Use of war canoes in Tenochtitlan]]>
It is impossible to access the social explanation of the canoe if we are not able to describe it formally. So, a registration strategy will give us the possibility to store data for a social explanation of the boat. In addition, using this strategy, it is possible to accumulate general and specific data from which it can be proposed a typology of dugout vessels. This research is a step forward of a typology proposal for dugout canoes in Mexico, which aims to grow as more canoes are found, both in archaeological contexts and inside public and private institutions, museums and private collections.]]> with special emphasis on Trincomalee to Pothuwil ]]> in the Post-War regions of the Eastern Coast of Sri Lanka ]]>
In Indonesia, historic shipwrecks and its associated relics are managed through two different policies. Cultural protection Act 11/2010 mandates protection on cultural heritage including underwater remains, and Presidential Decree 19/2009, regulated commercial management processes, incorporating UCH as marine resources with potential economic value, which might contribute to community welfare. These two paradoxical procedures have raised long debate between stakeholders, including government agencies.

Using individual interview, this paper attempts to understand cultural attitudes and values towards shipwreck and its relics in related government agencies in Indonesia, in which resulting the two deferent management approaches. Furthermore, this writing also examines the possible influences of these policies on the current management of UCH in this country.]]>
*The Halong Bay “Square Head” boat, a mid-sized utility and fishing vessel that is the dominant wooden boat in Halong Bay in the size range from 18' to about 35'.

*The Sam Son large traditional fishing vessel, A 60' class seagoing shallow draft vessel derived directly from a 3-masted lug rigged sailing vessel with a long history in the Northern Coastal waters.

*The Cua Lo mid-sized utility fishing boat (works in a number of fisheries), which is the only significant design in use from the small fishing port on the south bank of the river at Cua Lo]]>
The Borobudur ships are technical depictions, and contain data about rigging, rope use, rowing configurations and outrigger construction. Elements in their design have persisted independently as Indonesian watercraft evolved, including outriggers, bipod masts, canted rectangular sails, and quarter rudders. Discussion has focused on construction features, and scholars have made various assertions about how the vessels might have been built, how they were used, and their origin.

The vessels' artistic context is often ignored. The ship reliefs are part of a religious narrative which directly influenced how the panels were designed, how the ships were portrayed, and how we should ultimately interpret them. The stories provide important clues as to where each vessel was headed, who was aboard, and what is happening on deck. Despite their detail, the Borobudur vessels should be interpreted cautiously, and not as ancient blueprints. They are artistic renditions that were never meant to float - they were meant to inspire.]]>