• This week on Southeast Asian Archaeology: rare bronze Mahoratuek drums surface in Thailand, gold-glazed terracotta helps redraw Vietnam’s Ho Citadel, and Aceh War “loot” gets a long-overdue digital reckoning.⠀
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https://bit.ly/46lX88H
  • Circuits, Ceramics, and Colonial Archives is out now 🏛️🌊📜 CNY/Tết (Year of the Horse) greetings + this week’s theme: heritage in a hurry—Angkor’s “high risk” Baksei Chamkrong, Sibonga church repairs post-Odette, and Indonesia’s 152-site revitalisation push. Read: https://bit.ly/3Mswq7G
  • Heritage isn’t just awe—it’s upkeep. This week: a historic building floor collapse at Siak Palace, Beng Mealea’s walkway repairs, Ponagar Tower’s arts show paused over losses.⠀
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https://bit.ly/4chkwIb⠀
  • Biases, Bones & Burāq — this week’s Southeast Asian Archaeology newsletter is all about how small corrections can change big histories.⠀
⠀
We’ve got four fresh research reads:⠀
 🐟 Neolithic expansion that looks a lot more “rice and fish” once recovery bias is taken seriously⠀
 📜 An illuminated Qur’an section from Java on dluwang (treebark paper), with clues that push it earlier than you might expect⠀
 🐀 Timor-Leste’s giant/large murids, measured in detail to track changing ecologies (and a late crash)⠀
 ⚱️ Ban Non Wat grave size and offerings, mapping a sharp spike—and then easing—of social distinction⠀
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And for a screen break: a small mention of PBS’s Angkor: Hidden Jungle Empire.⠀
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Read the full roundup here: https://bit.ly/45Gh2uN ⠀
 #Archaeology #SoutheastAsia #Heritage #Anthropology #Museums #History
  • This week in Southeast Asian Archaeology: Sulawesi just delivered a headline-grabbing ~67,800-year-old hand-stencil date, Huế’s Imperial Citadel restoration has revealed a trilingual astronomical mural, and Malaysia’s new Guar Kepah Archaeological Gallery opens with the “Penang Woman” at centre stage. Deep time, dynastic science, and fresh public heritage spaces—come catch up on the week’s stories.⠀
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https://bit.ly/3NG7WIg
  • New week, new reads: a “Southwestern Silk Road” model for amber into Han China, the biggest Austroasiatic genomic dataset yet (with Dvaravati/Angkor-era signals), plus rock art methods and fresh motifs from Malaysia and Laos. Molecules, motifs, and migration stories — all in one roundup.

Amber, Ancestry and Arty hands https://bit.ly/3LAK20c
  • New year, new (very full) newsletter From Java Man coming home to Jakarta to Khmer sculptures heading back to Cambodia and a bleak month on the Thai–Cambodian border, catch up on a whole month of Southeast Asian archaeology: https://bit.ly/4syuWJh
  • This week’s Southeast Asian Archaeology newsletter is all about the invisible infrastructure of knowledge — the stuff behind the sites. We look at Cambodia’s push to access the late Emma Bunker’s notebooks as a potential roadmap to looted Khmer art, a Thanh Hóa village communal house where 47 imperial edicts were quietly stashed in bamboo tubes for centuries, and Jingdezhen’s “ceramic gene bank” in China, where millions of sherds and glaze recipes are treated like DNA for porcelain. From roof beams to databases, it’s a reminder that archives, records and lab data shape what we think we know about the past just as much as temples and shipwrecks do. Plus the usual mix of regional news, grants, jobs and heritage politics — link in bio/newsletter below.

https://bit.ly/3XIeV5h
  • Genomes point to a 60,000-year “long chronology” for the first settlers of Sahul, while new DNA links China’s hanging coffins to the modern Bo people. #southeastasianarchaeology
 
Read here: https://bit.ly/4a64D6z
  • Southeast Asia’s past is on tour this week — from Bangkok’s royal treasures in Beijing’s Palace Museum to Cham sculptures in Đà Nẵng, Khmer–Chinese exchanges in Phnom Penh, and 14th-century Temasek sherds greeting commuters in a Singapore MRT station. 

In the latest Southeast Asian Archaeology newsletter, a look at how exhibitions are carrying the region’s history into train platforms, diplomatic halls and hands-on museum workshops, plus what this means for soft power, heritage policy and public archaeology. US readers will also spot a small Thanksgiving note of gratitude to the people and institutions who keep these stories alive.

Read the full issue and subscribe here: https://bit.ly/4oeZz2S 

#SoutheastAsia #Archaeology #Museums #Heritage #Thailand #Cambodia #Vietnam #Singapore #Beijing #PalaceMuseum
Saturday, March 7, 2026
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Gabarni, the new rock art site discovered in Myanmar

24 June 2015
in Burma (Myanmar)
Tags: Department of Archaeology and National Museum (Myanmar)graffitiMya Kha Nauk (site)rock artShan (state)
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Elephant panel of rock art. The squatting human for a sense of scale and you can just barely see the outline of the top of the elephant.

Elephant panel of rock art. The squatting human for a sense of scale and you can just barely see the outline of the top of the elephant.

Last week I was in Myanmar at the invitation of the Department of Archaeology and the Ministry of Culture to take a look at the new rock art site that was discovered last month (see here).

Gabardi Rock Art Site, Shan State, Myanmar
Gabardi Rock Art Site, Shan State, Myanmar

The Gabarni Rock Art Site, named after a nearby village, is also known as Myakhanauk. Most cases of rock art begin with their ‘discovery’ by local villagers, in this case Mr Win Bo, who found the site of behalf of amateur archaeologist Mr Soe Naing. This discovery was announced last month, but it seems like local villagers have known about the site for some years now.

U Win Bo, the local villager who along with U Soe Naing brought our attention to the site
U Win Bo, the local villager who along with U Soe Naing brought our attention to the site

The site is in western Shan State, relatively near the Padalin Caves which is pretty famous within Myanmar for its prehistoric rock art. They are however about 11km apart – a day’s travel distance. The Gabarni site is made up of a cluster of sandstone outcrops near the Pae Dwe Mountain.

Drone view over the Gabarni rock art site.
Drone view over the Gabarni rock art site.

The largest sandstone shelter is a really good habitation area, comfortably accommodating 20 people and the entire complex might house around 50 people. Habitation may have occurred up to recent times, as this largest shelter contains graffiti, some with dates from the 1970s and 1990s. There is some rock art in the ceiling of the shelter, but because of campfires a lot of soot has obscured the paintings.

View from inside the largest shelter. There is rock art on the ceiling, but mostly obscured by soot.
View from inside the largest shelter. There is rock art on the ceiling, but mostly obscured by soot.

The most prominent rock art is on another shelter that has a large flat wall from which to paint on. Here there is a painting of an elephant, which is barely visible now except for the top outline. You can see from the human scale that the elephant was pretty much life-sized.

Elephant panel of rock art. The squatting human for a sense of scale and you can just barely see the outline of the top of the elephant.
Elephant panel of rock art. The squatting human for a sense of scale and you can just barely see the outline of the top of the elephant.

The Department of Archaeology intends to properly document and investigate the site later this year, so I’ll refrain from saying much more about the rock art other than they seem to be very old, and they don’t appear to be similar to the Padalin Cave paintings despite the proximity. If you are going to the EurASEAA conference in Paris, I will be making a more detailed presentation of the site on behalf of the Ministry, so catch it if you’re there!

The visiting team group photo from last week, with U Win Bo and U Soe Naing in the middle.
The visiting team group photo from last week, with U Win Bo and U Soe Naing in the middle.

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