Indonesia, an archipelago made up of over 17,000 islands, possesses a cultural heritage as rich as it is diverse. Among the many forms of artistic expression that have emerged across the islands, woodcarving holds a central place. As both a spiritual legacy and a living craft, woodcarving can be found in various regions, from Java to Sulawesi and Bali. This ancient art, deeply rooted in local traditions, continues to evolve through passionate artists while now responding to a growing international demand.
The origins of woodcarving in Indonesia
Woodcarving in Indonesia dates back several centuries. Long before the arrival of Islam or Christianity, early Indonesian civilizations had already developed complex techniques of carving and engraving wood. Under the Hindu-Buddhist kingdoms of Srivijaya and Majapahit (between the 7th and 15th centuries), wood was used for religious, decorative, and social purposes.
In Bali, where Hinduism is still practiced today, woodcarving remains an integral part of daily life and religious rituals. Carved elements are found in temples, homes, family shrines, and even ceremonial tools. These carvings often depict deities, mythological creatures (such as Garuda or Rakshasa), or floral motifs inspired by sacred texts.
Other regions, like Sulawesi and Sumatra, also feature deeply rooted sculptural traditions. Among the Toraja people, for instance, traditional houses (Tongkonan) are adorned with symbolic wooden motifs, painted and carved. The famous tau-tau funerary statues represent ancestors and are part of complex death rituals. In these societies, wood is far more than just a material: it is a vessel of memory, sacredness, and transmission.
Beyond decorative or symbolic purposes, wood is regarded as a living material inhabited by spirits. Before cutting down a tree, specific rituals may be performed. Some Balinese artisans explain that they “ask permission” from the spirit of the tree before felling it. This practice reflects an animist worldview, where every natural element has a soul or energy (nyama).
Certain types of wood are used specifically for their spiritual significance:
Sandalwood (cendana), fragrant and sacred, is often reserved for small religious objects or statues of deities.
Frangipani wood (kamboja), considered purifying, may be used to sculpt items for family temple rituals.
Jackfruit wood (nangka), golden-yellow in color, is favored for statues of Hindu gods due to its association with prosperity.
Suar wood (rain tree), more accessible, is used for large ornamental pieces, often depicting animals or natural scenes.
Teak is typically employed for sacred architecture, temple lintels, or carved doors featuring protective symbols.
In traditional villages, certain artisans still uphold rituals during the creative process: offerings are placed in the workshop, moments of silence precede each piece, and prayers are addressed to Sang Hyang Widhi, the supreme deity in Balinese Hinduism. In this context, wood is not merely a raw material it is a medium for communication with the unseen world.
A family and artistic transmission
Even today, woodcarving is mainly passed down through family lines. In Balinese villages like Mas and Tegallalang, most families earn their living from sculpture. Children begin learning traditional tools and techniques at a very young age, often working alongside parents or grandparents.
In Mas, known for the fineness of its carvings, many artists preserve the tradition while adapting to contemporary tastes. One such artist, I Ketut Muja, explains:
“Each sculpture tells a story: that of a deity, a childhood memory, or sometimes an abstract idea. My work stays true to tradition, but I also try to explore more modern forms.”
In Tegallalang, famous for its wooden wall décor and more design-oriented pieces, artists like Ni Komang Ayu are renewing Balinese sculptural codes. She shares:
“A few years ago, this craft was mostly practiced by men. Today, more and more women are getting involved. It’s also a way for us to express our sensitivity through more personal works.”
Art schools and institutions such as the Indonesian Institute of the Arts (ISI) in Denpasar also contribute to training young talent. Students learn traditional techniques while exploring new aesthetic and conceptual directions.
A diverse and evolving production
The richness of wood art in Indonesia is reflected in the variety of items produced. Several main categories can be identified:
- Religious sculptures: Depicting Hindu (Shiva, Ganesha, Vishnu), Buddhist, or animist figures, these are commonly found in temples but also used as decorative items.
- Traditional masks: Used in sacred dances such as Topeng, they represent mythical or historical characters.
- Furniture: Indonesia is a major producer of solid wood furniture, especially in teak and suar, tables, chairs, headboards, and cabinets are exported worldwide.
- Decorative objects: Wall panels, carved frames, boxes, animal statues, musical instruments, and interior architectural elements.
- Contemporary artworks: Some artists are now moving towards more experimental forms, combining wood with metal, paint, or even recycled materials.
The most used woods include teak, known for its durability and resistance to humidity, suar, appreciated for its patterns and light color, and sandalwood, reserved for small, fragrant, and precious pieces due to its rarity.
Ubud Market: A showcase of Balinese craftsmanship
The Ubud Market, located in central Bali, is a major hub for woodcraft. Every day, hundreds of visitors,tourists, collectors, interior designers, discover a wide range of sculptures, furniture, and handmade items. Beyond the tourist stalls, Ubud is home to many family-run workshops and art galleries specializing in woodwork.
Nearby villages like Mas, Lodtunduh, and Singapadu supply much of the market’s inventory. Many artisans also work on custom orders, especially for hotels, restaurants, or shops in Europe, the United States, and Australia.
The rise of e-commerce has also transformed the market. Increasingly, artisans and cooperatives are selling their creations through platforms like Etsy, or on websites specializing in artisanal décor. This allows their work to gain international visibility, although logistics (shipping, customs, and wood certification) can still be a challenge.
A growing global demand
Over the past decade, international demand for Indonesian wood products has steadily increased. This is due to the quality of materials, the finesse of craftsmanship, and the cultural authenticity these items represent. Balinese furniture is especially sought-after for its rustic yet elegant style, popular in modern interior design.
Countries like France, Germany, the United States, Australia, and Japan are among the leading importers of Indonesian wood products. European companies often collaborate with Balinese workshops to design custom collections.
However, this growing demand also raises environmental and ethical concerns. Issues such as illegal logging, deforestation, and labor conditions in remote areas are ongoing challenges. To address these, the Indonesian government has implemented the SVLK certification system (Sistem Verifikasi Legalitas Kayu), which guarantees the legality of exported wood. Some artisans also choose to work with recycled wood or wood from sustainably managed forests.
Conclusion
Woodcarving in Indonesia is far more than decorative craftsmanship. It embodies a collective memory, a deep connection between humans, nature, and the sacred. Each sculpture, each piece of furniture, tells a story, a belief, a worldview, a way of inhabiting the world.
While remaining faithful to its roots, this art form continues to evolve. Driven by committed artists, encouraged by global interest, and supported by local institutions, it manages to blend tradition with innovation. The Ubud market is a living example, firmly anchored in the past yet open to the world.
Supporting this craft means preserving a unique cultural heritage while contributing to a sustainable local economy. In its own way, it also weaves a bridge between people, cultures, and generations.
Author: Estelle Pascal, June 2025