• 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
Friday, September 4, 2026
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What’s in my Archaeology Field Kit? (June 2022, Light Survey Edition)

4 July 2022
in Personal
Tags: Notes from the Fieldphotography
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What’s in my Archaeology Field Kit? (June 2022, Light Survey Edition)

I finally embarked on my first field mission for the year, and last week I ran a poll in one of my Instagram stories asking if there was interest in seeing what went into field bag. The unanimous answer was ‘yes’ – so here is (almost) everything in my backpack that I used in the field in my most recent mission in Indonesia. Take this post as a packing list guide and inspiration for you to adapt to your needs, bearing in mind that your needs may be different to mine. Some of these links in this post are affiliate links – which means I may get a commission if you click on them and make a purchase, but at no extra cost to you.

This recent mission was a light survey – we spent several few day trips looking at already-discovered rock art sites and were not doing any detailed recordings or excavations. Photography and videography were the primary means of data collection; I have used digital photography extensively for all my rock art work, but in more recent years I have come to use videos as another way to record sites, particularly because it is so easy to capture video on cameras and mobile phones these days.

Backpack: Peak Design Everyday Backpack v2 20L
I like using photography backpacks because I’m always bringing a camera to the field. Peak Design has a great reputation for camera bags, and true to its name I use this backpack every day even when not in the field. The backpack can be accessed from the top or sides, and adjustable shelves can be configured according to your loadout. There are plenty of inside pockets, and sleeves for both a laptop and tablet . This bag also comes in a larger 30L version, but a smaller pack forces me to be more efficient with space, and more importantly it keeps everything lighter in the long run.

Cameras: Nikon Z fc + iPhone 11 + DJI Mavic Air
I used a Nikon DSLR for the last 15 years and recently made the switch to the mirrorless Nikon Z fc. Without a mechanical shutter mechanism, mirrorless cameras tend to be smaller and lighter than DSLRs but still offer the advantage of using interchangeable lenses. Sticking to Nikon means I can still use some of my old lenses but in this case I used a 18-140 zoom lens designed for the Z system which gives me flexibility and more importantly the need to carry only one lens to keeps things light. This camera uses an APS-C sensor, which photography purists will say is of poorer quality than a full-frame sensor. This is true, but the gap between full-frame and APS-C is narrowing, and because size and weight are my main considerations, the image quality with this setup is good enough – definitely more than adequate for recording rock art and for publications.

Until a few years ago, I also carried a second compact camera (a Nikon P7200) as a backup but I find that modern mobile phones are up to the task. I was recently convinced about the viability of my phone as a backup camera when a colleague who shot photos for National Geographic told me that he rarely took his camera with him because his mobile phone did a decent enough job (He was using an iPhone 10). Of course, newer phones will likely take better-quality photos than a phone with a few years on it. On the phone, I prefer to use the Adobe Lightroom app to take photographs as it allows me to adjust the settings as needed. However, the phone is used more to record videos and video documentation is increasingly becoming an important part of the fieldwork process.

The last camera is the drone, which is useful for aerial and landscape photography and in my case, for photographing rock art on cliff faces and other inaccessible areas. The DJI Mavic Air drone is a few years old now, but it folds up and doesn’t take up much space, even with the radio transmitter and spare batteries. That said, drones are specialised pieces of equipment and require some training to use. If you haven’t flown a drone before, be prepared expect to crash several times!

Camera Accessories: DJI Osmo OM 4 and Ulanzi MT-44 Tripod
Recording videos on my phone has become such a big part of my documentation process that I now always keep a gimbal in my bag. A gimbal stabilizes the phone and makes videos less jerky, while taking photos in low light conditions becomes much easier by hand. The Osmo OM 4 was the first version of their mobile phone gimbals which folded up into a smaller form, and the magnetic clamp makes it easy to attach and remove the phone without the hassle of setting up.

The tripod is another example of a device that folds into a smaller form, in this case a thin cylinder. The Ulanzi MT-44 is technically a monopod with a tripod base that extends to just over a metre. The innovative head has an integrated mobile phone clip, but it is also strong enough to hold the gimbal and the (now-lighter) camera.

Laptop: HP Envy x360
The HP Envy x360 is just slightly heavier than an iPad at 1.3 kg, but it can store all the photos (I usually shoot in RAW) and videos that I take, and also run the heavier applications like Lightroom, Photoshop and Premiere. While functionally a powerful laptop, the x360 also converts into a tablet so I have the best of both worlds. The only downside is that Windows 11 doesn’t have a dedicated tablet mode and so the interface is still clunky especially compared to iOS.

Power: Remax Powerbank 10,000 mA (wireless), Remax Powerbank 20,000 ma, Basike 65W USB C adapter + cords
The phone is the one device that gets used all the time, so I have two power banks within easy reach to keep it topped up. The smaller-capacity one has an added advantage of wireless (magnetic) charging. I probably have too many power banks at this stage since the Osmo can also function as a powerbank. Except for the drone, all the devices in the kit can be charged using USB-C or Lightning Cables. The Basike 65W adapter has a USB-C and a USB-A outlet so I can simultaneously charge the laptop/camera and phone at the same time. I’ll be glad that Apple is finally being forced to adopt USB-C which means one less cable to carry in the future.

Miscellaneous Items in the Tech Bag
I reused an airline toiletry bag to keep small miscellaneous items such as a travel adapter, a memory card holder, a memory card reader and a multi-headed USB charging cable. The most surprisingly useful device in this pouch is the Ulanzi mini LED light, which can be connected to the hotshoe of a camera . The small light is really bright and very useful for dark cave interiors and other low-light conditions. More light translate to less grainy videos and photos. If I only had one tool to recommend from this bag, it would be this mini LED light.

Other items (not pictured)
A few other items of note are not pictured. I always carry one or two archaeological scales, but they are usually in my wallet. There is also the wallet ninja, a card-size multitool that can be used as a bottle opener, a wrench or a screwdriver. Just make sure to get a non-bladed version if you plan to bring it on a plane. I also forgot to put in the picture my water bottle – I used something like this one that can be rolled up and doesn’t take space. In fact I forgot to put it in the picture because it was rolled up in one of the side pockets and hidden so well! And finally, a pen. It’s always handy to have one, trust me.

What do you think?
Now more so than ever, I’m focusing on keeping my backpack light(er) and favouring devices that can play multiple roles or fold into compact forms. Of course, this loadout is personalised to myself and how I use my gear in the field. What about you? If you conduct fieldwork, how does your kit differ to mine? Is there something in my kit that you think you would use, or do you think I’m missing something? Or maybe you have a question about a particular choice of device. I’d like to hear from you – leave a comment below. Perhaps this will be the first in a series of posts, since the kit changes according to mission requirements.

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