• This week in Southeast Asian Archaeology: ancient mosquitoes hint at early hominins in Sundaland, AI takes a crack at reconstructing the Singapore Stone, and a call for your AMA questions! #southeastasianarchaeology

https://bit.ly/4bHlkW2
  • This week: a human-faced megalith spotted in Lore Lindu—right in an illegal gold-mining zone—and Korea & Vietnam’s first joint underwater survey in Quảng Ngãi, chasing shipwrecks + Chinese ceramics across old sea lanes
 
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  • 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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  • 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.⠀
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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
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Old Mon inscriptions and the Dvāravatī culture

28 October 2019
in Thailand
Tags: Dvaravati (culture)epigraphyinscriptionlinguistics and languageLondon (city)Mon (language)Mon (people)SOASsteletalks / presentations
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Hunter Watson

Hunter Watson

Readers in London may be interested in this presentation at SOAS by Hunter Watson on 30 October.

Old Mon inscriptions and the Dvāravatī culture
Hunter Ian Watson (National University of Singapore)
Date: 30 October 2019
Time: 5:15 PM
Venue: Russell Square College Buildings Room 4426

The name Dvāravatī is used to refer to a first-millennium culture predominantly in what is today the Central Plain of Thailand. This name has been used as such for over a century, yet there are ongoing debates about what the name implies and how it should be used. The greatest problem arises from the fact that scholars in the fields of archaeology, art history, and palaeo-linguistics use the name with different connotations and implications, causing confusion. This presentation will elaborate on these debates.

One window to understanding Dvāravatī is through the study of inscriptions composed in the Old Mon language. Old Mon inscriptions have been identified scattered around the Central Plain, the Khorat Plateau of northeastern Thailand and lowland Laos, and in the Chiang Mai-Lamphun Basin in northern Thailand. These inscriptions have received little scholarly attention, and my studies have included many inscriptions which have never been properly studied or published. They date approximately from the sixth to the thirteenth century. Tentatively, I have identified around 100 artifacts in the region inscribed in Old Mon, and this number continues to increase. They range in size from large steles with numerous lines of text to small sealings with only a few words. The majority are quite short, rarely exceeding a few lines; in nearly all cases Old Mon was utilized for composing donative texts, which were records of meritorious deeds such as the donation of resources for a religious foundation. The details of the meritorious actions are not normally described, but emphasis is given to naming the donors. The exception is the later Old Mon inscriptions of the Haripuñjaya culture in northern Thailand, where several large inscription stele have been found. These give much greater detail in a narrative fashion, and some references are made to historical events.

Source: Old Mon inscriptions and the Dvāravatī culture

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