• This week on Southeast Asian Archaeology: fish traps, tidal flats and maritime memory.⠀
⠀
The main story looks at tambek, stone tidal fish weirs on Bawean Island in Indonesia. A new study records 54 of these structures and shows how they reflect local knowledge of tides, fish behaviour, construction, ownership and coastal life.⠀
⠀
Also in the highlights:⠀
⠀
Bronze and Iron Age layers beneath Korat’s historic city wall⠀
Nguyễn-era military posts at Hải Vân Pass⠀
A reminder that coastal archaeology is not always shipwrecks and trade ceramics⠀
Sometimes the quieter story is sitting in the tidal flats, waiting for the water to go out.⠀
⠀
Read the full issue: https://bit.ly/4wkInNI ⠀
⠀
#SoutheastAsianArchaeology #Archaeology #Indonesia #Bawean #MaritimeHeritage #CulturalHeritage #Thailand #Vietnam #HeritageConservation #IslandArchaeology
  • How do you catch fish without a net, hook or boat?⠀
⠀
On Bawean Island in Indonesia’s Java Sea, coastal communities developed tambek: stone walls built across the intertidal zone that use the movement of the tides to trap fish.⠀
⠀
A new study by Dwi Kurnia Sandy and colleagues documents these remarkable structures through archaeological survey, drone photography, interviews, historical sources and mapping. The researchers recorded different forms of tambek, from relatively simple U-shaped structures to more elaborate V-shaped systems directing fish into enclosed spaces. Their locations were carefully chosen around productive coastal environments, particularly extensive intertidal zones and mangroves.⠀
⠀
But tambek were more than fishing equipment. They were also part of Bawean’s social landscape. Individual structures could belong to particular families, with ownership remembered and passed down across generations. Tambek could even be traded, while customary rules governed who could fish around them at different stages of the tide.⠀
⠀
Today, new tambek are no longer being built and many surviving structures are little used or abandoned. The researchers link their decline to modern fishing technologies, damage to reefs and mangroves, and the gradual loss of knowledge about how the structures were used and maintained. Some have even been dismantled, with their stones reused for coastal infrastructure.⠀
⠀
The study highlights how archaeology can document not only things from the distant past, but also traditional technologies and knowledge systems that are disappearing within living memory.⠀
⠀
📖 Sandy, D. K., et al. 2026. “Tambek as Traditional Fish Trapping Techniques: The Role of Stone Tidal Fish Weirs in Bawean Island Indonesia’s Maritime Culture.” Journal of Island and Coastal Archaeology.⠀
 DOI: 10.1080/15564894.2026.2703955⠀
⠀
#Archaeology #SoutheastAsianArchaeology #Indonesia #Bawean #MaritimeArchaeology #UnderwaterArchaeology #FishingHeritage #MaritimeHeritage #TraditionalKnowledge
  • Tiger bones. Blood-bound pigments. Temple walls. Digital museums.⠀
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This week’s newsletter leads with two fascinating studies: evidence for Ice Age tigers living on Palawan, and research into blood-bearing mineral binders used in the Huashan rock art of southern China.⠀
⠀
Also inside: UNESCO decisions, Angkor conservation, Chăm heritage digitisation and the archaeology of wartime railways.⠀
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Read Blood, Big Cats and Buffer Zones at the link in bio.⠀
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#SoutheastAsianArchaeology #Archaeology #RockArt #Palawan #CulturalHeritage #MuseumStudies #AsianArchaeology
  • New issue out now — and it’s a bumper one.⠀
⠀
This week:⠀
Wat Phra Mahathat Woramahawihan becomes Thailand’s newest World Heritage Site; Fort Cornwallis and the Penang State Museum reopen with fresh questions about how colonial and local histories are told; and at Don Yai Thong, archaeologists continue the careful work of lifting fragile burials, gold ornaments and all.⠀
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Also featuring Muna rock art, Angkor conservation, Butuan boats, Cham exhibitions, Bagan finds, and archaeology’s awkward cameo in South China Sea claims.⠀
⠀
Read via the link in bio.⠀
⠀
#SoutheastAsianArchaeology #Archaeology #WorldHeritage #Museum #CulturalHeritage #Thailand #Malaysia #Penang #Indonesia #Cambodia #Vietnam
  • This week in Southeast Asian Archaeology: Prambanan gets some renewed attention, Phimai Black pottery surfaces at Mun Bon Dam, and I’m taking a short break next week.⠀
⠀
The featured stories look at the new Indonesia–India conservation project at Prambanan, focusing on the temple complex’s ruined perwara shrines, and a striking Late Prehistoric find in northeast Thailand: a remarkably complete Phimai Black vessel discovered as water levels fell at Mun Bon Dam.⠀
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Temples, pottery, reservoirs, and a little scheduled rest. Back again on 27 July.⠀
⠀
Read this week’s newsletter: [link in bio]⠀
⠀
#SoutheastAsianArchaeology #Archaeology #Heritage #Prambanan #Thailand #Indonesia #Cambodia #Vietnam #CulturalHeritage #Substack
  • Gold rings, bronze drums, ancient burials, and better ethics in bioarchaeology — this week’s Southeast Asian Archaeology newsletter is a two-week catch-up edition.⠀
⠀
The lead story comes from Don Yai Thong in Phetchaburi, Thailand, where excavations have revealed gold ornaments, bronze drums, burials, beads, pottery and more. One newly reported gold signet ring bears Brahmi script, raising interesting questions about status, ritual and long-distance connections in the region.⠀
⠀
Also featured: a new paper on ethical collaboration when working with human remains in Southeast Asia — a timely reminder that care, respect, training, authorship and local authority are all part of good archaeological practice.⠀
⠀
Read the latest issue through the link in bio.
  • Cobbles, Caves and Committees 🪨⛰️📜⠀
⠀
This week’s Southeast Asian Archaeology newsletter moves from UNESCO heritage diplomacy to synchrotron science in Malaysia’s Nenggiri Valley, and then back into deep time with Early Palaeolithic cobble tools from Cambodia’s Mekong terraces.⠀
⠀
Cover image: Wat Phra Mahathat, Nakhon Si Thammarat — because temple towers do improve most things.⠀
⠀
Read the latest issue at the link in bio.⠀
⠀
#SoutheastAsianArchaeology #Archaeology #Heritage #Cambodia #Malaysia #UNESCO #WatPhraMahathat #NakhonSiThammarat #CulturalHeritage
  • This week in Southeast Asian Archaeology: broken pots, painted hands, and returning relics.⠀
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The main story is a new paper on Angkorian ceramics from Thala Borivat and Sambor, showing how Angkor’s eastern Mekong provinces were connected through roads, rivers, rapids and local choices — not one neat supply chain.⠀
⠀
Also featured: Tham Pha Mue in Laos opens to visitors, a site I studied and helped document; Cambodia welcomes the return of three sculptures from the US; plus updates from Bujang Valley, Mỹ Sơn and Bagan.⠀
⠀
Read this week’s issue: https://bit.ly/3QjsdVO ⠀
⠀
#SoutheastAsianArchaeology #Angkor #Cambodia #Laos #RockArt #Archaeology #Heritage #Mekong
  • Boats, pots, and prehistoric know-how this week at Southeast Asian Archaeology.⠀
⠀
In the new newsletter:⠀
🛶 outrigger boat motifs in Sulawesi rock art⠀
🏺 new perspectives on pottery in Timor-Leste⠀
👑 the restored Nguyen Dynasty throne⠀
🎟️ falling ticket sales at Angkor⠀
⚖️ a new book on archaeology and Philippine law⠀
⠀
#Archaeology #SoutheastAsia #Heritage #RockArt #TimorLeste #Indonesia
  • Brunei’s archaeology does not get nearly enough attention.⠀
⠀
For this bonus post, I’m looking at Kota Batu Archaeological Park, the site of Brunei’s old capital. It is not a spectacular ruin in the usual sense — no towering temples, no monumental gateways — but its fragments tell a fascinating story: tombs, ceramics, sandstone pillar bases, river defences, house posts, imported wares, and traces of a working port city.⠀
⠀
Kota Batu shows Brunei not as a quiet corner of Southeast Asian archaeology, but as part of the maritime world that linked Borneo with China, Vietnam, Thailand, the Philippines and beyond.
Sunday, August 16, 2026
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40,000 year old rock art from Sulawesi

9 October 2014
in Indonesia
Tags: Borneo (island)hand stencilHomo sapiensMaros (regency)Maxime Aubert (person)PalaeolithicpigPleistocenerock artSouth Sulawesi (province)Sulawesi (island)Thomas Sutikna (person)Uranium Series Dating
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Hand stencil from Borneo

Hand stencil from Borneo

I’ve been waiting excitedly for this paper to be published! A new paper out in Nature presents new rock art dates from hand stencils in Sulawesi, with a whopper of a date: 40,000 years old! For those keeping score, that’s as old as the Palaeolithic rock art in Europe. These dates were derived using uranium-series dating, which is a method for dating calcium carbonate and thus a great way for dating rock art in limestone contexts where there’s mineral accretions over paintings.

Personally, the age of the dates isn’t all that surprising – having worked at a number of rock art sites in SEA one gets the impression that some of them are really old. There aren’t many dates for rock art in Southeast Asia because rock art is quite hard to date in of itself. But the few attempts to date rock art in SEA tend to suggest that some rock art is very old indeed: another u-series rock art from East Timor dates to no later than 6,300 years old (with a possible earlier layer of about 22,000 years). On the mainland we have estimates of rock art ages from associated finds at Padalin Caves that go back to 7,000 – 13,000 years.

For me, the big significance of this date is that this is a rock art site in Sulawesi, in Island Southeast Asia. This suggests that some rock art in Mainland Southeast Asia would be of comparable age, if not older: in the paper the authors suggest that “it is possible that an extensive
archive of rock art may yet survive from the initial modern human colonization of Australia and Southeast Asia”. I hope this paper also starts to upend a lot of the Eurocentrism inherent in world rock art literature – the painted caves of France and Spain are majestic and old, to be sure, but there are other old corpuses of art out there that need to be studied further. The rock art from Sulawesi is not a new discovery – its existence has been known for decades, but the new age determination adds a whole new dimension to the field.  Congrats to Max Aubert and team for this great paper!

Hand stencil from Borneo
Hand stencil from Borneo

Pleistocene cave art from Sulawesi, Indonesia.
Nature, doi 10.1038/nature13422.
Aubert, M., Brumm, A., Ramli, M., Sutikna, T,. Saptomo, E. W., Hakim, B, Morwood, M. J., D. van
den Bergh. G., Kinsley, L., Dosseto. A.

40,000 year old rock art found in Indonesia
The Conversation, 09 October 2014

Ancient Indonesian rock art rewrites art history
ABC News, 09 October 2014

World’s oldest art found in Indonesian cave
Nature News, 08 October 2014

Indonesian Cave Paintings As Old As Europe’s Ancient Art
NPR, 08 October 2014

Cave paintings change ideas about the origin of art
BBC NEws, 08 October 2014

First-Known Painting Depicts Rare, Hefty Animal
Discover News, 08 October 2014

Prehistoric paintings suggest Indonesians began making art 40,000 years ago
Reuters, via Raw Story, 08 October 2014

Prehistoric Paintings in Indonesia May Be Oldest Cave Art Ever
Live Science, 08 October 2014

Indonesian cave art may be world’s oldest
Science News, 08 October 2014

Indonesian cave art: oldest hand ‘stencil’ yet discovered
Christian Science Monitor, 08 October 2014

Cave Paintings in Indonesia Redraw Picture of Earliest Art
National Geographic News, 08 October 2014

Prehistoric Cave Art Discovered in the Tropics
Discover, 08 October 2014

Archaeologists have long been puzzled by the appearance in Europe 40–35 thousand years (kyr) ago of a rich corpus of sophisticated artworks, including parietal art (that is, paintings, drawings and engravings on immobile rock surfaces) and portable art (for example, carved figurines) and the absence or scarcity of equivalent, well-dated evidence elsewhere, especially along early human migration routes in South Asia and the Far East, including Wallacea and Australia where modern humans (Homo sapiens) were established by 50 kyr ago. Here, using uranium-series dating of coralloid speleothems directly associated with 12 human hand stencils and two figurative animal depictions from seven cave sites in the Maros karsts of Sulawesi, we show that rock art traditions on this Indonesian island are at least compatible in age with the oldest European art.The earliest
dated image from Maros, with a minimum age of 39.9 kyr, is now the oldest known hand stencil in the world. In addition, a painting of a babirusa (‘pig-deer’) made at least 35.4 kyr ago is among the earliest dated figurative depictions worldwide, if not the earliest one.Among the implications, it can now be demonstrated that humans were producing rock art by 40 kyr ago at opposite ends of the Pleistocene Eurasian world.

Link to paper here.

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