by as much as 130 meters (Joy 2021). These global processes of sea level change, including glaciation, isostatic rebound, and fluctuating water levels are mirrored on a local level in the North American Great Lakes. The North American Great Lakes is a region in the midcontinent of North America with five fresh bodies of water. Amongst the largest lakes in the world, the Great Lakes are often referred to as the “inland seas” given their size, depth, ecological habitats, and significant weather and waves. Today these lakes greatly impact communities in the region in terms of commerce, travel, subsistence, climate, and recreation. The same was true for these lakes in the past, where they have influenced, and been influenced by, the human communities on and around them for thousands of years. The Great Lakes have been a region of study for nautical archaeologists for many decades, given the unique and varied vessels to sail across them and their long-standing role in transportation, trade, and conflict (e.g. Lardinois 2021). In addition to the rich maritime history of the area, the cold, fresh waters of the Great Lakes provide some of the best preservation habitats for archaeological remains, particularly wooden and metal ships given the lack of salt (and its corrosive properties), absence of ship worms (Teredinidae), and cold-water temperature. Indeed, the large numbers of shipwrecks and their immaculate state of preservation has resulted in two National Marine Sanctuaries in the Great Lakes, one in Lake Michigan, the Wisconsin Shipwreck Coast National Marine Sanctuary, and one in Lake Huron, the Thunder Bay National Marine Sanctuary. 1 �Within the Thunder Bay National Marine Sanctuary in Lake Huron, this project seeks to move beyond shipwrecks and further back in time, to explore submerged landscapes in the Great Lakes, using Lake Huron as a test case. At the end of the last ice age, during the Lake Stanley time period, water levels in Lake Huron were 100 meters lower than modern sea level and exposed more than 250,000 hectares of previous lake bottom. These lower water levels created a long, narrow dryland feature called the Alpena-Amberley Ridge (AAR) that runs across the modern Lake Huron basin, splitting it in two (Figure 1). The AAR is ~145 kilometers long and between 12-16 kilometers wide, it now rests in an average of 25-30 meters of water. Between 9,500-8,900 cal. yr. BP this causeway was a dryland environment that connected mainland Michigan and Ontario on either side of the lake and served as a migratory pathway for caribou herds in the area which in turn attracted human hunter-gatherers. Figure 1. Lake Huron and the Alpena-Amberley Ridge. Interdisciplinary research since 2008, including paleoenvironmental studies and computer science applications, but focusing on archaeology, has documented 9,000-year-old hunting sites for targeting caribou (Lemke 2022; O’Shea and Meadows 2009; O’Shea et al. 2014). Organic remains and stone artifacts have been collected including two lithic flakes fashioned out of an exotic obsidian from over 4,000 kilometers away (O’Shea et al. 2021 Figure 2). 2 �Figure 2. Two obsidian flakes (specimen numbers 105-1 and 105-2) recovered from a submerged landscape below Lake Huron, Great Lakes, United States (O’Shea et al. 2021). CASE STUDIES While one project, the case studies under consideration are the following: 1) conducting prehistoric1 archaeology 30 meters below water, 2) studying a submerged landscape in an inland setting, in this case, a large freshwater lake, and 3) novel data preserved underwater in the Great Lakes challenges our previous ideas about hunter-gatherer societies in the region. While submerged landscapes studies are now common across the globe (Bailey et al. 2020; Benjamin et al. 2011; Evans et al. 2014), it is still a small group of archaeologists working in prehistoric time periods within the larger field of underwater archaeology. As such, projects across the globe have targeted different regions, various time periods, diverse research questions, generated novel data, and have utilized unique methods while creating new research designs. While many approaches from nautical archaeology 1 A note about the use of “prehistoric” here. While many archaeologists are using pre-contact to refer to ancient sites in the Americas, the author prefers the use of prehistoric, arguing that “pre-contact” obscures diversity and artificially creates a homogenous “pre-contact” North America that did not exist (akin to the use of “pre-colonial Africa” see Táíwò 2023) 3 �can be adapted to older sites, submerged landscapes also present their own unique challenges, and project teams have often invented new techniques combined with standard methods to approach these archaeological records. For the Lake Huron project specifically, a new approach was applied that worked in iterative, mutli-scalar levels, developed out of necessity for working in very old contexts in deep, fresh water, far offshore (55-80 kilometers). Conducting prehistoric archaeology in water depths of 30 meters required a multi-scalar approach to submerged landscapes, to first understand the underlying landforms and their associated paleoenvironments to then make predictions about where hunting and gathering sites would be located. Therefore, the first research conducted was large-scale mapping of the central portion of the AAR using multibeam and side-scan sonars. The AAR was broken into 4 research areas, targeting unique geological aspects of the landform. Area 1 (56 kilometers squared) focused on high ground outcrops that may have included local chert/flint deposits, Area 2 (49 kilometers squared) has some of the deepest water on the AAR, thus representing evidence from the earliest stages of Lake Stanley (those areas that would have been exposed first after water levels lowered), Area 3 is a narrow section of the AAR with a pronounced slope (17 kilometers squared) and Area 4 is an large, flat area that likely would have had the best grazing/browse for migrating herds (165 kilometers squared). The central portion of the AAR was targeted for investigation because archaeological deposits offshore are less likely to be deeply buried by modern sediment and are less likely to be significantly impacted by coastline waves and weather (e.g. ice thrusts, erosion, etc.). Once these large areas were mapped, investigations focused on targets of interest on the sonar surveys, and research focused on these smaller areas. Fortunately, the archaeological record on the AAR investigated thus far consists of stone-constructed hunting features, some of which are large enough to see on large-scale sonar surveys given their high reflectivity. These sites are similar to hunting architecture sites known from the terrestrial record (Lemke 2022) and are stone lines, rings, v-shapes, funnel-shapes, and other constructions used to attract and channel wild prey into predictable hunting areas. Many of the sites under Lake Huron have rocks with diameters of 1 meter and some rock line constructions are 30 meters long and thus are visible on side-scan surveys (O’Shea and Meadows 2008) and were chosen for more in-depth research. Once an area on the AAR is known to have a prehistoric structure, finer scale survey is conducted with scanning sonar, autonomous underwater vehicles (AUV) with side-scan sonar, and a remote operated vehicle (ROV) resulting in micro-regional investigations of 150-hectare areas (O’Shea 2021). Given the depth and temperature of the water, large-scale scuba surveys are not possible given limitations on bottom time, and these remote sensing methods coupled with the live video of the ROV have proven very successful at finding archaeological sites and conducting preliminary mapping and video surveys of features. Once sites are fully photo-documented using the ROV and mapped using the scanning sonar and/or AUV, they are then sampled for cultural materials by scuba divers. Sampling on the AAR has taken a varied approach depending on the context. In general, archaeological sites and materials are shallowly buried (less than 10 centimeters of sediment overlay archaeological deposits). At large sites, preliminary sampling was conducted in a fashion similar to shovel testing in the United States where a small area, 30 centimeters squared, was hand excavated and screened and cultural material was collected every three meters. Once cultural material was recovered, further excavation was completed in one by one-meter square units. Locations of all samples are collected via the ROV which is equipped with a tracking sonar with real time geospatial coordinates. Other sampling methods include 100 mL plastic vials which are primarily used for collecting sediment for paleoenvironmental and geoarchaeological analyses, including pollen, testate amoebae, grain size, etc. These samples occasionally also collected cultural materials, such as the two obsidian flakes (O’Shea et al. 2014). To date, numerous stone constructed sites have been documented and sampled on the AAR using the above methods. These include Drop 45, a long liner drive lane site that has associated hunting blinds and 4 �stone artifacts (O’Shea et al. 2014), the Gap Locality, an area of hunting blinds and other constructed features that yielded the obsidian artifacts (O’Shea et al. 2021), and the Dragon Drive lane, a site with a long, liner drive lane feature and a hunting blind (O’Shea and Meadows 2009). In addition to the cultural material, paleoenvironmental data characterized this submerged landscape as a peri-glacial sub-arctic like environment with spruce and tamarack trees, freshwater lakes, bogs, and marshes. Most recently, a preserved peat bog was discovered. Radiocarbon dates from this peat layer ranged from 9678-9296 cal. yr. BP (Figure 3). Samples of the peat have been submitted for environmental DNA analyses which aim to further illuminate the flora and fauna present on this early Holocene now submerged landscape. Figure 3. Sampling an exposed peat layer on a submerged landscape below Lake Huron, Great Lakes, United States. Photograph by John O’Shea, used with permission. In general, the archaeological record on the AAR can be characterized as evidence of a modified, cultural landscape, where groups of foraging societies encountered caribou on their semi-annual migrations and used targeted hunting techniques in both the fall and spring using built structures. Hunting architecture sites increase the yield and predictability of wild animal resources and provide meeting areas on the landscape for people to come together for cooperative hunts while also likely trading goods, socializing, sharing foods, exchanging information, conducting rituals, etc. Significantly, the archaeological evidence preserved on this inundated landform is notably different from terrestrial archaeological sites in the region. Historically the standard model of occupation for the area began with the Paleoindian time period (~13,000-10,000 cal. yr. BP) as the earliest occupants, characterized as highly mobile, big-game hunters, using distinctive fluted point projectiles, changing to lanceolate points during the later stages. Such technology is unique in the Americas and has been well-studied; although, regionally archaeological sites with this technology are not well dated due to 5 �acidic soils and largely ephemeral deposits (Lothrop et al. 2016). The following Archaic period is characterized by notched and stemmed points in the Great Lakes, with the Hi-Lo variety often assumed to be transitional between these and the earlier fluted points. To date, no large bifaces have been recovered from submerged sites on the AAR. While the two obsidian flakes are likely the byproduct of bifacial manufacture/maintenance (O’Shea et al. 2021), other lithics from the AAR are more indicative of a microtool tradition, unknown from the terrestrial record in the region. The AAR archaeology therefore offers a unique window in diverse lifeways that characterize the late Pleistocene/early Holocene, a time period of immense environmental change, mosaicked flora and fauna, and likely small regional refugia such as the AAR (see Lemke and O’Shea 2019). RESOURCES The resources available to conduct the work include funding from the National Science Foundation and National Oceanic and Atmospheric Administration (both based in the United States) and methods include sonar surveys, remote operated vehicle investigations, photogrammetry, scuba diving, environmental sampling, and virtual reality computer modeling. FRAMEWORK The research questions/approach/problems are 1) how can we conduct anthropologically relevant underwater archaeology, 2) how do you investigate sites 30 meters below water, and 3) what can submerged data tell us about prehistoric peoples? First, submerged landscapes represent a fundamentally different problem than sunken wrecks (boats, ships, or airplanes), rather than a time capsule of a historical event, submerged landscapes are often palimpsests of longer periods more akin to most terrestrial archaeological sites (Lemke and O’Shea 2022). As such, they can be investigated like terrestrial archaeological sites, admittedly with some unique methods, such as those developed for the deep-water archaeology conducted on the AAR. The investigation of submerged landscapes also requires geoarchaeological, paleoenvironmental, and paleolimnological data to understand when sites were submerged, how long environments were habitable, and what type of climates and resources they provided to past peoples. Ultimately it is critical to investigate these landscapes from an anthropological archaeology perspective (Lemke 2021). The Great Lakes case study presented here also offers ideas for research designs in deep-water, offshore contexts, but it is important to stress that while theoretically submerged landscapes share many commonalities with each other and their terrestrial counterparts, siteand regional-level modeling must be done on a case-by-case basis. For example, most sea-level curves are not appropriate for wide-scale use, and water levels need to be reconstructed for specific areas keeping in mind their unique geomorphology. Additionally, methods that work well for one submerged site will not work at others, for example, an airlift that was designed to excavate ancient, submerged sites in Florida karstic sinkholes and rivers was used in Lake Huron and froze given the dramatic differences in water temperature. Lastly, it is important to note that data from submerged landscapes date to some of the most critical time periods in the human past, and rather than providing redundant data, they often preserve unique evidence about the past to better elucidate the lifeways of prehistoric peoples. RESULTS The [expected] results from this research are stone tools and debitage, stone constructed hunting features, and environmental DNA from ancient peat deposits. Taken together, this case study from the inland seas presents unique methodologies for conducting deep-water archaeology, a long-term regional study of a submerged landscape, and novel results that indicate a unique early Holocene environment, significant 6 �modification of the landscape best characterized as niche construction by hunter-gatherers, and a mosaic of foraging lifeways in the ancient Americas. ACKNOWLEDGEMENTS The research presented in this article is the result of interdisciplinary collaborative work with project founder and co-director John O’Shea, and research partners including Tyler Schultz, Elisabeth Sonnenburg, Brendan Nash, Daneille Riebe, Jeffery Ferguson, Alex Nyers, Robert Reynolds, Thomas Palazzolo, Chencheng Zhang, Sarah Saad, Matthew Boyd, and Cailen O’Shea. BIBLIOGRAPHY Bailey, Geoff, Galanidou, Nena, Peeters, Hans, Jons, Hauke, and Mortiz Mennenga (,eds.). The Archaeology of Europe’s Drowned Landscapes. Verlag: Springer, 2020. Benjamin, Jonathan, Bonsall, Clive, Pickard, Catriona, Pickard, and Anders Fischer (,eds.). Submerged Prehistory. Oxford ; Oakville: Oxbow Books, 2011. Evans, Amanda, Joe Flatman, and Nic Flemming (,eds.). Prehistoric Archaeology on the Continental Shelf. Verlag: Springer, 2019. Joy, Shawn. “Coastally-adapted: A developing model for coastal Paleoindian sites on the North American eastern continental shelf.” Journal of Island and Coastal Archaeology 16, no.1 (2021): 150-169. Lardinois, Anna. Shipwrecks of the Great Lakes: Tragedies and Legacies from the Inland Seas. Essex: Globe Pequot, 2021. Lemke, Ashley. “Submerged Prehistory and Anthropological Archaeology: Do underwater studies contribute to theory?” Journal of Island and Coastal Archaeology 16, no. 1 (2021): 5-26. Lemke, Ashley. The Architecture of Hunting: The Built Environment of Hunter-Gatherers and its Impact on Mobility, Property, Leadership, and Labor. College Station: Texas A&M University Press, 2021. Lemke, A. K., and J. M. O’Shea. “The End of an Era? Early Holocene Paleoindian Caribou Hunting in a Great Lakes Glacial Refugium.” In People and Culture in Ice Age Americas: New Dimensions in Paleoamerican Archaeology, edited by R. Suárez and C. F. Ardelean, 156-171. Salt Lake City: Utah University Press, 2019. Lemke, A. and J. O’Shea. “Drowning the Pompeii Premise: Frozen Moments, Single Events, and the Character of Submerged Archaeological Sites.” World Archaeology 54, no. 1 (2021): 142-156. Lothrop, Jonathan C., Lowery, Darrin L., Spiess, Arthur E., and Christophere J. Ellis. “Early Human Settlement of Northeastern North America.” Paleoamerica 2, no. 3 (2016): 192-251. O’Shea, John M. “Micro-regional Approaches for Submerged Site Archaeology.” Journal of Island and Coastal Archaeology, 16,1 (2021): 103-117. O’Shea, J. M., Lemke, A. K., Sonnenburg, E., Reynolds, R.G., and B. Abbott. “A 9,000- year-old Caribou Hunting Structure beneath Lake Huron.” Proceedings of the National Academy of Sciences 111, no. 19 (2014): 6911-6915. O’Shea, J. M., Lemke, A. K., Nash, B. S., Sonnenburg, E. P., Ferguson, J. R., Nyers, A. J., and D. J. Riebe. “Central Oregon Obsidian from a Submerged early Holocene Archaeological Site beneath Lake Huron.” PLOS ONE 16, no. 5 (2021): e0250840. O’Shea, John M. and Guy A. Meadows. “Evidence for Early Hunters beneath the Great Lakes.” Proceedings of the National Academy of Sciences 106, no. 25 (2009): 10120-10123. Táíwò, Olufemi, “It never existed: The idea of a ‘precolonial’ Africa is theoretically vacuous, racist, and plain wrong about the continent’s actual history.” Aeoni (2023) https://aeon.co/essays/the-idea-of-precolonial-africa-is-vacuous-and-wrong?utm_source=rss-feed 7 � 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 15: The Archaeology of Submerged Landscapes and Inland Waters Subject The topic of the resource Session 15 papers Description An account of the resource Papers presented at Session 15 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 Lessons from the Inland Seas: A Submerged Landscape Study in the Great Lakes Description An account of the resource The topic of this abstract fits best within Session15 because it is a case study of 9,000-year-old archaeological sites on a submerged landscape under a lake. The case studies under consideration are the following 1) conducting prehistoric archaeology 30 meters below water, 2) studying a submerged landscape in an inland setting, in this case, a large freshwater lake, and 3) novel data preserved underwater in the Great Lakes challenges our previous ideas about hunter-gatherer societies. The resources available to conduct the work include funding from the National Science Foundation and National Oceanic and Atmospheric Administration (both based in the United States) and methods include sonar surveys, remote operated vehicle investigations, photogrammetry, scuba diving, environmental sampling, and virtual reality computer modeling. The research questions/approach/problems are 1) how can we conduct anthropologically relevant underwater archaeology, 2) how do you investigate sites 30 meters below water, and 3) what can submerged data tell us about prehistoric peoples? The [expected] results are stone tools and debitage, stone constructed hunting features, and ancient peat deposits. Creator An entity primarily responsible for making the resource Ashley Lemke 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. Lemke, Ashley . 2023. “Lessons from the Inland Seas: A Submerged Landscape Study in the Great Lakes.” Edited by Jennifer Craig, Jay Mok, T. Kurt Knoerl, and Jennifer McKinnon. 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/1992 Asia-Pac Session 15 2023 https://apconf-much.org/proceedings/files/original/3dc7834bed216b54c412a4f886967b04.pdf 2213d8ba73a5a1a90e5f8f49001a65d8 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 1: Asia-Pacific Maritime Cultural Landscape: an Austronesian Cultural Identity? Subject The topic of the resource Session 1 papers Description An account of the resource Papers presented at Session 1 of the 2021 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 2021 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 Round Table on Intangible and Underwater Cultural Heritage Data (I/UCH) Collection in the Federated States of Micronesia (FSM) Description An account of the resource The purpose of this project was to carry out anthropological research in outer islands of the Federated States of Micronesia (FSM) as identified and pre-arranged by traditional community organizations and historic preservation offices of Chuuk State and Yap State, as well as Yap State’s Council of Tomol). 1 The objective of this project was two-fold: (1) through round table discussion, create and improve awareness of I/UCH data collection and protection of culturally appropriate ways for documenting knowledge related to navigation, wayfinding, and women's roles in exchange relationships promoted through navigation and wayfinding and (2) understand the role of exchange relationships in food sovereignty of the past and present contexts. The method for visiting these islands was by sailing boat, aboard it a project team including a traditional Micronesian navigator, translator, two anthropologists, two historic preservation officers, and a lifelong sailing boat captain, which sailed from Kosrae to Chuuk Lagoon, to Polowat, and lastly to Pohnpei. While visiting target islands, communities arranged themselves into groups of women and men with children permitted to attend for the round table discussion and individual interviews took place on food sovereignty. The expected results of this project included gaining a deeper understanding of islanders’ perceptions of I/UCH, culturally appropriate practices for preservation, protecting heritage through community-based discussion about these topics, and enable islanders to collect their own I/UCH data and transmit to an established repository. Through this project and associated experiences, the project team gained a deeper understanding of meteorological challenges communities may face in attempts to carry out community-based inventorying. Creator An entity primarily responsible for making the resource Ashley Meredith David Fazzino Ranger Walter Augustine Kohler 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 2021 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. Meredith, Ashley, David Fazzino, Ranger Walter, and Augustine Kohler. 2021. “Round Table on Intangible and Underwater Cultural Heritage Data (I/UCH) Collection in the Federated States of Micronesia (FSM).” 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/662 Rights Holder A person or organization owning or managing rights over the resource. Asia Pacific Regional Conference on Underwater Cultural Heritage Asia-Pac Session 1 2021 https://apconf-much.org/proceedings/files/original/881b889c20947b38c2a24aa4aaecabb3.pdf 5e6757f427b0fa87c4b26527c307a83d PDF Text Text Media Curiosity and Underwater Cultural Heritage Asmaa Elsayed (Alexandria Centre for Maritime Archaeology & Underwater Cultural Heritage, Alexandria University, Egypt. MA Student) ABSTRACT Underwater cultural heritage (UCH) faces multiple threats, as stressed by UNESCO through the 2001 Convention on the Protection of Underwater Cultural heritage and by the Ocean Decade Heritage Network (ODHN), such as treasure hunting, looting, and commercial exploitation. Therefore, raising awareness about underwater cultural heritage and engaging the public in its preservation and protection are vital points. There are many ways of engaging the public with UCH, one of the most obvious ways is through the media. The goal of media is to convey messages to the audience through the media channels most appropriate for them, which include printed media, internet media, and broadcast media, which are known as mass media. Different media deliver different messages in various ways, but the most powerful medium is films. Films have worldwide reachability. They are the most effective type of mass media to promote cultures and spread social awareness. Keywords: films, cinema, documentaries, treasure hunting. INTRODUCTION Media, especially films, have long played an essential role in shaping culture, influencing society and shaping public opinion, and the ability to reach a large audience and deliver powerful messages. Films, usually called motion pictures or movies, refer to a medium of visual storytelling that uses moving images and sound to create a narrative. Films were quickly recognized as perhaps the first truly mass form of entertainment. Not only that, but they also educated and inspired people for over a century and have the power to shape cultures, societies, and public opinions; they reflect our collective experiences and can evoke strong emotional responses from audiences and indirectly engage them. Hence, films can have an effect on people’s thoughts, attitudes, and behaviors Films can be fictional or non-fictional and cover a wide range of genres, including drama, comedy, horror, action, and documentary. With the advancement of technology, films are easily distributed across various platforms and can be accessed by people from all over the world. This makes films a highly influential and impactful form of Mass Media. Which is the means of communication reaching a large number of people and refers to a diverse array of media, including print media (newspapers and magazines), broadcast media (radio and television), and digital media (websites and social media platforms). Archaeology, in general, and underwater archaeology, in particular, have struggled historically to be distinguished from the early misrepresentations of it as adventure-seeking, treasure hunting, and underwater salvage (Gately and Benjamin 2018,15-16). This misconception led to a lack of public understanding of the true nature of this field, which involves scientific research and the preservation of cultural heritage. Films that depict underwater treasure hunting, shipwreck exploration, and looting, while entertaining, can reinforce these misrepresentations and make it even harder for the public to understand the true nature of archaeology and underwater heritage. However, it is important to note that some films, such as documentaries, can serve as a way to educate the public about the importance of this field and the real work that is done by archaeologists. But here lies an issue. 1 �DOCUMENTARIES vs. MOCKUMENTARY A documentary is a "reality-based" movie. In fact, a documentary film is a broad term used to describe a non-fiction movie that, in some way, tries to capture, recreate, or "document" reality or scientific versions of ‘an event’ or ‘a person’. Documentaries bring viewers into new worlds and experiences through the presentation of factual information about real people, places, and events, generally—but not always— portrayed through the use of actual images and artifacts (Bernard 2011, 1). Not all documentaries are entirely reality-based, as there are certain things which go into the making of documentaries that viewers may not even be aware of, and which could lead to great misunderstandings about the people and events featured in them. These are the “re-enactment footage”, or other enhancements, which are added by filmmakers to the events of the story. According to Yates (2018) in the Jonestown Report documentaries that use actors and re-enactments should be rated for their veracity so that viewers know what weight to give to the information presented in them. “The viewers didn’t question the veracity of what they had seen on screen. They didn’t even think that they might need to do so. They believed that they had seen a true (i.e., truthful) documentary” (Yates 2018.). It is important for the documentary audience to understand that these reenactments may not be entirely factual and are being used to create a more dramatic or compelling narrative. The effects of these re-enactments on documentary viewers can be varied. It might help to bring the events being documented to life and make them more interesting for viewers or to fill in gaps in the original footage, or provide context for the events being documented. On the other hand, these re-enactments may also be inaccurate or misleading and could potentially lead viewers to have an incorrect conclusion or a misunderstanding of the events being portrayed. The most recent example which sparked controversy even before its release is the new Netflix docudrama series, Queen Cleopatra, due to the disagreement in the depiction of the main character, Cleopatra, Queen of the Ptolemaic Kingdom of Egypt. The portrayal of Cleopatra in the documentary has caused a debate over her race and ethnicity. The series has been accused of historical inaccuracy. The new series has drawn the ire of online users reacting to it since the release of its trailer. The Mini- Series documentary caused many controversies that led to many arguments and opinions. For most, that may lead us to highlight that the temptation in the use of re-enactments is to recreate historical occurrences that are not completely faithful to the facts or which speculate or go beyond what is known about a subject. It is up to documentary filmmakers to use re-enactments responsibly and to be transparent about it, so that viewers can make informed decisions about the accuracy and reliability of the information presented in the documentary. That leaves us to wonder if the use of reenactments in documentaries affect how the viewers of such films view historical people, places, and events? Documentaries are supposed to be as truthful as possible, so people assume that any film that is labeled as a documentary is exactly that; they documented the truth. However, another genre of film is known as False Documentary "Mockumentary". It is a documentary-style film with a fictitious subject. For the most part, mockumentaries present their subjects sarcastically. It is a comedy made and edited in the style of a documentary. Mockumentaries are made to look like real documentaries; the purpose of mockumentaries is typically to mock or critique current events, pop culture trends, modern society, lifestyles, religion, and politics (“Production Notes: Mockumentary | Nevada Film Office” 2018). Uncovering Damien Hirst's treasures in Netflix's false documentary ‘Treasures from the Wreck of the Unbelievable’ (2017). Despite being marketed as a documentary; the film is a work of fiction. Documenting the discovery and excavation of a fictional Roman-era wreck, presenting numerous recovered faux artifacts as authentic. The film adds a further feel of authenticity by intercutting footage of well-known academics and maritime archaeologists. The entire project frames maritime archaeology as the hunt for treasure (Learey 2018, 4). Damien Hirst and the crew recount the moments various discoveries are made and the myths and legends surrounding the finds. It was not a real archaeological excavation or documentary. Although "Treasures from the Wreck of the Unbelievable" is pure fiction, it could potentially confuse the audience into believing it is a real documentary as it is also labeled as a documentary genre. This could lead viewers to believe that the events 2 �depicted in the film are real and not fictional. Such films raise some important concerns. There are many film examples about shipwrecks and salvage-treasure. Do such movies affect people's perception of archaeology and underwater cultural heritage? Is the film industry trying to market heritage as just finding treasures? Established and trusted documentary shorthand can be manipulated through the misuse of stereotypes or by presenting only partial truths. IT IS JUST FICTION The archaeological work and the nature of the ancient human past were variously sketched in the early decades of cinema (Hiscock 2014, 2779). The popularity of archaeology as a storytelling medium and the historical events that archaeologist’s study have inspired the cinema industry. So, we find many fictional films that are either based on archaeological themes or have a main character who is an archaeologist. There is a massive list of films featuring Archaeology, or at least a fantasized version of it, in many popular fictional films, with the first Indiana Jones film, launched ‘Raiders of the Lost Ark’ (1981); it brought archeology and archaeologists into the mainstream. There are also ‘The Mummy’ (1999) sequels, ‘National Treasure’ (2004), and ‘The Mummy: Tomb of the Dragon Emperor’ (2008) sequels. The common thread between many of these films featuring archaeology, is the adventure and the quest for the lost treasure. Much recent research indicates that Indiana Jones and Lara Croft are the most famous archaeologists in the world. That is why today's popularity of archaeology is based on fictional heroes rather than real archaeologists (Kobiałka 2017, 213). Indiana Jones and Lara Croft have indeed become wellknown and influential archaeologists in popular culture. They shape public perceptions more than real archaeologists and archaeological history, as being a fast-paced race to find treasure or showing the archaeologist as either the scruffy eccentric scholar or the rugged action hero antiquarian. Indiana Jones himself described perfectly what archaeology seems to be truly about in ‘Indiana Jones and the Last Crusade’ (1989), "Archeology is the search for facts, not truth. If it's truth you're interested in, Dr. Tyree's philosophy class is right down the hall. So, forget any ideas you've got about lost cities, exotic travel, and digging up the world. We do not follow maps to buried treasure, and X never ever marks the spot. 70% of all archaeology is done in the library. Researching. Reading. We cannot afford to take mythology at face value." Archaeology does not involve following maps of buried treasures or other mythical objects. That is not real archaeology. Archaeology aims to understand history and culture, not uncover lost treasures and chests of gold. The presentation of underwater cultural heritage (UCH) in fictional films is not much different from that of archaeology in general; the portrayal of the discipline and the archaeologist is almost the same, although the representation of UCH in fictional films is still quite limited. Not many films have focused on UCH as a main theme, but there are few examples, such: As the ‘Treasure of Jamaica Reef’ (1974), the ‘Deep’ (1977), ‘Into the Blue’ (2005), ‘Fool's Gold’ (2008). These few examples of films that do feature UCH often showcase the "unreal exotic" and adventurous aspects, discovering lost treasures or shipwrecks and creating a stereotypical image that matches treasure hunters. The Titanic, “unsinkable ship” The Titanic myth draws from its own historical position (Singh 2020). The sinking of the Titanic is an event whose mythical significance has eclipsed its historical importance. James Cameron's ‘Titanic’ (1977) film can be debated as the closest example of representing underwater cultural heritage in a fictional film. Skipping the primary plot, focusing on the fictional romance story, the film sparked an interest in the RMS Titanic wreck. The tragedy inspired countless works of fiction across many platforms and numerous novels, TV dramas, documentaries even computer games where Titanic is the main theme. For many people, the ‘Titanic’ (1977) film has been the mass provider of information about the ship. In my opinion, the film was 3 �a good representation of the underwater cultural heritage; despite the fact that it is a fictional film, The film provides a culturally significant artifact, exploring the wreck, depicting of the ship's passenger class differences and behaviors, using remotely operated vehicles (ROVs) to explore the wreck site and shows the expedition team. The film achieved a balance of fact and fiction. DISCUSSION: FILM EXAMPLES OUTSIDE AMERICA Another example that represents the real side of archaeology under a fictional event is ‘The Dig’ (2021) film by Netflix, exploring the story of the excavation of the Great Ship Burial at Sutton Hoo in 1939. The film is based on a novel of the same name. Many of the events and characters depicted in both the film and the novel are inspired by real events and real people (The Dig , Sutton Hoo, Suffolk, n.d.) The Sutton Hoo ship burial was one of the greatest archaeological finds. The film highlights how the archaeology sites are constructed, the documentation of finds - it reflects scientific archaeology work, and the portrayal of archaeologists. Taking a closer look at the fictional movies that represent archaeology and underwater cultural heritage in Asian cinema, one will notice that there are rare examples, ‘The Treasure Hunter’ (2009) is a Chinese film with a famous archeologist embarking on a dangerous journey to recover the map and find ancient treasure. Another movie is the Korean film ‘The Pirates: The Last Royal Treasure’ (2022); a search takes place over the ocean to find the lost treasure of the Goryeo royal family, which disappeared without a trace. The rare fictional portrayal of archaeology and underwater cultural heritage in Asian cinema, and the rare examples depicting treasure hunting as a main theme, make it hard to cultivate the idea of treasure hunting. CONCLUSION The portrayal of archaeology and underwater cultural heritage with emphasis on stereotypical and mysterious-unreal events, adventure-filled "treasure hunt" style in fictional films, reflects the reality that cinema explores the interests of the public rather than the nature of archaeological practices or discoveries (Hiscock 2014, 2781). Portraying archaeology and UCH in the treasure-hunting frame leads to misconceptions about archaeology. Hence the need for good documentaries to diminish misconceptions. Good documentaries can help to diminish these misconceptions by providing a more accurate and informative portrayal of archaeology. However, it is important for documentary filmmakers to be aware of the potential for historical inaccuracies in reenactments. Reenactments should be clearly labeled in all films, especially documentaries, which should be rated for their accuracy. Bibliography Bernard, Sheila Curran (3rd ed.). Documentary storytelling: creative nonfiction on screen, London: Routledge, Taylor & Francis Group, 2011. Castro, Filipe. "Archaeologists, Treasure Hunters, and the UNESCO Convention on the Protection of the Underwater Cultural Heritage: A Personal Viewpoint." Odyssey Papers 13 (2010): 7-9. Fallenbuchl, Aleksandra Urszula. "Damien Hirst's Treasures from the Wreck of the Unbelievable: Parafiction in the Age of Truthiness." PhD diss, University of Guelph, 2020. Gately, Iain, and Jonathan Benjamin. "Archaeology hijacked: Addressing the historical misappropriations of maritime and underwater archaeology." Journal of Maritime Archaeology 13 (2018): 15-35. 4 �Greene, Elizabeth S., and Justin Leidwanger. "Damien Hirst’s Tale of Shipwreck and Salvaged Treasure." American Journal of Archaeology 122, no. 1 (2017): 2-11. Gritten, David. “Egyptians Complain over Netflix Depiction of Cleopatra as Black.” BBC News, April 19, 2023. https://www.bbc.com/news/world-middle-east-65322821. Hall, Mark A. "Romancing the stones: archaeology in popular cinema." European Journal of Archaeology 7, no. 2 (2004): 159176. Hiscock, Peter. “Film, Archaeology In.” Encyclopedia of Global Archaeology, (2014). 2779–2781. Holtorf, Cornelius, and Bodil Petersson. "The archaeology of time travel: Experiencing the past in the 21st century." The Archaeology of Time Travel (2017): 1-330. Jacobs, Norman, ed. Mass Media in modern society. Transaction Publishers, 1992. Kobiałka, Dawid. "Between what is presented and how it is presented: historical re-enactment through popular culture." (2014). Learey, Mark, "Filmed documentaries: How has western imagery of maritime archaeology influenced the creation and reception of Damien Hirst’s Treasures from the Wreck of the Unbelievable? "(2018) McGeough, Kevin. "Heroes, mummies, and treasure: Near Eastern archaeology in the movies." Near Eastern Archaeology 69, no. 3-4 (2006): 174-185. Morgan, Colleen. "Archaeology and the moving image." Public Archaeology 13, no. 4 (2014): 323-344. Singh, Apoorva. "A Biography of the Titanic: Reuse, Rumours and Myths; Constant Sinking and Resurrections Through Stories Spectacular." (2020). Yates, Bonnie. “On the Use of Actors and Re-Enactments in Documentaries.” Alternative Considerations of Jonestown Peoples Temple, 2018. https://jonestown.sdsu.edu/?page_id=81711. Accessed: April 29, 2023 “Production Notes: Mockumentary.” Nevada Film Office, September 28, 2019. https://nevadafilm.com/productionnotes-mockumentary/. “The Dig: Sutton Hoo: Suffolk.” National Trust. Accessed April 20, 2023. https://www.nationaltrust.org.uk/visit/suffolk/sutton-hoo/digging-the-dirt-at-sutton-hoo-the-true-story-behind-the-dig. Films in the text: The Deep. (1977). [film] Directed by P. Yates. The Dig. (2021). [film] Directed by Stone. S. Netflix The Mummy: Tomb of the Dragon Emperor. (2008). [film] Directed by R. Cohen. The Pirates: The Last Royal Treasure. (2022). [film] Directed by J.H.Kim. The Treasure Hunter. (2009). [film] Directed by K.Chu. Titanic. (1977). [film] Directed by J.Cameron. Treasure of Jamaica Reef. (1974). [film] Directed by V. Stone. Treasures from the Wreck of the Unbelievable. (2017). [film] Directed by D.Hirst. National Treasure. (2004). [film] Directed by J. Turteltaub. Queen Cleopatra (promotional trailer). (2023). Netflix Raiders of the Lost Ark. (1981). [film] Directed by S. Spielberg. Indiana Jones and the Last Crusade. (1989). [film] Directed by S. Spielberg. Into the Blue.(2005). [film] Directed by J.Stockwell. Fool's Gold. (2008). [film] Directed by A.Tennant. 5 � 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 Media Curiosity and Underwater Cultural Heritage Description An account of the resource Underwater cultural heritage (UCH) faces multiple threats, as stressed by UNESCO through the 2001 Convention on the Protection of Underwater Cultural heritage and by the Ocean Decade Heritage Network (ODHN), such as treasure hunting, looting, and commercial exploitation. Therefore, raising awareness about underwater cultural heritage and engaging the public in its preservation and protection are vital points. There are many ways of engaging the public with UCH, one of the most obvious ways is through the media. The goal of media is to convey messages to the audience through the media channels most appropriate for them, which include printed media, internet media, and broadcast media, which are known as mass media. Different media deliver different messages in various ways, but the most powerful medium is films. Films have worldwide reachability. They are the most effective type of mass media to promote cultures and spread social awareness. Creator An entity primarily responsible for making the resource Asmaa Elsayed 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. Elsayed, Asmaa. 2023. “Media Curiosity and Underwater Cultural Heritage.” Edited by Jennifer Craig, Jay Mok, T. Kurt Knoerl, and Bill Jeffery. 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/1964 Asia-Pac Session 20 2023 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Tale of an Anklet: An Epic of South India. The Cilappatikaram of Ilanko Atikal Creator An entity primarily responsible for making the resource Atikal Ilanko R. Parthasarathy Publisher An entity responsible for making the resource available Columbia University Press Date A point or period of time associated with an event in the lifecycle of the resource 1993 Type The nature or genre of the resource Book Zotero Author Atikal Ilanko Translator R. Parthasarathy Item Type Book Date A point or period of time associated with an event in the lifecycle of the resource 1993 Place New York Publisher An entity responsible for making the resource available Columbia University Press Title A name given to the resource The Tale of an Anklet: An Epic of South India. The Cilappatikaram of Ilanko Atikal India https://apconf-much.org/proceedings/files/original/5eece88313a500de96a49d86977577df.pdf 42433eb8d8c8f54ebedd2fbb5f8879a0 PDF Text Text Rock art of Phrayanaga (Viking) Cave, southern Thailand: the illustration of ancient vessels Atthasit Sukkham1, Paul S.C. Taçon2, and Noel Hidalgo Tan3 Abstract Tham Phrayanaga is one of Southeast Asia’s most well-preserved but little understood rock art sites. This cave site in southern Thailand has at least 76 depictions of watercraft. Many of the images are accurate portrayals of vessels used by a number of different cultural groups. The nature of the imagery is described and the ways in which the site informs us about the region’s recent cross-cultural contact history is explored. Based on relative dating and comparative study, this rock art site has been given the approximately date of from about the late 1500s to the early 1900s. This study will highlight our results that have indicated that some figures are ancient vessels including Thai, Chinese, European, Indonesian, and Arabian. Moreover, it related to the Maritime Silk Route and the spice trade in Southeast Asia and the Andaman Sea, which is a part of the Indian Ocean. Keywords: Rock art, ships, Viking Cave, southern Thailand Introduction Tham Phrayanaga (or "Big Snake Cave" because of a large snake-like stalactite4) is one of 23 rock art sites found in southern Thailand (Sukkham 2010). It is located in the northeast corner of Phi Phi Le Island in the Andaman Sea, Krabi Province, southwestern Thailand, near the popular tourist destinations of Maya Beach and Phi Phi Don Island (Figure 1). This limestone cave is a large, oval-shaped dome with a high ceiling. The 90 metre wide entrance faces due east. The floor varies from 3-6 metres above sea level while the cave measures 132 metres wide, 95 metres deep and has a maximum ceiling height of more than 20 metres. The cave is home to hundreds of barn swallows that nest on the cave walls, including overtop of the rock art. Nests are harvested year-round and sold as a local delicacy. The site is now managed by a private commercial enterprise so entry is no longer allowed for tourists for risk of disturbing the swallows. Despite long being known by locals, the earliest mention of the site was in 1972, during a visit by the reigning King Bhumibol Adulyadej (Rama XI) of the Chakri Dynasty (1946-present). In 1988, the Fine Arts Department (FAD) of Thailand embarked on a systematic recording of the cave’s rock art (Chaimongkon and Pigpien 1990). In October 2009 this data was updated as part of a Master of Arts thesis field work 1 Southeast Asian Ceramics Museum, Bangkok University, Rangsit Campus, Pathum Thani 12120, Thailand (E-mail: uzzyarch061@gmail.com). 2 PERAHU, School of Humanities, Gold Coast campus, Griffith University, Queensland 4222, Australia (E-mail: p.tacon@griffith.edu.au). 3 Department of Archaeology and Natural History, The Australian National University, Canberra, ACT 0200 Australia (E-mail: seaarch@gmail.com). 4 Stalactite: a type of speleothem (secondary mineral) that hangs from the ceiling of limestone caves. It is a type of dripstone. 1 �(Sukkham 2010), with follow-up research conducted on site in May 2010 by Griffith University’s Picturing Change research program. Tham Phrayanaga rock art The surviving rock art of Tham Phrayanaga consists mostly of monochrome paintings in black, red-brown and brownish-black. There also are bichromes5 in brown-black and yellow-brown, some red-brown paintings highlighted or partially repainted with black, a small number of charcoal drawings and a few engravings. Few paintings overlap but those that do suggest most red-brown paintings are early in the sequence, followed by the brown-black/yellow-brown bichromes, brown-black and black paintings, charcoal drawings and engravings. During the 1988 study 73 figures were recorded in three panels – on the east wall, south wall and a small chamber in the southwestern corner of the cave (Chaimongkon and Pigpien 1990). During the 2010 field-survey we recorded 80 figures, 76 of which are depictions of watercraft, even though three of the paintings in the small chamber have been lost to erosion and algal growth. Some of the additional figures we recorded appear to have been made since 1988, possibly by tourists or bird nest harvesters, as they do not appear in the FAD report. Most of the art is concentrated in the main panel, to the left of the entrance if one is looking out to sea. There is a small amount of engraved graffiti and an undecipherable older design in black suggestive of Arabic script. Panel A (Figure 2) contains most of the art, possibly both because it has a long flat surface amenable to painting and because it is located near the cave entrance, which commands an excellent view of the sea. It stretches across the east wall of the cave, the paintings facing west and southwest. The panel is 39.5 metres long. Most of the rock art is located along this length between 0.2-2.0 metres above the floor, with the highest painting about 3 meters above ground level. There are 63 paintings, six drawings and three engravings of ships and boats, as well as three drawn human figures and a horse. Some paintings have recently added engraved features or highlights. The depictions of watercraft show various styles of bowsprit, head, hull, rail, mast, sail, stern, cabin and rudder; a few also have oars and there is one depiction with a paddle wheel. Forty ships can be classified into at least seven types – square-rigged, square and triangle-rigged, triangle-rigged, rigged and rowed, rowed, paddle-wheeled, rectangular sail on tripod mast – with the rest unclassifiable. There are four depictions of large square-rigged ships, two monochrome6 and two bichrome (Figure 3), in linear outline7 or as partial silhouettes8. The bichrome square-rigged ships appear to have been purposely made this way and did not result from re-painting later. All four have clearly illustrated and decorated bows, hulls and railings. Three masts for mainsails are usually depicted, supported with braces and sheets. Three (Figures 3) are shaped like Thai junks, with their distinctive curved bows and sterns and layered rectangular sail structures. Thai junks would have been 5 Bichromes: having two colors. Monochrome: single color. 7 Linear outline: a single line forms the figure by way of an outline. 8 Silhouette: solid infill shape. 6 2 �considered exotic in this part of the world a few hundred years ago as they would have had a sea journey of at least 1600 km behind them. The fourth is single-rigged but superimposed with many mainsail yards, has a cabin and rudder. Square-rigged ships like this, and decorated with an eye-like design on the head of the hull, are characteristic of Chinese junks from the Ming (1368-1644) and Qing (1644-1911) Dynasties, known to have traded around what is now Thailand (Blomfield and Tam 2005:6-7). Chinese visitors came to Thailand to establish direct diplomatic relations and to set up trade agreements, with a Chinese trade in ceramics extending through various dynasties and periods since the Song Dynasty (960-1279) (Blomfield and Tam 2005; Breazeale 1999; Garnier 2004; Virapol 2005). Five ships with square and triangle-rigged sails are depicted in monochrome as linear outline or silhouette figures. The front part and hull of these types of ship differ from the first type because they are undecorated but usually show a bowsprit transfixed with one or two triangle-foresails. These ships typically have two or three masts that are rarely connected at the top and are supported by many braces and sheets for mainsails. The back of some ships also show a cabin and rudder. They are similar to European tall ships but do not appear identical to any particular vessel. European ships of the 16th to 19th centuries typically were square and triangle-rigged. They had a bowsprit transfixed with one or two triangle foresails and usually had a cabin and rudder in the stern. There are at least two similar ships depicted in Panel A but it is not possible to identify country of origin. European contact with Thailand began with the Portuguese in the early 1500s, followed soon after by the Dutch (Garnier 2004). The arrival of the French expanded and assisted the construction of a new palace at Lopburi for King Narai (1656-1688) of the Prasat Thong Dynasty in the Ayutthaya Period (Garnier 2004). The English were the last to establish relations across the region, especially with Ayutthaya (Wongthes 2003; Garnier 2004). There are 24 monochrome triangle-rigged ships, in either linear outline or as silhouettes, and three shown as bichrome silhouettes. One of the latter has a human figure standing on the rear of the deck. All three of the bichrome ships appear to have been originally red-brown with black added later, and two subsequently were highlighted with engraved lines. The front part of triangle-rigged ships has a bowsprit that uses only one triangle-foresail which, in some figures, is connected with braces. Along the sides of some of these ships are depictions of square holes that look like rails or shutter windows; depictions of cabins and rudders are rare. Some resemble Arabian dhows but most are more likely depictions of large wooden multi-sailed Malay/Indonesian perahus that have gaff rigging used since the 17th century for fishing and transport (e.g. see Gibson-Hill 1949 for many different examples). These include 17th to early 20th century Indonesian perahu pinisiq (a specific type of wooden sailing ship partly modeled on European wooden ships; Figure 4) and an Indonesian kapal layer mesin (motor sailer). Two ships in black with a single rectangular sail and tripod mast are typical of Bugi/Macassan perahus sailed throughout the larger region from what is now Sulawesi, Indonesia (e.g. see Taçon, et al. 2010). Three rigged oared ships and one oared watercraft were depicted in monochrome with linear outline. Braces support the masts but not every mast displayed has a sail and the bow of the ship does not contain a bowsprit. Further differentiating them from the types described above are oars. One oared ship has three human figures 3 �standing on the deck with outstretched arms bent at the elbows together with a rectangular flag at the stern. Another has human figures shown both on deck and in the hull, along with other aspects of the ship’s interior. The oared watercraft is simple, with no masts, bowsprits and sails but oars clearly shown. The bow contains a depiction of a straight line, probably a handrail, and the stern appears to contain a cabin. The rigged and oared boats are similar to that used by the Chaole or local sea people and miniature models called Plajak (pia/cak), used in ritual offerings to the sea (Sarikabutara 1987; Wongbusarakum 2007). There is only one depiction of a paddle-wheeled ship, monochrome and shown as a silhouette. The paddle wheel consists of a circle and cross-line design in the middle of the ship and there is a similar wheel on the upper deck. Handrails are found towards the bow of this ship while the stern contains a silhouette square shape. In the 19th century American-style paddle-steamers similar to one depicted at Tham Phrayanaga were introduced to southern Thailand, as royal photography from the reign of King Rama V (1868-1910) documents (FAD 1979; Lim 2009). Unidentified ships are plain, irregular, or damaged, making classification difficult. All are monochrome, in outline or silhouette, and many are small, without sails or oars. Some are simple boats and small vessels typical of various Thai, Malay and Indonesian peoples. The surviving non-marine images, located on the ceiling next to the cave entrance, consist of drawings, three black human-like stick figures and an outline of a horse with a silhouetted head. Two of the human figures appear to be interacting and each has a hand on one of its hips. One figure carries a long weapon-like object directed toward the other. The third figure was depicted facing, and as if running toward, the horse. It holds something resembling a loop of rope while the horse is shown as if galloping away. Panel B a second small panel, containing two paintings of ships that face north, is located on the south wall of the cave. The first ship is a monochrome light red-brown silhouette, 95 centimeters (cm) wide by 58 cm high. It has two masts, two square-rigged mainsails and a bowsprit with one triangle-rigged foresail. The stern includes a square silhouette that probably depicts the cabin. The second ship is smaller, measuring 55 cm wide by 42 cm high, and is without sails. It looks similar to the first as it has the two masts, bowsprit and cabin. Both are likely depictions of some type of large perahu. Panel C a third panel containing three ships and two elephants, one with a mahout9 seated on its neck, in the southern part of the cave was recorded in 1988. Unfortunately, the elephants and one of the ships have since been destroyed by algal growth, which also obscures the two remaining ships, a triangle rigged watercraft and one that lacks rigging. 9 Mahout: a person who drives an elephant. 4 �Conclusions Most of the rock paintings of Tham Phrayanaga represent various types of watercraft that traveled through the Andaman Sea in the past few hundred years, a period of accelerated maritime contact and trade between various parts of Thailand, Asia and Europe, fuelled by the lucrative spice trade, diplomacy, evangelism and conquest. By comparing the rock paintings of Tham Phrayanaga with depictions and descriptions of ships in historic documents it can be concluded that most of the art was probably made between the late 1500s and the early 1900s, a period of increased trade and contact between various European peoples, Thais, Malays, Chinese and indigenous peoples of the region. This is also the period in which the Chaole occupied the islands around Tham Phrayanaga. It is this group that most likely made much of the rock art. Two of the oared ships, typical of the Chaole, at Tham Phrayanaga were painted right next to the two main polychrome paintings of Thai junks. Their placement appears purposeful, perhaps to illustrate important stories of close contact. One can also imagine the Chaole using Tham Phrayanaga as a guide for instructing how to identify common watercraft of the region or as a way of recording changing shipping during a period of increased traffic of culturally diverse watercraft. A second site, Wong Lung Cave, contains a panel about 11 metres long with the remains of at least 14 red-brown paintings of ships, most of which are perahu pinisiq, and a mahout riding an elephant that has a bundle on its back (see Valli and Summers 1990:116-117). Some are almost identical to those at Tham Phrayanaga, suggesting they were made by the same artists. At both Tham Phrayanaga and Wong Lung Cave there are no Viking ships or other watercraft older than the 15th century depicted, despite suggestions from tourist companies, and most are not European contra Niti Sangwan (1987:126). Tham Phrayanaga is an outstanding example of a site with contact-inspired imagery, containing more depictions of watercraft in terms of sheer number and diversity than any other rock art site world-wide. This site gives us a window into both past pictures and past perceptions of maritime watercraft unavailable from other aspects of the archaeological record. A larger regional and perhaps global study of rock art depictions of watercraft would be worthwhile not only to situate Tham Phrayanaga in larger contexts but also to better inform us of past seafaring generally. But as with rockart sites everywhere, the images are under threat from both natural and human forces, with nesting birds and the people who harvest them having a big impact at Tham Phrayanaga. In this regard, it is vital to better document rock art sites like Tham Phrayanaga before the valuable visual information they contain is lost forever. Acknowledgements Research took place as part of a collaborative Greater Mekong Sub-region and Malay Peninsula Research Project, led by Colonel Assist. Prof. Surat Lertlum of the Chulachomklao Royal Military Academy and Assoc. Prof. Stephen Chia from Universiti Sains Malaysia, as well as Griffith University’s Picturing Change research program led by Prof. Paul S.C. Taçon (ARC Discovery Grant DP0877463). The Thailand Research Fund, the Universiti Sains Malaysia Short Term Grant, the Fine Arts Department of Thailand and Silpakorn University also supported field-survey. Pariwat Thammapreechakorn, Surat Lertlum, Pongdhan Sampaongern, Surapol Natapintu, Rasmi Shoocongdej and Pacharee Sarikabutara are thanked for information and feedback. 5 �Bibliography Bloomfield, B. and Tam, K.-L., 2005 Breazeale, K. (ed), 1999 Chaimongkon, S., and Pigpien, K., 1990 Fine Arts Department, 1979 Garnier, D., 2004 Gibson-Hill, C.A., 1949. Lim, P., 2009 Sangwan, N., 1987 Sarikabutara, P., 1987 Sukkham, A., 2010 Taçon, P.S.C., May, S.K., Fallon, S.J., Travers, M., Wesley, D., and Lamilami, R., 2010 Valli, E. and D. Summers., 1990 Virapol, S., 2005 Wongbusarakum, S., 2007 Dynasties and destinations. Hong Kong Maritime Museum, Hong Kong. From Japan to Arabia: Ayutthaya’s Maritime Relations with Asia, The Foundation for the Promotion of Social Science and Humanities Textbooks Project, Bangkok. Pharayanaga Cave Art, Krabi, Fine Arts Department, Bangkok, in Thai language. Siam Society in the King Rama V Period, The Fine Arts Department of Thailand, Bangkok, in Thai language. Ayutthaya: Venice of the East, River Books, Bangkok. "Cargo boats of the east coast of Malaya", in Journal of the Malayan Branch of the Royal Asiatic Society, 22,1, pp.106-125. Through the eyes of the King: the travels of King Chulalongkorn to Malaya, Institute of Southeast Asian Studies, Singapore. "Some rock painting sites in the Phangnga and Krabi Bay area", in SPAFA Final Report: Seminar in prehistory of Southeast Asia (TW11), SPAFA, Bangkok, pp. 119-141, "Bird, fish and boat: mysterious beliefs in the rock painting particularly of Tham Phi Hua To, Krabi Province, Southern Thailand", in SPAFA Final Report: Seminar in prehistory of Southeast Asia (TW11), SPAFA, Bangkok, pp. 143-160. The dating of ancient rock arts in Southern Thailand, M.A. thesis, Faculty of Archaeology, Silpakorn University, Bangkok, in Thai language. "A minimum age for early depictions of Macassan praus in the rock art of Arnhem Land, Northern Territory", in Australian Archaeology, 71, pp. 1-10. Nest gatherers of Tiger Cave, National Geographic 177(1), pp 106133. Tribute and Profit: Sino-Siamese Trade 1652 – 1853, Dream Cather Graphic Co.,Ltd, Bangkok, in Thai language. Urak Lawoi’ of the Adang Archipelago, Themma Group, Bangkok. 6 �Wongthes, S., 2003. Ayutthaya : social and culture history, Matichon, Bangkok, in Thai languag. Figures Figure 1: Map of southern Thailand with Tham Phrayananga indicated. (Atthasit Sukkham) Figure 2: The most dramatic part of Panel A with numerous paintings of watercraft. (Atthasit Sukkham) 7 �Figure 3: One of two bichrome Thai junks at Tham Phrayananga (Paul S.C. Taçon). Figure 4: A painting of an early 20th century perahu pinisiq (Paul S.C. Taçon). 8 � 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 Rock art of Phrayanaga (Viking) Cave, southern Thailand: the illustration of ancient vessels Subject The topic of the resource Session 11 Diversity in approaches to maritime archaeology, underwater cultural heritage and related areas Description An account of the resource Tham Phrayanaga is one of Southeast Asia’s most well-preserved but little understood rock art sites. This cave site in southern Thailand has at least 76 depictions of watercraft. Many of the images are accurate portrayals of vessels used by a number of different cultural groups. The nature of the imagery is described and the ways in which the site informs us about the region’s recent cross-cultural contact history is explored. Based on relative dating and comparative study, this rock art site has been given the approximately date of from about the late 1500s to the early 1900s. This study will highlight our results that have indicated that some figures are ancient vessels including Thai, Chinese, European, Indonesian, and Arabian. Moreover, it related to the Maritime Silk Route and the spice trade in Southeast Asia and the Andaman Sea, which is a part of the Indian Ocean. Creator An entity primarily responsible for making the resource Atthasit Sukkham Paul S.C. Taçon Noel Hidalgo Tan Date A point or period of time associated with an event in the lifecycle of the resource November 2011 Asia-Pac Session 11 https://apconf-much.org/proceedings/files/original/8d0b1d6c2c65250a73c0a8f29c734cbc.pdf 090c0986a57bcfb173dcfd0d87b9aa6a PDF Text Text Ayutthayan Port Towns and Ceramics Trading in Southern Thailand Atthasit Sukkham Southeast Asian Ceramics Museum, Bangkok University, Phaholyothin Road Pathum Thani 12120, Thailand Email: atthasit.s@bu.ac.th Abstract Between 1350 and 1767 CE, the Ayutthaya Kingdom became one of the most important trading centers in the region and a magnet for explorers, missionaries, ambassadors and merchants from around the world, specifically from China, Japan, Southeast Asia and Europe. Crucial to its success was the location of the capital of the Ayutthaya Kingdom on the Chao Phraya River Basin and its territories in the northern, northeastern, western, and especially the southern region. The southern region is situated on the Malay Peninsula which the peninsula lies between the South China Sea and the Indian Ocean, and has long been a vital strategic and communications link. Archaeological evidence and historical records reveal that the important Ayutthayan port towns in the southern region are comprised of Nakhon Si Thammarat, Chaiya, Thalang, Songkhla and Pattani. A lot of Ayutthayan infrastructure, religious artworks and utensils, such as temples, fortresses, town walls, Buddha images, rock art and mural paintings, as well as trade ceramics were found there. The trade ceramics found in these five port towns were from northern Thailand, Vietnam and China and they were used for architectural decorations, luxury goods and kitchen utensils. Key words: Ayutthaya, Southern Thailand, Port Town, Ceramics Introduction Between 1350 and 1767 CE, the Ayutthaya Kingdom became one of the most important trading centers in the region and a magnet for explorers, missionaries, ambassadors and merchants from Southeast Asia, India, Persia, China, Japan and Europe to make relations and settle in the capital named Ayutthaya. Crucial to its success was the location of Ayutthaya, which was amidst the irrigated fertile Thai heartland, set in a vital strategic and communications link. The kingdom was ruled by the king with the royal court in Ayutthaya and the kings were absolute monarchs with semi-sacred status that derived from the ideologies of Hinduism and Buddhism as well as from natural leadership (Garnier, 2004). The kingship was founded in 1350 by King Ramathibodi I (1350-1369 AD) and lasted for over 400 years. The war between Ayutthaya and Burma began in 1548 under the reign of King Mahachakkraphat (1548-1568 AD) and after that 1 �a combined strong force of Burmese armies invaded the northern and western territories first, and Ayutthaya later capitulated during the reign of King Ukathat (17581767 AD) (Garnier, 2004). A Brief History of Ayutthayan Port Towns in Southern Thailand The Malay Peninsula is a peninsula in Southeast Asia. approximately The land north-south mass and is runs the southernmost point of the Asian mainland that lies between the Gulf of Thailand and the Andaman Sea. The environment is tropical rainforest and seasonal rains. The peninsula also is affected by the Southwest and Northeast monsoon winds. Ayutthaya expanded its territory through conquests, especially towards the south, where port towns leading were located. Since the reign of King Ramathibodi I (1350-1369 AD), Ayutthaya sent troops to conquer all city-states of the southern Fig. 1 A map of the territory of Ayutthaya Kingdom and related archaeological sites. (Atthasit Sukkham) region. They became to be dependent cities under the Ayutthaya Kingdom, especially Nakhon Si Thammarat. The reforms in the reign of King Boromtrailokanath (1448-1488 AD) adopted a Mandala-style (based on influence areas) tributary system and systematically developed new local government organizations for all cities in the northern, northeastern, central, western territories and especially southern territory. There were recognized to be three levels of city comprising of “Inner Cities” (governed by the senior noblemen who were representatives of the kings, situated close to Ayutthaya and listed to be quaternary-rank cities with lowest level of security), “Outer or Chief Cities” (Phraya Maha Nakhon, governed by the senior noblemen who were representatives of the kings, situated far from Ayutthaya to control other dependent cities and listed to be primary-rank, secondary-rank and tertiary-rank 2 �cities depending on distance from Ayutthaya and level of security to protect the rebellion) and “Tributary City-states” (self-government but Ayutthaya still requested them to send tributes and military assistances), as well as independent city-state. A few Ayutthaya archives from the Early Ayutthaya period (1350-1488), contemporary Chinese, Arabian and European archives, and 16th to 17th centuries European maps (Suarez, 1999) have identified the most important port towns in the southern territory of the Ayutthaya Kingdom as: 1. Nakhon Si Thammarat as the chief primary-rank city (Fig. 1) 2. Phatthalung, Chumpon, Thalang and Chaiya as the outer tertiary-rank cities as well as dependent cities under Nakhon Si Thammarat (Fig. 1) 3. Pattani as the tributary city (Fig. 1) 4. Songkhla as the tributary city between Early (1350-1448) and Middle (1448-1630) Ayutthaya periods and liberated to be independent city-state in Late Ayutthaya period (1630-1767 AD) (Fig. 1) (CNAL, 1999). Ceramics Trading and Traditions Since the late 14th century, Ayutthaya was also regarded as the strongest power in mainland Southeast Asia. It began its hegemony by conquering the neighboring kingdoms like Sukhothai and the surrounding cities of Kamphaeng Phet, Si Satchanalai and Phitsanuloke (Fig. 1) during the reign of King Boromarachathirat I (1370-1388 AD). Meanwhile, it also established official and unofficial relations with China and Vietnam, especially regarding trade. Hence, the ceramics were one of the important products that they exchanged. The Chinese Yuan (1280-1368 AD), Ming (1368-1644 AD) and Qing (1644-1911 AD) ceramics, as well as the Vietnamese Tran (1226-1400 AD) and Le (1428-1527 AD) ceramics were exported around the regions that were believed to be the prototypes for Thai potters who tried to copy, specifically on the Si Satchanalai, San Kamphaeng, Wang Nua, Phayao and Boh Suak kilns of the Sukhothai and Lanna Kingdoms (Wong-on et al., 2013) (Fig. 1). As the domestic trades, the ceramic productions and other businesses in the neighboring kingdoms were transferred to Ayutthaya after the conquest, specifically the Sukhothai and Si Satchanalai kilns in the northern territory (Wong-on et al., 2013). It also operated its own ceramic productions in the central territory at the Bang Pun kilns in Suphan Buri (FAD, 1988), the Bang Rachan 3 �(Mae Nam Noi) kilns in Sing Buri (Sukkham 2013) and Klong Sra Bua kilns in Ayutthaya (Yukongdi, 2009) (Fig. 1) but there was no any ceramic production in the southern territory. The Si Satchanalai ceramics are only a group of Thai ceramics that were found in the southern territory especially in Nakhon Si Thammarat. A Middle Si Satchanalai celadon dish with engraved lotus and classic scroll designs dated in the first half of 15th century were found in Nakhon Si Thammarat but the provenance is unknown (FAD, 2000). The Late Si Satchanalai underglaze black and brown and white jarlets (Fig. 2) with floral designs dated from the late 15th to mid-16th centuries were buried surrounding the Sri Lankan style of round stupa in the Chedi Yak Temple on the north of Nakhon Si Thammarat but they have no human remains inside (FAD, 1986: 44). Other Late Si Satchanalai brown and white jarlet was put inside the great stupa of the Chanthat Tharam Temple or Khao That Stupa on the north of Nakhon Si Thammarat but it has no human remains inside as well (FAD, 2013). All of these were produced and exported from the Si Satchanalai kilns in the northern territory between the first half of 15th century and 16th century when the kilns were already transferred to Ayutthaya. However, the ceramics from the Bang Pun, Sukhothai, Bang Rachan and Klong Sra Bua kilns Fig. 2 Late Si Satchanalai underglaze were not found in Nakhon Si Thammarat or other black jarlet (top) and brown and white jarlet (bottom), late 15th to mid-16th century, found in the Chedi Yak Temple. (Nakhon Si Thammarat National Museum) dependent cities in the southern territory. 4 �Regarding international trade, very few Vietnamese ceramics were found in Nakhon Si Thammarat as well. The first group comprises of a Chu Dau blue and white jarlet with painted flower and panel designs as well as a blue and white covered box with painted chrysanthemum, lotus and square panel designs. These were put inside the great stupa of the Thao Khot Temple on southwestern side of Nakhon Si Thammarat (FAD 2000). The second group is a Chu Dau blue and white jarlet with painted flower and panel designs which was put inside the great Fig. 3 Le Chu Dau blue and white jarlets, 15th stupa of the Chanthat Tharam Temple (FAD, century, found in the Chanthat Tharam 2013) (Fig. 3). These ceramics Temple. (Nakhon Si Thammarat National were Museum and 14th Regional Office of Fine Arts produced and exported from the Chu Dau Department) kilns in Hai Duong, northern Vietnam in the Later Le Dynasty around the 15th century. The third group is from other kilns as a Go Sanh brown glazed jar with four handles and the glaze stopping at the middle of the exterior which was also put inside the great stupa of the Chanthat Tharam Temple (FAD, 2013). This jar was produced and exported from the Go Sanh kilns in Binh Dinh, central Vietnam dated to the 15th century. Another international trade is Chinese porcelain. The ceramics trade between China and Southeast Asia appeared during the Tang dynasty (618-907). Since Yuan (12801368 AD) until Qing (1644-1911 AD) Dynasties, Ayutthaya had a good relation with China especially on ceramics trading. The Yuan ceramics marked as the oldest Chinese ceramics found in Nakhon Si Thammarat in the Ayutthaya period (1350-1767 AD) are of unknown provenance. They are two Longquan celadon dishes with vertical fluted on the interior that produced and exported from the Longquan kilns in Zhejiang from the 13th to 14th centuries (FAD, 2000) (Fig. 4). Between Middle Ming and Early Qing Dynasties around the mid-15th to late 18th centuries, the Jingdezhen kilns in Jiangxi, the Longquan kilns in Zhejiang as 5 �well as the Dehua, Cizao and Pinghe (formerly called Zhangzhou) kilns in Fujian exported ceramics to Ayutthaya. The white glazed, celadon, green and yellow, blue glazed, blue and white and overglaze enameled wares were found on the east coast of the southern territory in Nakhon Si Thammarat, Chaiya, Songkhla and Pattani, rather than in the west territory of Thalang (Chandavij, 1994). The details of typology and provenance are detailed in (Table 1). Fig. 4 Yuan Longquan celadon dishes, 13th to 14th century, found in Nakhon Si Thammarat. (Nakhon Si Thammarat National Museum) Nakhon Si Thammarat and Chaiya where the most complex Chinese ceramics are found and those details are mentioned in Table 1. They provide data to categorize the chronology in four different periods: 1. From the 13th to 14th centuries: the Yuan Longquan celadon dishes were found only in Nakhon Si Thammarat but the provenance is unknown (Fig. 4). 2. From the 15th to 16th centuries: the Middle Ming ceramics between Chengtong (1436-1449 AD) and Hongzhi (1488-1505 AD) reigns were exported to the east coast in middle part of the southern territory. Most of them were used for religious purposes, being buried around and put inside the great stupas of Buddhist temples. The ceramics were found in temples in the town of Nakhon Si Thammarat, and just only one sample was found in Chaiya. The Chai Na Temple on southwestern side of Nakhon Si 6 �Thammarat is where the Longquan celadon dishes of Chengtong to Hongzhi reigns were found, with foliate rim and fluted fret designs on the interior sticking on a pair of wooden pillars in front of a Buddha image inside the Early Ayutthaya style (1350-1488 AD) the great hall Maha Ut. The interior walls of the great hall also have a mural painting with the stories of god, goddess and animals in the forest Himmavanta. A Jingdezhen blue and white bowl of Chengtong to Tianshun (1457-1464 AD) reigns with false unglazed rim and peony designs both on interior and exterior was found in Nakhon Si Thammarat. Blue glazed jarlets of Chengtong to Tianshun reigns were found in Chaiya. 3. During the first half of 16th to early 17th centuries: Ming Zhengde (1506-1521 AD), Jiajing (1522-1566 AD), Longqing (1567-1573 AD) and Wanli (1573-1619 AD) reigns exported the ceramics to the east and west coasts of the southern territory. Most of them were buried in the earth surrounding the pedestal of stupa in many temples. The Cizao green and yellow kendis and jarlets of Jiajing to Wanli reigns with engraved flower designs was found in the Phra Khian Temple on the west of Nakhon Si Thammarat, as well as in the temples of Thao Khot and Chedi Yak. A couple of Pinghe blue and white jarlets of Jiajing to Wanli reigns with underglaze flower designs were found in the Nangtra Temple on the north of Nakhon Si Thammarat. Pinghe blue and white jarlet of Jiajing and Wanli reigns with deer designs associated with Jingdezhen blue and white jarlet with flower designs dated from the same period were found in the Wiang Temple in Chaiya. The ceramics produced at the Jingdezhen and Pinghe kilns – which comprise of white glazed kendis, overglaze enameled dishes and kendis as well as blue and white dishes, bowls, and jars from the Zhengde to the Wanli reigns– were also found in every city, specifically Nakhon Si Thammarat, Pattani, Thalang and Songkhla in the areas of Sathingphra and Hua Khao Dang Mountain. Moreover, a couple of Jingdezhen blue and white dishes or Kraak wares of Wanli reign with complex designs such as duck, flower and eight circle panel were found on the cave ceiling of the Singkhon Temple. They were found together with other Chinese ceramics of the Qing Dynasty that were assumed to have been used for architectural decoration in the later period from the mid-17th to early 18th centuries. 7 �4. From the mid-17th to early 18th centuries: Qing ceramics between Kangxi (16621722 AD) and Yongzhen (1723-1735 AD) reigns were exported only to the east coast of southern territory. They were used for architectural decoration on several kinds of buildings in Buddhist temples. The Phra Mahathat Temple at the center of Nakhon Si Thammarat (UNESCO, 2012) was found various types of ceramics comprise of the Bencharong small dishes with flower and floral designs as well as the figure of deva those ordered by Thai to produce at Dehua kilns around Kangxi and Yongzhen reigns, a Dehua blue glazed dish, a Jingdezhen overglaze enameled dish with Arabian alphabets or called “Chinese Islamic magic square” design as well as the Jingdezhen blue and white dishes with complex designs such as basket of flowers, Artemisia and Thai designs (Fig. 6). They were used for architectural decoration on several parts of the great stupa of the Phra Mahathat Temple, specifically four sides of the pedestal of stupa throne called Harmika and four side miniature stupas. The stupas were believed to build since Sukhothai period (the 13th to 15th centuries) but the ceramics were possibly decorated onto them in Late Ayutthaya period (1630-1767 AD). Between 1990 and 1991, the 14th Regional Office of Fine Arts Department at Nakhon Si Thammarat in association with temple clergymen restored the stupas as well as the original ceramics decorated on them were moved for preservation and display in the temple museum. New replicas of ceramic for decoration on the stupa were made and placed in the same position. Fig. 5 Kraak ware dishes, early 17th century, sticking on the cave ceiling of the Singkhon Temple. (Atthasit Sukkham) The Singkhon Temple on the northwest of Nakhon Si Thammarat is other temple that used Chinese ceramics for architectural decoration. Qing ceramics of Kangxi and 8 �Yongzhen reigns were found there, specifically the Jingdezhen and Dehua blue and white dishes, as well as the Jingdezhen overglaze enameled dishes. However, they are also associated with the above mentioned couple of Kraak wares, possibly used for decorating the cave at the same time. All of them are still stuck on the stuccos and rock surfaces of the cave ceiling. The stuccos on the cave ceiling are assumed to be Late Ayutthaya designs (1630-1767 AD), but some archaeologists suggest the ceramics were stuck in the cave temple in the Late Ayutthaya period (1630-1767 AD) as well (Srisuchat, 1991) (Fig. 5). The square stupa called Phra That in Thai was built at the mouth of the cave temple has similar characteristics to the Phra Borommathat Temple in Chaiya and both were assumed to be from the Late Ayutthaya style (1488-1630 AD). This square stupa also used ceramics from the Qing dynasty and the Republic, specifically the Dehua blue and white stem dishes of Tongzhi (1862-1874 AD) to Xuantong (1909-1911 AD) reigns with foliate rim and underglaze Shiitake mushroom designs as well as the Jingdezhen overglaze enameled rids of Xianfeng (1851-1861 AD) to Xuantong reigns with flower scroll and shiitake mushroom designs. Although the square stupa was built in Late Ayutthaya period (1488-1630 AD), these Late Qing (1736-1911 AD) and Republic (1916-recent) ceramics contemporary with the Early Rattanakosin period (1782 to the recent period) suggests that the ceramics may have been used in the restoration of the square stupa around the mid 19th to early 20th centuries (Chandavij, 1994; Sukkham et al., 2012). All Chinese ceramics found in the towns and temples around the southern territory mentioned above are mirrored in many shipwreck assemblages in the Gulf of Thailand and the South China Sea, such as: The late 14th to early 15th centuries shipwrecks: comprised of the Rang Kwien, Song Doc, Turiang, Si Chang II, Maranei and Bakau. The mid-15th to late 15th century shipwrecks comprised of the Nanyang, Khram, Longquan, Royal Nanhai, Pandanan, Phu Quoc II, Belanakan, Brunei and Santa Cruz. The early 16th to early 17th centuries shipwrecks comprised of the Hoi An, Samui, Si Chang III, Si Chang I, Singtai, Xuande and Wanli. The mid 17th to late 19th centuries shipwrecks especially the Ca Mau and Desaru (Flecker, 2001; Brown and Sjostrand, 2001; Sjostrand and Idrus, 2007; Sotheby’s Amsterdam, 2007; Brown, 2009). 9 �Fig. 6 Qing Jingdezhen blue and white dish (left), Qing Jindezhen overglaze enameled dish with “Chinese Islamic magic square” design (center) and Qing Dehua blue glazed dish (right), late 17th to early 18th century. (Phra Mahathat Temple Museum) Conclusion The port towns in the southern territory of the Ayutthaya Kingdom located on the coastal area of the Malay Peninsula connected the Southeast Asian, Chinese, Arabian and even European maritime trade routes in the Gulf of Thailand on the east and the Andaman Sea on the west. These port cities started their expansion from the late 14th century onwards. In history, India, Persia, China, Vietnam, Japan, Portugal, Netherlands, Britain and France established official and unofficial relations focused on trade with Ayutthaya and its dependent cities. They also got permission to settle and open trading stations in Ayutthaya as well as their branches in the port towns on the southern territory. The most important port towns recorded in the Ayutthaya archives and European maps since the reign of King Boromtrailokanath (1448-1488 AD) comprised of Nakhon Si Thammarat as the chief primary-rank city, Thalang and Chaiya as outer tertiary-rank city and dependent cities under Nakhon Si Thammarat, Pattani as the tributary city and Songkhla as the tributary city in Early (1350-1448 AD) and Middle (1448-1630 AD) Ayutthaya periods then after that it was later liberated to be independent city-states in Late Ayutthaya period (1630-1767 AD). The dependent cities, foreign relations and trade benefited from Ayutthaya through agriculture products, forest supplies, ore mines and ceramic productions supplied for domestic usages and monopoly trade, receiving some cultural influences including tributes and military assistances and controlling travel and transportation between the South China Sea and the Indian Ocean on the middle part of the peninsula. All port 10 �towns in the southern territory have yielded Thai, Vietnamese and Chinese trade ceramics following Middle Si Satchanalai celadon (the first half of 15th century), Late Si Satchanalai underglaze black and brown and white (the late 15th to mid 16th centuries), Le Chu Dau blue and white (the 15th century), Go Sanh brown glazed (the 15th century), Yuan (1280-1368 AD) and Ming (1368-1644 AD) Longquan celadon, Ming Cizao green and yellow (1368-1644 AD), Ming (1368-1644 AD) and Qing (1644-1911 AD) Jingdezhen white glazed, blue glazed, blue and white and overglaze enameled, Ming Pinghe (formerly called Zhangzhou) white glazed, blue and white and overglaze enameled (1368-1644 AD) and Qing Dehua white glazed and blue glazed wares. These ceramics indicate the port towns in the southern territory specifically Nakhon Si Thammarat, Chaiya, Songkhla, Pattani and Thalang connected with Si Satchanalai kilns in the northern territory by the port of Ayutthaya, Chu Dau and Go Sanh kilns by the ports of Ha Long, Van Don and Hoi An in Vietnam as well as Longquan, Cizao, Jingdezhen, Pinghe (formerly called Zhangzhou) and Dehua kilns by the ports of Fuzhou and Quanzhou in China. Nakhon Si Thammarat was possibly a dependent city used to control the travel and transportation on the middle part of the peninsula to Ayutthaya since of the complexity of the ceramics assemblages suggests this port to be the first gate for international trading ships, especially the arrival of Chinese junks. These ceramics were used for several purposes and can be categorized in four different periods: 1. From the 13th to 14th century, imported luxury or utilitarian products. 2. From the 15th to 17th century, ceramics were buried surrounding the pedestal of great stupa in a few Buddhist temples but no human remains inside them. They were used for religious purposes. In additions, some ceramics were used for architectural decoration but this did not become a tradition in the Early Ayutthaya period (1350-1488 AD). 3. From the mid 17th to early 18th centuries, ceramics were used as architectural decorations in a few Buddhist temples. By the number of ceramics, they seemed to indicate a decrease for other port towns in the southern territory in the period. The ceramics found in land sites appear to be mirrored in ceramic assemblages recovered from 14th to 19th centuries shipwrecks that sank in the Gulf of Thailand and 11 �the South China Sea. This confirms that the ceramics were shipped on maritime trade routes by Southeast Asian or Chinese ships (Green, 2013) to points of destination in the southern territory and other points of destination in Southeast Asia, India and Far East Asia. Acknowledgements I would like to thank Dr. Pariwat Thammapreechakorn, Director of the Southeast Asian Ceramics Museum, Bangkok University, for his comments. I especially would like to thank the Organizing committee of the 2nd Asia-Pacific Conference on Underwater Cultural Heritage, for publishing this paper and travel stipend assistance to attend the conference. References Brown, R. M., 2009. Ming Gap and Shipwreck Ceramics in Southeast Asia: Towards a Chronology of Thai Trade Ware. River Books Press, Bangkok. Brown, R. M., and Sjostrand, S., 2001. Maritime Archaeology and Shipwreck Ceramics in Malaysia. Department of Museum and Antiquities, Kuala Lumpur. Chandavij, N., 1994. Chinese Ceramics from the Archaeological sites in Thailand. Thammasat University Press, Bangkok (In Thai). Committee of National Archives and Literatures (CNAL), 1999. Cultures, Histories, Identities and Knowledge of the Southern Thailand. Bangkok: Royal Thai Government. Available at http://www.m-culture.go.th/knowledge-province.php?sub_id=529. (In Thai) Flecker, M., 2001. The Bakau Wreck: An Early Example of Chinese Shipping in Southeast Asia. International Journal of Nautical Archaeology, Vol. 30 (2): 221-230. Fine Arts Department (FAD), 1988. Ban Bang Pun Kilns. Fine Arts Department of Thailand, Bangkok, (In Thai). Fine Arts Department (FAD), 1986. The Guide to Nakhon Si Thammarat National Museum. Fine Arts Department of Thailand, Bangkok, (In Thai). Fine Arts Department (FAD), 2000. The Guide to Nakhon Si Thammarat National Museum. (Second edition), Fine Arts Department of Thailand, Bangkok, (In Thai). Fine Arts Department (FAD), 2013. The Geographic Information System Database. accessed on December 1, 2013, http://www.gis.finearts.go.th/ChooseSystem.aspx. (In Thai) 12 available at �Garnier, D., 2004. Ayutthaya: Venice of the East. River Books Press, Bangkok. Green, J., 2013. Maritime Archaeology of Ships of Indian Ocean, Southeast Asia and East Asia, the Question of Bulkheads. In The Museum of Underwater Archaeology Collection, accessed on November 18, 2013, available at http://www.themua.org/collections/items/show/1573. Sjostrand, S., and Idrus, S. L. L. S., 2007. The Wanli Shipwreck and Its Ceramic Cargo. Department of Museums Malaysia, Kuala Lumpur Sotheby’s Amsterdam, 2007. Made in Imperial China: 76,000 Pieces of Chinese Export Porcelain from the Ca Mau Shipwreck, Circa 1725. Sotheby’s, Amsterdam. Srisuchat, A., 1991. Rock Art of the Historic Period in Thailand, Part I (Central and Southern Thailand), Fine Arts Department of Thailand, Bangkok. Suarez, T., 1999. Early Mapping of Southeast Asia. Periplus Publishing Group, Singapore. Sukkham, A., 2013. Variability in Ceramics of the Bang Rachan (Mae Nam Noi) Kilns. In SEAMEO SPAFA, Proceeding of the First SEAMEO SPAFA International Conference on Southeast Asian Archaeology at Burapha University, May 7-10, 2013 (DVD). Sukkham, A., Sittrit, C., and Chalawsuntisakul, S., 2012. Ceramic Decoration on the Buddhist Edifices in Surat Thani and Nakhonsithammarat Provinces. Muang Boran Journal. Vol. 38 (2): 151-164. United Nations Educational, Scientific and Cultural Organization (UNESCO), 2012. Wat Phra Mahathat Woramahawihan, Nakhon Si Thammarat, available at http://whc.unesco.org/en/tentativelists/5752/. Wong-on, T., Thammapreechakorn, P., and Rooney D. F., 2013. Sukhothai and Si Satchanalai Ceramics: Inspiration and Realization. Bangkok Printing, Bangkok. Yukongdi, P., 2009. Development of ceramics production in Ayutthaya. Publishing PhD Thesis in Historical Archaeology, Silpakorn University, Bangkok. Biography Atthasit Sukkham completed his Master of Arts in archaeology from Silpakorn University, Bangkok and received an archaeology field research scholarship from Southern Methodist University, New Mexico in 2010. He is currently Assistant Curator of the Southeast Asian Ceramics Museum at Bangkok University, Rangsit Campus, Pathum Thani. 13 �Table 1. List of the typologies and provenances of Chinese ceramics found in the southern territory of the Ayutthaya Kingdom. 14 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Session 8: Ceramics from Shipwrecks, Harbours, Ports and Related Archaeological Sites Subject The topic of the resource Video interview with Session 8 chair Atthasit Sukkham and links to the papers presented in the session. Description An account of the resource Trade ceramics have usually been found together with other evidence in many ancient shipwrecks, harbours, ports, trade centers, hinterlands and burials around the world which were linked to international maritime trade routes. These were specifically Chinese, Indian, Southeast Asian, Middle East and European trade routes over a long period of history. Trade ceramics are virtually indestructible. They are also one of the most important sources of information for maritime archaeological studies concerning the dating of ceramics and shipwrecks, origins of ceramics, points of departure and destinations of ships and shipments, for instance. This session aims to provide an opportunity for specialists to contribute their knowledge on trade ceramics in multi-disciplinary approaches and foster international collaboration for ceramic studies from the shipwrecks, harbours, ports and related archaeological sites in near future. Creator An entity primarily responsible for making the resource Atthasit Sukkham 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 Ayutthayan Port Towns and Ceramics Trading in Southern Thailand Description An account of the resource Between 1350 and 1767 CE, the Ayutthaya Kingdom became one of the most important trading centers in the region and a magnet for explorers, missionaries, ambassadors and merchants from around the world, specifically from China, Japan, Southeast Asia and Europe. Crucial to its success was the location of the capital of the Ayutthaya Kingdom on the Chao Phraya River Basin and its territories in the northern, northeastern, western, and especially the southern region. The southern region is situated on the Malay Peninsula which the peninsula lies between the South China Sea and the Indian Ocean, and has long been a vital strategic and communications link. Archaeological evidence and historical records reveal that the important Ayutthayan port towns in the southern region are comprised of Nakhon Si Thammarat, Chaiya, Thalang, Songkhla and Pattani. A lot of Ayutthayan infrastructure, religious artworks and utensils, such as temples, fortresses, town walls, Buddha images, rock art and mural paintings, as well as trade ceramics were found there. The trade ceramics found in these five port towns were from northern Thailand, Vietnam and China and they were used for architectural decorations, luxury goods and kitchen utensils. Creator An entity primarily responsible for making the resource Atthasit Sukkham, in Van Tilburg, H., Tripati, S., Walker Vadillo, V., Fahy, B., and Kimura, J. (eds.) Date A point or period of time associated with an event in the lifecycle of the resource 5/15/2014 Asia-Pac Session 8 2014 https://apconf-much.org/proceedings/files/original/673615a15ecad21f2506e01983a97e77.mp4 763abcad98e0c150a7351e6e37837a59 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Session 8: Ceramics from Shipwrecks, Harbours, Ports and Related Archaeological Sites Subject The topic of the resource Video interview with Session 8 chair Atthasit Sukkham and links to the papers presented in the session. Description An account of the resource Trade ceramics have usually been found together with other evidence in many ancient shipwrecks, harbours, ports, trade centers, hinterlands and burials around the world which were linked to international maritime trade routes. These were specifically Chinese, Indian, Southeast Asian, Middle East and European trade routes over a long period of history. Trade ceramics are virtually indestructible. They are also one of the most important sources of information for maritime archaeological studies concerning the dating of ceramics and shipwrecks, origins of ceramics, points of departure and destinations of ships and shipments, for instance. This session aims to provide an opportunity for specialists to contribute their knowledge on trade ceramics in multi-disciplinary approaches and foster international collaboration for ceramic studies from the shipwrecks, harbours, ports and related archaeological sites in near future. Creator An entity primarily responsible for making the resource Atthasit Sukkham Moving Image A series of visual representations that, when shown in succession, impart an impression of motion. 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 Video interview with Session 8 chair Atthasit Sukkham. Description An account of the resource Trade ceramics have usually been found together with other evidence in many ancient shipwrecks, harbours, ports, trade centers, hinterlands and burials around the world which were linked to international maritime trade routes. These were specifically Chinese, Indian, Southeast Asian, Middle East and European trade routes over a long period of history. Trade ceramics are virtually indestructible. They are also one of the most important sources of information for maritime archaeological studies concerning the dating of ceramics and shipwrecks, origins of ceramics, points of departure and destinations of ships and shipments, for instance. This session aims to provide an opportunity for specialists to contribute their knowledge on trade ceramics in multi-disciplinary approaches and foster international collaboration for ceramic studies from the shipwrecks, harbours, ports and related archaeological sites in near future. Creator An entity primarily responsible for making the resource Atthasit Sukkham, Sharon Wong Wai Yee, and Ngo The Bach Date A point or period of time associated with an event in the lifecycle of the resource 6/11/2014 Asia-Pac Session 8 2014 https://apconf-much.org/proceedings/files/original/484c87263fbc8f93eca799eaa7ce0a90.pdf 9db2f98fbb1eec7a73b8edf6be69b882 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 3D Photogrammetry as an Aid to Traditional Canoe Building Description An account of the resource A renaissance in traditional boat building is occurring in Oceania but in some locations ancestral canoe designs are likely lost and so the body of knowledge supporting this renaissance is narrower than in its heyday. Traditional sailing and canoe building skills began to decline initially through colonialist pressure and accelerated in the 20th century with adoption of western values and the introduction of the outboard. This outside pressure has left a break in the chain of local knowledge surrounding canoe design and construction. It is possible that recent resurgence of traditional craft will provide a path to an accurate recreation of local purpose crafted canoes. A powerful and effective tool to ensure skills are passed on, and which can encourage comparative studies between builders, is the use of 3D photo scanning. As Oceania looks to alternatives to fossil fuels for transportation throughout the area traditional sailing techniques and design may have greater purpose for Oceania in development of sustainable transport. 3D photo scanning can help with sharing design ideas on sustainable transportation while aiding to track the connection with the past and future design constructions. With 3D scanning techniques, even if we can’t save all existing older craft, we can capture what they are now and preserve the history before it literally rots away outside somewhere. 3D scanning and photogrammetry can provide an educational platform for schools, the public, traditional boat builders and offers a venue for showcasing traditional craftsmanship as an educational tool. The availability of 3D scanning can offer a record of how boats are being tweaked in the resurgent craft of traditional canoe as it evolves. Through this discussion the author hopes to share 3D scans conducted in Micronesia, gain insight from other like-minded individuals and network for a larger project of capturing digital records of Oceania’s traditional canoes. Creator An entity primarily responsible for making the resource Austin Baird Publisher An entity responsible for making the resource available The Museum of Underwater Archaeology Date A point or period of time associated with an event in the lifecycle of the resource November 2021 Language A language of the resource English Rights Holder A person or organization owning or managing rights over the resource. Asia Pacific Regional Conference on Underwater Cultural Heritage Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Baird, Austin. 2021. “3D Photogrammetry as an Aid to Traditional Canoe Building.” 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/698 Asia-Pac Session 14 2021 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 Chinese Export Porcelain from the Wreck of the Sydney Cove (1797) / Nash, Michael,; 1959- Creator An entity primarily responsible for making the resource Mark Staniforth Australian Institute for Maritime Archaeology Publisher An entity responsible for making the resource available Brolga Press for the Australian Institute for Maritime Archaeology Date A point or period of time associated with an event in the lifecycle of the resource 1998 Type The nature or genre of the resource Book Zotero Author Mark Staniforth Australian Institute for Maritime Archaeology Item Type Book ISBN 187549524X Date A point or period of time associated with an event in the lifecycle of the resource 1998 Library Catalog OCLC WorldCat FirstSearch Place Adelaide, S. Aust. Publisher An entity responsible for making the resource available Brolga Press for the Australian Institute for Maritime Archaeology Series Special publication / Australian Institute for Maritime Archaeology,; no. 12; Variation: Special publication (Australian Institute for Maritime Archaeology) ;; no. 12. Title A name given to the resource Chinese Export Porcelain from the Wreck of the Sydney Cove (1797) / Nash, Michael,; 1959- China Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Medieval Trade Networks in the Western Indian Ocean (8th-14th centuries): Some Reflections from the Distribution Patterns of Chinese Imports in the Islamic World Creator An entity primarily responsible for making the resource Axelle Rougeulle Himanshu Prabha Ray Jean-Francois Salles Publisher An entity responsible for making the resource available Manohar Date A point or period of time associated with an event in the lifecycle of the resource 1999 Type The nature or genre of the resource Book Section Zotero Author Axelle Rougeulle Editor Himanshu Prabha Ray Jean-Francois Salles Item Type Book Section Book Title Tradition and Archaeology: Early Maritime Contacts in the Indian Ocean Date A point or period of time associated with an event in the lifecycle of the resource 1999 Pages 159-80 Place New Delhi Publisher An entity responsible for making the resource available Manohar Title A name given to the resource Medieval Trade Networks in the Western Indian Ocean (8th-14th centuries): Some Reflections from the Distribution Patterns of Chinese Imports in the Islamic World China India