• Can inscriptions help reconstruct how a kingdom expanded across a landscape?

King Citrasena (Chitrasen, later known as Mahendravarman) ruled Chenla in the late 6th to early 7th centuries, during a period when Chenla’s influence was extending across parts of what are now Cambodia, Laos and northeastern Thailand. His reign is known partly through inscriptions recording religious foundations, royal achievements and other acts of authority. 

Pailoplee and Khatshima map 21 inscriptions from at least 19 locations associated with Citrasena, and asked if people were moving between these places, which routes would they have taken? To explore this, they use Least Cost Path (LCP) modelling in a GIS. LCP calculates routes that minimise the “cost” of movement across terrain.

In archaeology, this can help identify plausible corridors shaped by features such as slopes, river valleys and mountain barriers. These models show how movement could have been structured by the landscape under the assumptions of the model.

Across several scenarios, the reconstructed paths repeatedly concentrate around major river systems—especially the Mun River—and particular passes through the Phnom Dong Rek (Dangrek) mountain range. The authors also compare the modelled network with archaeological sites attributed to Citrasena’s period, many of which fall along these reconstructed corridors.

Where river navigation would have been difficult (such as the Khone Phapheng Falls), the authors propose that Citrasena’s forces may instead have moved overland along riverbanks, using waterways as natural guides through the landscape.

The placement of several inscriptions near river confluences also suggests that these locations may have been important for controlling movement, communication and exchange, not simply access to water.

Reference
Pailoplee, S. & Khatshima, K. 2026. “The role of King Chitrasen (Mahendravarman) in the expansion of the Chenla Kingdom: A study of inscriptions and historical geography.” Social Sciences & Humanities Open 14, 103503.
10.1016/j.ssaho.2026.103503

#SoutheastAsianArchaeology #Cambodia #Thailand #Laos #Chenla
  • Sometimes the biggest archaeological questions depend on evidence we cannot see during excavation.

Microarchaeology investigates archaeological deposits at microscopic and microstratigraphic scales. In Southeast Asia, this can be especially valuable because monsoonal wetness, tropical weathering, intensive land use and complex depositional histories can affect how archaeological evidence survives. 

Researchers can examine the surrounding sediment for traces of past activity and later disturbance. Methods discussed in this new paper include sediment micromorphology, laboratory micro-excavation, high-resolution imaging, FTIR microscopy and SEM-EDS. Depending on the context, microscopic evidence can help identify burning, trampling, plant processing, sediment movement and environmental change. 

The importance of that context is illustrated by work in northern Laos. At Tam Ngu Hao 2, microstratigraphy was used alongside lithological observations and dating to establish the stratigraphic context of Denisovan fossil evidence. At Tam Pà Ling, it has shown potential for investigating environmental seasonality and possible patterns of early modern human presence. These methods help archaeologists understand what happened to a deposit before drawing conclusions from what it contains.
 
The paper also introduces the Australian Microarchaeology and Palaeosciences Facility (AusMAP) and argues for greater collaboration, training and locally based microarchaeological expertise across Southeast Asia. 

Reference:
Hernandez et al. 2026. Scaling down to look further back: Southeast Asia, deep-time science and microarchaeology. SPAFA Journal 10.
10.26721/spafajournal.651369a4y8 

#SoutheastAsianArchaeology #Archaeology #Microarchaeology #Geoarchaeology #ArchaeologicalScience
  • This week on Southeast Asian Archaeology: claims, contexts and careful reading.⠀
⠀
With Malaysia’s National Day, Vietnam’s National Day, Timor-Leste’s Popular Consultation Day, and International Literacy Day all close together, I’m thinking about literacy not just as reading words, but reading evidence: museum labels, old spellings, dates, maps, artefacts, archives, and the occasional viral post with a raised eyebrow.⠀
⠀
The catalyst this week is the recent controversy over historical claims in Malaysia, alongside a timely RSIS piece on how historians, archaeologists, archivists, librarians and curators can help push back against disinformation. Not by attacking people, but by helping everyone ask better questions of the past.⠀
⠀
Also in this week’s issue: Penang’s historical Malay spellings, Cambodia’s new artefact database grant, Singapore’s revised History Gallery, UNESCO’s maritime museum project, new research on Sundadonty, Roti Island, Chenla inscriptions, ancient Myanmar, and more.⠀
⠀
Link in bio.⠀
⠀
#SoutheastAsianArchaeology #Archaeology #Heritage #InformationLiteracy
  • How old are the rock paintings of Mainland Southeast Asia? 🎨🪨

A new study from Mangguan in Yunnan, southwestern China, provides another important piece of the puzzle.

Using uranium-thorium dating, researchers analysed tiny calcite deposits that had formed over the paintings. Because the calcite must be younger than the pigment underneath, the dates provide a minimum age for the art. One deposit covering a human figure shows that the painting was already there at least 4,220 years ago.

Mangguan is particularly interesting because it lies only about 15 km from the better-known Cangyuan rock art complex. The two have stylistic similarities and overlapping dates, suggesting they formed part of a broader regional rock art tradition, a comparison can be taken farther south.

The rock paintings at Pha Taem in Luang Prabang, Laos, have previously been compared with Cangyuan, raising intriguing questions about relationships between the rock art traditions of southwestern China and Mainland Southeast Asia.

Most rock art in Mainland Southeast Asia remains poorly dated, so dates like those from Mangguan give us increasingly useful chronological anchors for thinking about these connections.

References:
Wu, Y. et al. 2026. U-Th dating of rock paintings in southwestern China: minimum age of ~4.2 ka BP at the Mangguan site. Journal of Archaeological Science: Reports 74, 105987. DOI: 10.1016/j.jasrep.2026.105987.

Bo, X. 2020. On the relationship between the Cangyuan rock art in Yunnan, China, and the Pha Taem rock art in Laos. Rock Art Research 37(2).

Tan, N.H. 2018. The Cliff Paintings of Pha Taem, Luang Prabang, Lao PDR. Rock Art Research 35(1).

#RockArt #SoutheastAsianArchaeology #Yunnan #China
  • Extraordinary claims about the past can be exciting. But how do we tell an exciting new hypothesis from pseudoarchaeology?

Recent controversy in Malaysia over claims that ancient Malays taught the Romans shipbuilding provides a useful case study. Rather than piling on the person behind the claims, I think there is a more useful question to ask: how would we actually test an idea like this?

Archaeology gives us some simple tools.

Do the dates work? What is the primary evidence? Does the evidence actually demonstrate the connection being claimed? Are there better explanations? And perhaps most importantly: what evidence would make us reject the hypothesis?

Ancient Southeast Asians really were sophisticated seafarers. Srivijaya really was one of Asia’s great maritime powers. Sungai Batu really does preserve remarkable evidence for early iron production.

None of those achievements needs embellishment to make Southeast Asian archaeology extraordinary.

Swipe through for five questions you can use the next time you encounter an astonishing claim about the ancient past.

🚩 Remember: possibility is not evidence, similarity does not necessarily mean transmission, and extraordinary claims still have to survive ordinary archaeological scrutiny.

Read more about the archaeology behind these claims in this week’s Southeast Asian Archaeology Newsletter.

#SoutheastAsianArchaeology #Pseudoarchaeology #Malaysia #MaritimeArchaeology #MediaLiteracy
  • A 4,000-year-old painted stone from Wetar Island may change how we understand the Austronesian story.⠀
⠀
Archaeologists excavating Huknaur 1 in Southeast Indonesia found a painted plaque with a red sun-ray motif linked to the Austronesian Painting Tradition — a wider visual tradition known from eastern Indonesia and nearby islands.⠀
⠀
What makes this find so important is that the plaque appears to be older than the first pottery at the site. That means a shared symbolic tradition may have been present before the full Neolithic package usually associated with Austronesian expansion. This discovery suggests that ideas, symbols, and identity may have travelled ahead of pottery.⠀
⠀
It is a reminder that the spread of people goes beyond tools, crops, or ceramics, and may also have been about belief, belonging, and a shared visual language carried across the sea.⠀
⠀
Swipe through to see why this small object has such big implications.⠀
⠀
Reference:⠀
O’Connor, S., Kealy, S., Kaharudin, H.A.F., et al. (2026). 4000-year-old painted plaque from Southeast Indonesia reveals Austronesian Painting Tradition preceded Neolithic pottery. PNAS 123(34): e2611580123.⠀
⠀
#SoutheastAsianArchaeology #RockArt #Austronesian #Indonesia #Wetar #SoutheastAsia #IslandSoutheastAsia #AustronesianPaintingTradition
  • Plaques, Ponds and Provenance⠀
⠀
This week’s newsletter begins with a 4,000-year-old painted plaque from Wetar Island — a small object with a big story.⠀
⠀
The plaque carries a red sun-like motif linked to the Austronesian Painting Tradition, and it appears before pottery at the site. That suggests visual symbols and shared ideas may have moved through maritime Southeast Asia before some of the usual archaeological markers we associate with Austronesian expansion.⠀
⠀
Also this week: archaeology beneath Angkor’s Sras Srang, suspected Ban Chiang artefacts offered for return from Switzerland, and more heritage news from across the region.⠀
⠀
Link in bio.
  • How do you make a 3-metre stone stand upright for centuries?

At Hintang in northern Laos, archaeologists are beginning to answer that question.

In 2025, a Lao-Australian team excavated Site 7A — the first excavation at a Hintang standing-stone site in around 90 years. Beneath the surface, they found that the stones had been set deeply into pits, with smaller rocks packed around their bases to stabilise them. Roughly one-third of each standing stone was buried underground.

One big question remains, though — how old are the Hintang stones?

Samples were collected for dating, but those results are still being analysed. So, for now, we understand a little more about how these monuments were built.

📖 Shewan, L., O’Reilly, D., Armstrong, B. & Butphachit, A. (2026). “Surveys of Hintang standing stone sites and excavations at Site 7A, Houaphanh, Lao PDR.” Antiquity.
doi: 10.15184/aqy.2026.10408

#Archaeology #SoutheastAsianArchaeology #Laos #Megaliths #Hintang #AncientTechnology #ArchaeologicalResearch #Heritage #NewResearch
  • Angkor’s water system is famous for its scale: enormous reservoirs, long canals, and monumental engineering.⠀
⠀
New research by archaeologist Sarah Klassen highlights how Angkor’s agricultural system also depended on more than 1,000 local temple communities spread across the Greater Angkor Region. These communities helped organise labour, manage local water systems, and coordinate rice production - and suggests that Angkor’s success was built through a combination of top-down and bottom-up management.⠀
⠀
The state created the large hydraulic framework. Local communities adapted to it, expanded around it, and helped make the wider agricultural landscape function.⠀
⠀
Over time, however, this balance changed. Land and resources became increasingly concentrated, the system became more centralised, and some of the flexibility that had helped Angkor cope with earlier environmental stress may have been lost.⠀
⠀
Beyond its temples and kings, Angkor
  • New Evidence from the Southeast Asian Borderlands⠀
⠀
This week in Southeast Asian Archaeology: new dates, new methods, and some wonderfully untidy timelines.⠀
⠀
🪨 Uranium-thorium dating pushes the Mangguan rock paintings in Yunnan back to at least 4,220 years ago⠀
 🥁 AI-assisted restoration takes on damaged imagery on Guangxi bronze drums⠀
 🌾 New work at Angkor asks how infrastructure, local communities and water management shaped resilience⠀
 🗿 Lao-Australian fieldwork maps and excavates the enigmatic Hintang standing stones⠀
⠀
Plus archaeology and heritage news from across Southeast Asia, new research, opportunities, and more.⠀
⠀
I’ve also started experimenting with short visual explainers of new archaeology papers here on Instagram — so follow along if you like your archaeology with fewer footnotes and more pixels.⠀
⠀
Read the latest SEAArch newsletter via the link in bio.⠀
⠀
#Archaeology #SoutheastAsianArchaeology #SoutheastAsia #RockArt #Angkor #Laos #Yunnan #Heritage #ArchaeologicalResearch #DigitalHeritage
Saturday, September 5, 2026
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Adventures in Angkor – Angkor Wat

2 August 2007
in Cambodia
Tags: Angkor (kingdom)Angkor Wat (temple)Churning of the Sea of MilkRamayana (literary work)relief (sculpture)Suryavarman II (person)
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Adventures in Angkor – Angkor Wat

No visit to Siem Reap would be complete without visiting the largest religious monument in the world, Angkor Wat, or the City Temple. The distinctive pagoda spires represent the celestial Mount Meru, the home of the gods, and the temple’s profile is also on the Cambodian flag.

Again, like most Angkoran temples, the rectangular complex is lined on an east-west axis, surrounded by a man-made moat. Angkor Wat represents most clearly the hindu cosmological worldview, with the moat (1) representing the sea that surrounds the mountains at the edge of the world, represented by the enclosure wall (2). At the centre of the world is, of course, Mount Meru, represented by the temple. The scale of the complex is immense: Angkor Wat measures 1.7 km from east to west and 1.3 km from north to south. Unlike most temples, however, Angkor Wat is exceptional because it is oriented towards the west rather than the east. This strange feature is attributed to the temple being dedicated to Vishnu, who besides being the sun-god, oversees the western quadrant of the compass. As such, the main entrance to the temple is from the west, from the causeway that will bring us to three concentric galleries before reaching the peak. We’ll be seeing more of Vishnu in the bas-reliefs later at (4), but first we’ll visit some other spectacular bas-reliefs at (3).

The first gallery featured in this post is located on the Southwest quadrant (4) is a historical depiction of the Khmer king sending his troops for war against the Siamese. King Suryavarman II (whose name means Sun-protector) points the way for his troops to move against the Cham army, who both in the relief and geographically are from the east.

Several clues lead us to the identity of this person we now know as King Suryavarman II. For one, his size which is comparably much larger than his subjects. He is also sheltered by a number of parasols, which seem to be an indicator of rank. In fact, he’s got the most number of parasols covering him. He is also attended by servants holding fans and fly-whisks, positions we find in Angkoran inscriptions to be hereditary and jealously guarded.

Notice two types of troops in the Khmer Army, the Khmers on the left carrying shields, disciplined and keeping in rank. The ‘Syem’, either referring to their dark skin or possibly Siamese, were mercenaries stand in front of the main Khmer army. Probably as cannon fodder to wear down the opposition. Notice their generally ill-disciplined manner and long, unkempt hair. These troops, the Khmer army, march towards a battle against the Cham, who came from what is now Vietnam.

We’ll see the Cham later in the reliefs of the Bayon. The procession of Suryavarman II is the only historical relief on the galleries – the rest depict scenes and stories from vatious Hindu mythologies and epics like the Ramayana and the Mahabarata. One of the most famous of these scenes, located on the Southeast gallery facing east (3) is the Churning of the Milk Sea.

In this myth, the gods (the devas) and demons (asuras) cooperate in producing the amrita, the elixir of immortality. In order to do this, they must churn the sea of milk for a thousand years and to assist them, the giant snake Vasuki coils himself around the mountain Mandara to act as a pivot. The asuras (on the southern side, left of the relief) and the devas (northern side, to the right) alternate in pulling Vasuki so as to cause a churning action. In the middle, Vishnu oversees the production of amrita.

This relief, depicts the actual churning of the sea, and contains elements from other myths, such as Ravana and Hanuman, who are not part of the original myth and are in fact from the pages of the Ramayana. On the left, Ravana holds the head of Vasuki, the giant serpents and commands his army of asuras. Ravana, a giant compared to his other demonic brethren is identified by by his many different faces while notice the similar headresses worn by the asuras.

On the right, Hanuman, the king of the monkeys leads the devas in pulling Vasuki’s tail, causing the churning action which results in the creation of amrita. Again, note how the headresses identify the devas from the asuras.

In the middle, Vishnu, to whom this temple is dedicated, adjudicates the competion while sitting atop Mount Mandara. Below the mountain (not seen in the picture), a giant turtle rests – it is Kurma, an avatar of Vishnu, who is sent to the bottom of the mountain to help stabilise it. Flying overhead is Indra, who lends a hand by stabilising the mountain from the top.

At the end of the story, amrita is created from the churning and the precious truce between the devas and the asuras is broken as either side rushes to claim the elixir of immortality. The devas prove to be victorious. Beside being a really impressive bas-relief, Eleanor Mannikka posits an interesting theory that the Churning of the Milk Sea relief is in fact a gigantic calendar!

Up the second gallery, one passes through the Hall of a Thousand Buddhas. Yes, while Angkor Wat was a temple to Vishnu, it has in time become used by Buddhists, and in fact is still tended by a group of monks who live in a nearby monastery (5). Many of the statues here are defaced and beheaded, results from looting by collectors and antique dealers.

This broken corner of the Southwest corner of the upper gallery is a little cutaway view to the material used in the construction of Angkor. Khmer architecture basically uses two kinds of stone: sandstone and laterite. The latter is a porous rock, easily recognised because of its red colour and pockmarked surface. They usually form the base structure and the main building material. Sandstone, which is quarried from Phnom Kulen (or Kulen Hill some 40 km away), is hard, smooth and excellent material to carve reliefs and sculptures on.

The third and upper gallery really gives one a sense of being in the mountain home of the gods. Here, the ascent to the tower is very steep – about 50 degrees.

The central tower, once housing a statue of Vishnu, was converted to a Buddhist shrine around the 14th and 15th century, when the state converted to Theravada Buddhism. Besides the serenity of the upper shrine, there’s also the view to take in. Little wonder, this might be considered home of the gods.

Going down proves to be more tricky than going up – fortunately, there is one staircase with a railing attached. Queues are long in going down, because it still is an awfully steep descent. Accidents can and still happen though – a couple of years ago, a Korean tourist fell to his death while descending from the steps. You have been warned!

That’s as much of Angkor as I could cover in half a day – a truly, one needs three days to fully appreciates Angkor Wat alone!

As you can see the crowds are indeed present – and it wasn’t even peak season. To give you an idea of the level of crowds at Angkor in the off-peak season: when I first arrived in Angkor Wat, I counted all of six tourist coaches at the Angkor Archaeological Park entrance. And then another five more when I arrived at Angkor Wat!

In the next installment, we take a little segue to check out some of the wildlife in Angkor Wat… it’s not exactly archaeological,but I can assure you it’s not something you’ll see in your tourist guidebooks either!

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Comments 8

  1. Billigflug says:
    18 years ago

    I had an eye on the overwhelming Tempel of Ankor for long time now. I wanted to see this heritage of culture for myself. So according to my flight to Vietnam, i decided to spend 3 more nicht at Ankor. I went directly from Saigon to Siem Reap.

    Ankor itself reminds you of culture and the cruel times during the war. “Killing Fields” are omnipresence. Despite of that the people are all optimistic and friendly.

    Tourismus is a big deal in the part of the country. In most locations u have to pay in Dollar instead of Riel.

  2. Gummistiefel says:
    17 years ago

    There is a single temple complex called “Angkor Wat,” located near Siem Reap in northeast Cambodia, but it has come to represent a whole complex of wonderful temples and stonemasonry and artwork throughout the area. It is the single largest religious structure in the world, and surely one of the world’s wonders of art and architecture. In fact, within an area of 120 sq. miles, the ruins contain some of the most imposing monuments in the world, including about a thousand temples, mainly Hindu and some Buddhist; the ancient city, however, had an extent some three times that size, and was home to perhaps 750,000 people.

  3. Johan Normark says:
    17 years ago

    Being a settlement archaeologist myself, I wonder how much is known of the settlement at Angkor apart from the temples? When I was there two years ago I could not see much house mounds in-between the temples. Can perishable structures be found, such as within Angkor Thom? I know from the Maya area in Mexico, Guatemala, etc. archaeologists sometimes talk about “invisible” structures, only indicated by a greater density of ceramic sherds. Is the situation similar at Angkor and other major SE Asian sites?

  4. noelbynature says:
    17 years ago

    Hi Johan! I can’t say much about specifics myself, but recent research has tended to focus on the non-monumental aspects of Angkor, such as the pre-Angkorian period and the irrigation/ water management systems. The reason we don’t see much other than the temple remains was because everything else was made from perishable materials such as wood. Also, the clear patches of land we see today in the Angkor ruins were once jungle overgrowth that has to be painstakingly cleared during Angkor’s modern discovery. That said, I’m pretty sure that there are large amounts of ceramic remains found within the settlements such as this study here.

  5. Johan says:
    17 years ago

    Thanks for the information. We have similar problems with the vegetation during surveys in Mexico as well. I remember that estimates of Angkor’s population has suggested that one million people lived there, and I wondered what that figure is based on (if no survey of house remains have been undertaken that figure must either be based on historical sources or educated guesses).

  6. Flüge says:
    17 years ago

    Angkor is fantastic, it looks incredibly but everybody who visit vietnam should go there.

  7. Hardware Sortiment says:
    17 years ago

    The modern name, Angkor Wat, means “City Temple”; Angkor is a vernacular form of the word nokor which comes from the Sanskrit word nagara meaning capital. wat is the Khmer word for temple. Prior to this time the temple was known as Preah Pisnulok, after the posthumous title of its founder, Suryavarman.

  8. Urlaubsgutscheine says:
    16 years ago

    Great Pictures we were in Angkor Wat 2 months ago and really loved. Beautful country

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