WOODCARVING IN INDONESIA: ART, MASKS, PUPPETS, FURNITURE

WOODCARVING IN INDONESIA

Rama, a Wayang Golek puppet, used by the S Muja puppetry troupe; he is one of the main characters from the Ramayana, lover of princess Sita; the wooden puppet has a painted white painted face, white, gold, blue, yellow and red head ornament, gold torso, arms and hands, black velvet beaded collar and waist ornament, batik style cloth skirt

Woodcarving is the most enduring and widespread medium for artistic expression in Indonesia. Each Culture has its own style, and the diversity and sophiscation of Indonesia’s woodcarvers is remarkable. In Indonesia a house not only protects its inhabitants from the elements, but repels unwanted spirits. Example include the horned Singa (lion) heads that protect Batak Houses, the water buffalo representations on toraja houses sigifying prosperity, or the serpents and magical dog carving on Dayak houses in Kalimantan.

Objects made of wood can have spiritual, artistic and functional purposes or elements of all three. Some of the more lovely functional objects are ironwood stools from Kalimantan, carved bamboo containers from Sulawesi and doors from Timor. Perhaps the most famous artistic and spiritual carvings are masks. They are associated most with the masked dance-dramas of Java and Bali but are also used in dances and funeral rites and ceremonies on other islands.

Used in prehistoric times in burials, the use of ancient spirit masks have given way to masks used in many traditional dances. These highly stylized masks, topeng, depict the various characters in the story told by the dance. Masks enable the performers to assume new identities and depict a variety of characters from demons to animals, princes or gods. Amongst the most famous masks used in dance are the Rangda and Barong masks from Bali. In this traditional dance, performed often for tourists, the interaction of Rangda, representing evil, and the Barong, representing good, restores the harmony between the good and evil in life. While masks for sale in stores are primarily from Central Java and Bali, masks from other ethnic groups were used widely in the past to communicate with ancestors, for blessings for harvests, protection from evil spirits, to acquire new personalities or great powers.

The preferred wood for carving is teak. Sandalwood, mahogany, ebony are also used. Jackfruit is a common cheap wood. Local woods are also used. Ironwood and meranti are widely used in Kalimantan “Belalu”, a fast-growing light wood, is used in Bali. Fragrant sandalwood from the Nusa Tenggara is available in carvings, medicine, incense, cosmetics, prayer beads and useful items such as pens and fans. It is usually stored in a special glass cabinet in stores and a stroll past the cabinet will quickly acquaint you with the exotic fragrance of this special wood. The price may often be related to the type of wood used, as harder woods are more difficult to carve. Since many are concerned by the cutting of tropical hard wood forests, many wood items are made from teak trees which are cultivated on plantations. Look for the labeling designated the item as utilizing plantation-grown teak. [Source: expat.or.id ]

Wood Carving in Different Regions of Indonesia

Wood carvings from various parts of Indonesia on display, most notably wayang golek from West Java and Balinese masks and woodcarvings.

Woodworking is arguably the most widely practiced art form in Indonesia. It seems like most ethnic groups and regional people practice it some form. The Asmat produce their famous totem-pole-like bis poles; the Toraja decorate their houses with images of buffalos and cocks; the Dayaks produce magical dog carvings; and the Batak protect their houses with horned lion heads. The center of woodworking in Java is the town of Jepura on the north coast of Central Java. Artists here produce traditional Hindu-Buddhist styles as well as Islamic styles. Other important centers include Kudus, known for its derailed panels, and Madura.

The cottage carving industry of Bali finds a wide domestic and international market for its statues of people, deities, and animals, many of which are finely artistic, some hackneyed. Perhaps the most common carving is in the urban furniture industry, mainly in Java, where ornately carved sofas and chairs are very popular. Traditional puppet or animal carvings of the mountain Batak of Sumatra or the upriver Dayak of Kalimantan are now mainly for tourists, though they once showed rich artistry (now largely seen in museums). The Toraja homes are still elaborately carved, and small examples of these carvings are sold to tourists. Toraja carve decorations on large bamboo tubes used for carrying palm wine or rice, and people in eastern Indonesia decorate small bamboo tubes that carry lime used in betel chewing. [Source: everyculture.com]

The most famous woodcarving centers are Bali, Central Java, Madura, Sumatra and Papua. Whimsical, brightly colored modern carvings are produced primarily in Bali. And the popularity of these pieces has Modern Wood Carvings from Bali influenced the wooden carving traditions of other regions as well. Most popular with expats are Javanese and Balinese wooden image carvings, Jepara lattice-like three-dimensional reliefs and Papuan primitive carvings. Papuan tribes such as the Asmat, Dani, and Komoro have very distinctive styles of carvings of totem poles, weapons, figures and utensils. [Source: expat.or.id ]

I Nyoman Tjokot

I Nyoman Tjokot (c. 1886–1971) was a pioneering Balinese woodcarver from Jati village near Ubud and is regarded as one of the great innovators of Balinese art. Entirely self-taught and not born into an artistic family, he carved intuitively, allowing the natural form of each piece of wood to guide spontaneous, expressive creations whose final shapes were often unpredictable even to himself. [Source: Bali Tourism Board]

In the 1930s his work was championed by foreign artists Walter Spies and Rudolf Bonnet, though it remained controversial and commercially marginal at the time. Tjokot lived modestly, served his community as a priest and healer, and worked obsessively, continuing to carve until shortly before his death from tuberculosis at the age of 83.

Tjokot developed a distinctive style—later known as Tjokotism—characterized by coarse, primitive realism and strong personal expression. Influenced initially by the refined Ubud style, temple carvings, and lontar manuscripts, he ultimately forged an unprecedented approach that later enabled his descendants to improve their livelihoods. Although he left little material wealth, his artistic legacy endures in Bali and across Indonesia through both his reputation and the continuation of his style by later generations.

Jepara Woodcarving

Jepara (100 kilometers northeast of Semarang) is a town with white sandy beaches nearby that is known for its woodcarving. Jepara produces fine teak furniture, some elaborately decorated with fine carvings of flowers and tendrils, impressively carved house doors, cabinet doors, chests and boxes. Unlike in Bali where woodcarvers create human forms and animal statues, in Jepara, following the teaching of Islam, carvings portray only flowers, leaves and trees in intricate designs. Jepara today is also able to produce fine replicas of antique furniture, not only Indonesian but also antique European designs.

Since the 8th century in the golden age of Java’s Hindu kingdoms, Jepara has been known as one of the most important ports on Java which connected Javanese kingdoms with China and India. It has a rich past and references to Jepara are found in Chinese, Portuguese, English and Dutch history books. Wood carving centers in Jepara are located in almost all of the sub districts in the Jepara regency. Dozens of showrooms, that are also able to apply finishing touches to wood carvings, are available in the city center, especially along Jalan Tahunan.

Based on historical stories, Jepara’s carving existed since the fall of the Majapahit Kingdom in East Java. The collapse of the Majapahit Kingdom in the first half of 15th century caused Hindu scholars and artisans to spread to various parts of the archipelago. Many artisans and carpenters subsequently came to reside in Jepara and continued to develop their woodcarving skills while adjusting their style to the localities. The arrival of Chinese immigrants further enhanced the development of the art of woodcarving in Jepara.

In the reign of Queen Kalinyamat (1549 – 1579 AD), Jepara rapidly grew not only as the main commercial port of Java but also as its naval base. She also contributed to the development of woodcarving in Jepara. During her reign, the queen had a military commander named “Sungging Badarduwung” who originated from the Campa Kingdom (present day Cambodia). The commander was also a skilled craftsman who voluntarily taught the locals his style of woodcarving.

Traditional Furniture, Toys and Games

Beautiful Dutch colonial and other antique furniture from the 18th and 19th centuries is popular with expats, Wooden Carved rocking chairincluding Balinese opium beds, rice storage units, old cupboards, Javanese carved wall panels, doors and unique tables. These pieces may need restoration or may have already be refinished or reconditioned by the shops. [Source: expat.or.id ]

Balinese masks

Many shops cater to the expats love of antiques and sell authentic antiques or reproductions. Widely available too are new designs of furniture, utilizing old wood. The advantage of old wood is that it is less likely to split when you bring it back to a dry climate, as the wood has been seasoned for decades. Much 'antique' furniture available is actually new furniture that has been left in the sun and rain for months to . age. the furniture. Be careful to purchase from a trustworthy dealer if you want to be sure you are getting authentic antiques.

The congklak, or dakon board game was brought to Indonesia by Indian or Arab traders centuries ago. Made Congklak Boardfrom plastic or wood, or highly carved by court artisans, this game has been played in Indonesia for centuries. Examples of early congklak board can be found in the National Museum. Traditional toys can be found throughout the archipelago and forays into the provinces will undoubtedly turn up many simple toys made by villagers for their children. These can be purchased at local pasar, roadside stands or near popular tourist destinations. [Source: expat.or.id ]

Masks in Indonesia

Across Indonesia, masks—known as topeng—are often regarded as among the most powerful artistic forms for transforming both performers and the characters they portray. They play central roles in dance dramas, festivals, and ritual life, helping to convey offerings, embody spiritual forces, and represent the dualities of good and evil. In some regions, masks have extended beyond performance into other aspects of life: men have worn them in battle, while healers have used them in ceremonies intended to treat illness. The finest masks are crafted by highly skilled artisans, whose carving and painting elevate them into objects of cultural and spiritual significance. In places such as Bali and Timor, sacred masks may even require wood from specific trees, reinforcing their ritual importance. [Source: “Culture and Customs of Indonesia” by Jill Forshee, Greenwood Press, 2006]

Indonesian mask traditions are not static but evolve over time while maintaining continuity with the past. As one observer noted of Balinese arts, “images most important in the political and social organization of Bali in one era did not simply die out, but new images were added to them, so that each generation saw itself as continuing the same culture, while at the same time transforming it.” This observation applies broadly across Indonesian artistic traditions, which record historical influences and adapt to changing circumstances. While Balinese masks are often the most elaborate, mask-making traditions across the archipelago display equal care and meaning within their own cultural contexts.

Among the Toba Batak of northern Sumatra, large, simply carved wooden masks have been used in funeral rituals, emphasizing solemnity and ancestral connection. Nearby, the Karo have created helmet-like wooden masks representing humans or horses, adding another dimension to ritual performance. Traveling healers in parts of Sumatra have worn plain wooden masks while selling medicinal herbs in markets, using them as visual signs of their healing abilities. In these contexts, the material of the mask itself is believed to echo the spiritual potency of the plants and remedies they offer.

In Kalimantan, the Dayak produce highly dramatic and complex masks that depict both animal and spirit forms. These may include representations of pigs, deer, tigers, dragons, or human figures, often with elaborate extensions that enhance their visual impact. Worn during key agricultural periods such as planting and harvest, these masks appear in dances performed within the longhouses that serve as community centers. Some traditions hold that ancestral or divine spirits descend into the masked dancers, aiding in rituals meant to attract rice spirits and ensure fertility. In this sense, the masks function not only as representations but also as protective disguises against harmful forces.

On the island of Timor, mask traditions differ markedly from those of western Indonesia. These masks are typically more simply carved and darkened with soot, and are associated with warriors or ritual specialists. Rather than emphasizing intricate detail, they reflect the animist beliefs of eastern Indonesian cultures, often taking their form from natural features of the wood itself. Twisted roots may become hair, and the inherent shape of a tree may guide the final design. People believe such masks derive their power from the specific trees and locations from which they come, aligning them closely with local spiritual forces. Together, these diverse traditions illustrate how masks across Indonesia express both shared cultural themes and regional distinctions.

Wayang Puppets

Puppets fall into two major classifications - wayang kulit - the leather or shadow puppet of Central Java, and wayang golek - wooden puppets of West Java. The most famous puppets of Indonesia are the carved leather wayang kulit puppets. The intricate lace figures are cut from buffalo hide with a sharp chisel-like stylus and the painted. They are produced on Bali and Java, particularly Central Java. The leaf-shaped kayon representing the “tree” or ‘mountain of life” is used to end scenes in the wayang ans is also made of leather. There are several varieties of wooden puppets. Wayang Golek are the three dimensional wooden puppets found in Central Java, but are most popular among the Sundanese of West Java. The wayang klitik puppets are a rarer flat wooden puppet of East Java.

The “Wayang kulit” (leather puppets) of Java is performed with leather puppets held by the puppeteer, who narates the story of one of the famous episodes of the Hindu epics, the Mahabharata or the Ramayana. It is performed against a white screen while a lantern in the background casts the shadows of the characters on the screen, visible from the other side where the spectators are seated. [Source: Embassy of Indonesia]

The “Wayang Golek” (wooden puppets) of West Java is based on the same concept. The crafts of Indonesia vary in both medium and art form. As a whole the people are artistic by nature and express themselves on canvas, wood, metals, clay and stone. The batik process of waxing and dyeing originated in Java centuries ago and classic designs have been modified with modern trends in both pattern and technology. There are several centres of Batik in Java, the major ones being Yogyakarta, Surakarta, Pekalongan and Cirebon.

Puppets have been used for centuries in Indonesia to tell the stories of the ancient epics, the Ramayana and the Wayng KulitMahabarata, as well as ancient myths. Modern stories also utilize this ancient art form for contemporary audiences. Some expats enjoy collecting the same character by various artisans, or all the characters in a scene or story, or just characters that strike their fancy. Good guys, bad guys, gods, demons, nobles, giants, clowns, princes and princesses and monkeys ... all can be found in traditional puppet forms. [Source: expat.or.id ]

Image Sources: Wikimedia Commons

Text Sources: “Encyclopedia of World Cultures Volume 5: East/Southeast Asia:” edited by Paul Hockings, 1993; “Culture and Customs of Indonesia” by Jill Forshee, Greenwood Press, 2006; National Geographic, New York Times, Washington Post, Los Angeles Times, Smithsonian magazine, Encyclopedia.com, Library of Congress, Indonesia Tourism website (indonesia.travel), Indonesia government websites, Live Science, The Conversation, The New Yorker, Time, BBC, CNN, Reuters, Associated Press, AFP, Lonely Planet Guides, Google AI, Wikipedia, The Guardian and various websites, books and other publications.

Last updated April 2026