• 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.⠀
 ⠀
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⠀
⠀
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.⠀
⠀
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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Explore the 36,000-year-old Chauvet Cave through virtual cinema

8 May 2020
in Indonesia
Tags: Borneo (island)Chauvet CaveFranceGetty Conservation InstitutePalaeolithicrock artSulawesi (island)videovirtual reality
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The Final Passage - Chauvet Cave

The Final Passage - Chauvet Cave

Many of you would know that I have a keen interest in rock art, and so it is with great pleasure that I direct your attention to The Final Passage – a virtual and cinematic reconstruction of the Chauvet Painted Cave. This 28-minute film is screening free online until June 7, 2020.

The Final Passage is directed by Pascal Magontier, and produced by Martin Marquet and archaeologist Jean-Michel Geneste, the latter two whom I know through the Rock Art Network, a loose association of archaeologists, cultural heritage practitioners and institutions who have an interest in fostering the principles of research, conservation and promoting rock art.

My first encounter with the Rock Art Network was at a colloquium organised by the Getty Conservation Institute in Namibia in 2017. Last year I attended another colloquium organised in France and Spain, with site visits to the famous Lascaux and Altamira caves, and of course, Chauvet. These deep caves full of rock art were such an eye-opener; it was one thing to read about them in books and see their images online, but quite another to view in person.

Inside the Grotte Chauvet 2 replica

You can’t actually visit the real Chauvet Cave – the above photo is from the excellent Grotte Chauvet 2 museum, a recreation of the actual Chauvet Cave. It is an excellent example of a replica/reproduction museum, and there were times when I forgot I was in a building instead of an actual cave. I highly recommend visiting if you ever have the chance. It is such a breathtakingly well-done museum.

Entrance to the real Chauvet Cave

The real Chauvet Cave is closed to the public and has very, very restricted access in order to protect and preserve the climate in the cave. That makes The Final Passage all the more special, since it is an immersive experience that lets you feel like you were entering the real cave. The paintings at the Chauvet Cave are dated to 36,000 years ago and for the longest time they were thought to be the oldest forms of figurative art in the world. We know now that rock art from Sulawesi and Borneo is just as old, if not older, and so if the Chauvet Caves are worthy of Unesco recognition, we should think the same for the Indonesian caves. In the end, these examples of rock art go to show that the human capacity to paint and create is very old, and appears across the world from a very long time ago.

Members of the Rock Art Network in front of the real Chauvet Cave

The Final Passage is streaming free, online, from now until June 7, 2020. It’s only 28 minutes long, so check it out before it’s too late to see this unique cave. I highly recommend dimming all the lights and watching the video with a pair of headphones for the best viewing experience. If you are interested in finding out more about the Rock Art Network, click here; you can also check out my section on the rock art of Southeast Asia to find out about the immense number of rock art in this region. Unlike the European versions, Southeast Asian rock art is rarely (if at all) located in deep caves, but most commonly found in shallow rock shelters, cliff faces and large boulders or rock formations.

Rhinoceros panel from the Chauvet Cave

View the Final Passage here.

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