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IHiS (Indonesian Historical Studies) 8 (2), 155-170 © 2024 | E-ISSN: 2579-4213  

Internationalization and the Erosion of Jepara Carving Traditions      | 155 

 

Received:  
April 5, 2024 
 
Revised:  
August 26, 2024 
 
Accepted:  
August 29, 2024 

Internationalization and the Degradation of Jepara Carving Traditions 
in the Beginning of 21st Century 

 
Sri Indrahti*, Dewi Yuliati, Alamsyah 

Doctoral Program of History, Faculty of Humanities, Universitas Diponegoro,  
Jl. dr. Antonius Suroyo, Tembalang, Semarang, Central Java, Indonesia, 50275 

 
*Corresponding Author: indrahti@gmail.com 
DOI: https://doi.org/10.14710/ihis.v8i2.22440 

 
 
 
 
 
 
 
 
 
 
  
 
 
 
 
 
 
 
 
 
 
 
Introduction 
The woodcarving industry in Jepara has existed for approximately 500 years. There 
are two versions regarding the origins of Jepara’s woodcarving craft. The first version 
attributes its creation to Tjie Wie Gwan, a Mahapatih of Kalinyamat and the adoptive 
father of Sunan Hadirin (Maziyah et al., 2015, pp. 13-23). The second version credits a 
figure named Prabangkara. In the early 20th century, which marked a significant 
turning point in the international development of woodcarving, R.A. Kartini began 
introducing Jepara’s carved furniture to Dutch government officials and other 
prominent visitors to Jepara. Following this introduction, local artisans were gathered 
and instructed on how to produce crafts that met the desired standards, particularly 
those artisans living in the mountainous regions, who were known specifically as 
Macan Kurung carvers (Priyanto et al, 2013, pp. 139-147). 

During the Dutch colonial period in the Dutch East Indies, a Carpentry School 
was established in Jepara on June 1, 1920. This educational institution focused on 

Abstract 
 

This article examines the process of degradation in Jepara’s ornamental 
woodcarving, driven primarily by internationalization. In this context, 
degradation refers to the decline or deterioration of the traditional Jepara 
woodcarving motifs as a result of modernization. Using historical methodology, 
the study reconstructs the factors that have contributed to the decline of Jepara’s 
ornamental woodcarving. The degradation process began with the arrival of 
foreign investors. On one hand, these investors facilitated the global marketing of 
Jepara carvings. However, this also required Jepara’s woodcarving products to 
conform to international market tastes, leading to a shift towards minimalist or 
even plain designs without traditional carvings. The changing consumer 
preferences gradually displaced the distinctive Jepara motifs, which were 
perceived as outdated, less appealing, and less competitive compared to foreign 
products. This decline in quality was further exacerbated by the export boom at 
the end of the 20th century. The findings reveal that the degradation of Jepara's 
ornamental motifs has significantly impacted the lives of local artisans, both in 
terms of the diminishing value and quality of their work, and in their struggle for 
survival by adapting to market demands. 
 
Keywords: Degradation; Carving Motifs; Internationalization; Jepara. 



 
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teaching various decorative styles and motifs, ranging from those of the Majapahit and 
Mataram eras to those characteristics of Bali, while still preserving the unique Jepara 
designs (Alamsyah, 2023, p. 65). Skilled artisans trained at this institution were 
subsequently employed by several family-owned businesses and enterprises 
established by the Dutch government. One notable example is the Jepara’s Houtsnijwek 
en Meubel Markt Regional Company, founded in 1932 (Drieënhuizen, 1955, pp. 163-
175).  

To further empower the woodcarving craft, in 1963 and 1964, the Head of the 
Regional Cooperative Office for Central Java established the Woodworking Industry 
Cooperative in Panggang, Jepara, followed by the founding of the “Sido Dadi” 
Woodworking Cooperative in Sukodono. In the same year, the “Suka Damai” 
Woodworking Industry Cooperative was also established in Mantingan, Jepara 
(Alamsyah, 2023, pp. 24-30). 

Entering the 1980s, the development of the carving craft in Jepara began to show 
changes due to the presence of foreign investors. Their arrival in Jepara cannot be 
separated from the Jepara carving exhibition in Nusa Dua, Bali, in 1989, which 
attracted many foreign entrepreneurs to Jepara to witness the creation and products 
of carving. During the period from 1980 to 1989, Jepara carving art was not widely 
known by international consumers. This was due to the lack of platforms and access 
providing marketing at the international level. Additionally, Jepara carvers were 
predominantly from lower and middle classes, so their production could only meet 
local market demand (Alamsyah, & Indrahti, 2000, p. 34). 

In 1990, Jepara carving crafts gradually gained recognition in the international 
market as foreign entrepreneurs opened up marketing access, leading to orders from 
various countries (“Bridge,” 1990, p. 7). International consumers were more interested 
in buying Jepara carvings due to their antique and unique decorative motifs (Maziyah, 
2015, pp. 78-80). This trend continued in subsequent years until 1999, when the Export 
Boom occurred, a condition where the demand for Jepara carving exports increased 
drastically. On the one hand, this increase was a blessing as it expanded the market for 
Jepara carving crafts. However, on the other hand, it also led to a decline in the value 
of Jepara carving motifs. At the beginning of the 21st century, Jepara carving products 
were known to be less competitive due to a shift in international market demand, 
favoring Chinese, Japanese, and Italian carving products. This resulted in a decrease 
in orders for Jepara carvings. This marked the starting point for the degradation of 
Jepara carving motifs (Riyoko, 2012). 

Therefore, the problem of the degradation of Jepara carving motifs is not solely 
caused by a decline in creativity but also by the need to face global competition. The 
presence of foreign investors in Jepara, which was supposed to strengthen and enrich 
Jepara carving motifs in the international market, enabling them to compete with other 
products like Chinese, Japanese, and Italian carvings and cater to the tastes of 
international consumers, has instead led to a decline in their motifs. This is due to the 
emergence of international consumer preferences favoring plain carvings, following 
the trend of modernization. What were the causes of the degradation of Jepara carving 



 
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motifs? How did the degradation of Jepara carving motifs unfold in the context of 
internationalization? What were the impacts of the degradation of Jepara carving 
motifs on the lives of those involved in the Jepara carving industry? 

 
Method 
This article is compiled using the historical method. The historical method is a method 
used to research, reconstruct, and analyze past events (Gottschalk, 2008, p. 39). The 
historical method includes four steps: heuristics (source collection), criticism (source 
testing), interpretation, and historiography (historical writing). Heuristics is the 
process of collecting data sources and finding sources relevant to the problem, which 
can be written and oral documents from past events as historical sources (Wasino, 
2005, pp. 11-12). 

Written primary sources include archives and newspaper articles. Archival 
sources were obtained from several Jepara Regency Government agencies, such as the 
establishment deeds of carving cooperatives and statistical reports. Other primary 
sources used are newspaper articles, such as Gelora Bumi Kartini and the Birmingham 
Daily Post. Articles from these newspapers provide information about the trade 
activities of Jepara carving crafts to export destinations. 

Non-written or oral sources are used to provide information that cannot be found 
in written sources. Oral sources were obtained from interviews with actors, including 
entrepreneurs and workers, communities, community organizations, and local 
government institutions. Therefore, this research is also conducted using the oral 
history method to capture the development of the carving craft industry during the 
research period based on information from economic actors who are still alive to 
further complement contemporary written documents. Secondary sources are 
obtained through the literature review process, which comes from books, articles in 
national and international journals, and other literature materials from previous 
research to support the writing of this article (Suryomihardjo, 1975, p. 139). 

The approach used in this research is a socio-economic approach, encompassing 
the scope of the carving artisan community, local government, Jepara carving art, 
marketing, production, international relations, and so on. The socio-economic 
approach is useful in this research because it can help analyze socio-economic 
activities, especially those related to community activities from an economic 
perspective, such as sales, promotion, international trade management, competition, 
and so forth in the degradation of Jepara carving motifs in the context of 
internationalization (Kocka, 1973, pp. 341-351). 
 
Factors Leading to Degradation of Carvings in Jepara 
According to the Indonesian Dictionary, degradation means decline, deterioration, or 
decrease. Furthermore, according to Dymitrow (2017), a researcher in the field of 
environmental culture from Gothenburg University, degradation is the decline or 
fading of cultural values in an object or group within a community that will give rise 
to a new culture such as consumerism, materialism, individualism, and hedonism. 



 
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Degradation can occur in various places and in various forms, such as moral, land, and 
cultural degradation as a result of modernization. Based on the explanation of the 
concept of degradation, it can be formulated that degradation is the decline or fading 
of cultural values in an object or group within a community that will give rise to a new 
culture as a result of the influence of changes in people’s behavior and thinking 
(Dymitrow, 2017, pp. 36-37). 

The degradation experienced by the carving craft in Jepara is caused by the 
demands of buyers or consumers. In this context, consumers prefer furniture in Jepara 
according to the design they want, following the trend of furniture craft fashion that 
is more elegant and luxurious. In general, these modern design models follow trends 
from the European continent, such as Scandinavian furniture models, Leonardo da 
Vinci, Windmill in the Netherlands, and so on (Figure 1). Models from abroad 
(Western countries) are generally minimalist models, meaning there is not much 
carving art in the manufacturing process (Chrisswantra, 2021, p. 257). This is the 
background of the degradation of Jepara carving motifs. On the one hand, there is 
consumer demand who view carving with a minimalist style as a trend of 
modernization. However, on the other hand, it also lowers the quality of Jepara 
carvings or can be said to cause degradation. Furthermore, Jepara carving artisans also 
have to survive amidst the onslaught of similar products that are more popular with 
people abroad (Kurniawan, 2018, pp. 91-92). Below is a Jepara carved furniture motif 
that is influenced by European Style. 

 

 
Figure 1. Jepara Carved Furniture European Style Motifs  

Source: Iswahyudi, 2017. 
 

From a geographical perspective, Jepara has been known as a city of carving 
crafts, both in Indonesia and abroad. This is also supported by the location of Jepara 
Regency with a position of 3° 23’ 20” to 4° 9’ 35” East Longitude and 5° 43’ 30” to 6° 
47’ 44” South Latitude. The boundaries of Jepara Regency are as follows: the West and 
North are bordered by the Java Sea, the East borders Kudus and Pati Regencies, and 
the South borders Demak Regency (BPPD Kabupaten Jepara, 2005, p. 31). In addition, 
historically, Jepara is also famous as an old maritime city and the birthplace of one of 



 
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the figures of the Indonesian women’s movement, R. A. Kartini. 
In the field of natural resources, the Jepara region is very fortunate to have an 

abundance of teak, mahogany, sono keling, and other trees whose wood is very 
suitable and useful as furniture material because it is durable, not easily broken or 
damaged, and does not easily fade. Teakwood, in particular, is the best wood and is 
often in demand by consumers both locally and internationally. Thus, the selling price 
of Jepara carving craft products made from teakwood is certainly more expensive than 
other types of wood. Teakwood that is often sought after by consumers is teakwood 
with an age of 60-80 years. Therefore, it is not uncommon for Jepara carving artisans 
to order teakwood from other regions such as Sulawesi, Kalimantan, Sumatra, and 
Nusa Tenggara to fulfill consumer orders. In addition, teakwood in Indonesia 
managed by Perhutani is also better than that owned by the community (village teak). 
Thus, many Jepara carving artisans also look for teakwood on Perhutani land and of 
course already have a permit (Tim JIP MUJ, 2014, p. 22). 

The abundance of natural resources certainly benefits Jepara carving artisans and 
makes it easy for them to find the main medium for making carving crafts in various 
forms, especially furniture including chairs, tables, doors, and so on. However, this 
changed when wood resources started to become scarce due to massive deforestation 
that occurred in 1998 and 1999. At the same time, there was also an export boom in 
1999 which flooded Jepara carving artisans with furniture orders. Unfortunately, this 
boom was not accompanied by maintaining product quality due to market demands. 
 
Degradation Process of Jepara Carving Motifs (Pre-Degradation Phase 1980-1999) 
In the early 1980s to 1989, Jepara carvings were not widely known in the international 
market due to several factors, including the unpreparedness of local artisans in 
marketing their products due to inadequate knowledge and lack of access to market 
their goods in the international market. It was only when foreign investors came to 
Jepara and introduced Jepara carved furniture products to the international market 
that orders from international consumers began to arrive one by one. This was 
reinforced by the Jepara carving exhibition held in Bali (1989) and Singapore, which 
was already known to many foreign tourists from various countries (Figure 2) 
(Priyanto, 2022, pp. 1-2). 

In 1989, Jepara carved furniture was exhibited at the Furniture Exhibition in Nusa 
Dua, Bali. At that time, Hisyom Prasetyo was present as the Regent of Jepara. 
Unexpectedly, Jepara furniture impressed the foreigners who attended the exhibition. 
They did not expect that carving crafts were not only found in Bali but also in Jepara. 
The Jepara Regional Government seemed quite open to the presence of foreign 
entrepreneurs. They were allowed to invest in Jepara carvings with the condition that 
they had to comply with applicable laws and regulations, including capital issues, by 
using the Foreign Direct Investment (FDI) system. Based on this, foreign entrepreneurs 
(foreign investors) from various countries came to Jepara to invest (Setiawan, 2017, pp. 
31-48). In addition to exhibitions, the introduction of carving products was also carried 
out by fulfilling international market orders, one of which was from a Singaporean 



 
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company called Han Rose Furniture. This company was a privately owned family 
business run from home with an initial capital of 7,000 USD. In its development, the 
company then had an outlet in Joo Chiat Complex near Geylang Syah, a building and 
workshop in Tampines Industrial Park. Han Rose Furniture then became one of the 
popular import companies in Singapore, with buyers on average being residents of 
Malaysia, China, and India (Rachman, 1987, p. 5). Figure 3 shows Jepara carved 
furniture ordered by Han Rose company and then ordered by consumers from China. 

 

 
Figure 2. Regent of Jepara Hisyom Prasetyo and Governor of Bali Ida Bagus Oka at 

the International Exhibition of Jepara Carvings in 1989 
Source: Priyanto, 2022. 

 
The products ordered by Han Rose company from Jepara included bedroom sets, 

dining table sets, living room sets, in addition to selling various items such as wooden 
calligraphy, telephone tables, and various handicrafts. In the period of 1987, Han Rose 
company tended to import goods from Indonesia, but its consumers were on average 
residents of Malaysia, China, and India who liked antique and unique carvings from 
Jepara. The dominant motifs were plants, flowers, fruits, leaves, roots, including 
geometric and abstract. Some of the existing price lists, for example, a popular 
bedroom set with a mattress bed for US$2000, a dining table set for US$1400-US$2000, 
a living room set for US$750-US$3000, a buffet for US$300, US$600 and US$1000 
according to its size. A dressing table with a mirror for US$300, a layer for US$600 and 
a telephone table for US$300 (1987). The names listed on the carved furniture were 
very exotic and romantic. Examples include sofas, dining tables, and beds named 
kecapi, romawi, anggrek, kursi gajah, istana Perancis, antic rota, sofa Cleopatra, and pilipine-
madura; dining tables named anggrek, untir, jaya; bedroom sets named rambangan bunga, 
italy, mahkota bulan rambang, puteri rahayu, brawijaya, raja, romawi, raffles, saloom eropah, 
and mahkota bulan bintang (Rachman, 1987, p. 5). In addition, entering 1990, there were 
carving motifs that were favored by international market consumers, namely leaf 
motifs, fruits, roses, lotus flowers, cliffs, lemahan, and so on, as seen in Figure 4. 
 



 
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Figure 3. Jepara Furniture in Singapore Ordered by Han Rose Company, 1987. 

Source: Rahman, 1987. 
 

 
Figure 4. Leaf and Rose Shaped Jepara Furniture Carving Model 1990-1999 

Source: Archival Documentation Research Report on Jepara Carved Furniture, 1999. 
 

In 1990-1999, Jepara carved furniture craftsmen began to consistently produce 
carved products to meet the demands of international market consumers. At that time, 
international consumers considered Jepara carving products to be unique, antique, 
and contain high creativity value, making them very suitable as room decorations that 
add to the aesthetics of homes, restaurants, and entertainment venues. This then led to 
an increase in the use of teak, mahogany, and other woods (Tim JIP MUJ, 2014, p. 22). 
Problems then arose in 1997-1998 when Perhutani stopped providing stocks of teak, 
mahogany, and other woods to Jepara carving artisans. The reason was due to 
dwindling wood stocks, while the demand for teak exports abroad was booming. The 



 
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strengthening of the dollar had caused export and import activities to slump, 
impacting economic profits. One of those affected was Perhutani. Because Perhutani 
stopped the supply of teakwood stocks, artisans had to look for teakwood and other 
types of wood elsewhere (“Meubel,” 2000, p. 18). This condition worsened at the end 
of 1999 when there was massive looting of teakwood due to the global economic crisis, 
making it difficult for Jepara carving artisans to meet the very high demand for orders 
at that time. At that time, there was also an export boom. As a result, many carving 
artisans made carving products freely, carelessly, and did not comply with 
regulations. The decline in carving quality then disappointed consumers. The carvings 
that were considered to be of less value then made international consumers prefer 
plain or minimalist models. International consumers also eventually switched to 
Chinese, Japanese, and Italian carvings which were considered to be better (Badan 
Perencanaan Pembangunan Daerah Kabupaten Jepara, 2005, pp. 85-86). 

Previously, the degradation of carving motifs in Jepara began in early 1999 where 
the glory of the Jepara carved furniture industry began to fade, especially in terms of 
competitiveness in the international market. Jepara furniture products previously had 
a high bargaining position and always sold well in the international market because 
there were no other regions that had similar production with the same quality. 
However, in its development, there was a shift (Badan Perencanaan Pembangunan 
Daerah Kabupaten Jepara, 2005, p. 90). The entry of various orders from abroad at first 
glance seemed profitable for a few groups, but in its development, price competition 
actually harmed entrepreneurs and benefited exporters (buyers) because they could 
choose goods at cheap prices. This condition did not last long because, in its 
development, this price competition was also followed by a decline in quality due to 
very low prices. This condition certainly harms both the entrepreneurs themselves and 
buyers as well as the carving craft industry (Badan Perencanaan Pembangunan Daerah 
Kabupaten Jepara, 2005, p. 91). 

Degradation has led to a decline in exports as international market demand has 
shifted according to their own tastes, namely minimalist or plain, so that the interest 
in Jepara carving products has decreased, resulting in a decrease in overseas orders. 
In 1998, orders reached 800 containers per month, but in 1999 only about 50% 
(“Profesional”, 1999, p. 12). During the strengthening of the dollar against the rupiah, 
raw and supporting materials such as glue, paper, and cloth experienced price 
increases that exceeded the limit. In fact, these goods were still obtained through 
imports. When the dollar depreciated, craftsmen had to bear the brunt from two sides. 
On the one hand, craftsmen were pressured by the high prices of supporting materials, 
and on the other hand, furniture prices in the market were also pressured by buyers 
from abroad. The saturation that emerged in overseas markets was caused by an excess 
of goods, especially for garden furniture (Irawati, Harini, & Purnomo, 2012, pp. 99-
100). 

To follow up on this issue, the Indonesian Woodworking Community (MPI) has 
tried to help procure raw materials and capital through cooperatives, especially related 
to the distribution of assistance in the form of soft loans. This step also needs to be 



 
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balanced with detailed arrangement and calculation of the real need for raw materials 
for the furniture industry. Because there are indications of a decline in the quality and 
delivery of furniture, Asmindo then designed technical and managerial training or 
guidance in the furniture business sector. However, the level of success depends on 
the active role of the industry players themselves, namely: how much they need to 
improve themselves in relation to business management, considering that so far the 
prevailing business management is still instinctive (learning from everyday habits) 
(Iswahyudi, 2017, p. 51). 
 
Degradation Process of Jepara Carving Motifs (Degradation Phase 2000-2010) 
Entering 2000 to 2010, carving motifs to meet international market demand did not 
experience significant development. Almost 80% of international market demand was 
mostly plain furniture, and only 20% used carving decorations. In the period 2000-
2010, Jepara carved furniture mostly followed the demands of market consumer 
orders. From the perspective of the local community, the establishment of foreign 
companies was not considered detrimental to local entrepreneurs, but rather was 
considered to provide more benefits. The benefits that can be obtained by local 
residents include several things. First, local residents can be absorbed as workers in 
foreign companies. This not only solves the problem of employment but also allows 
these workers to absorb knowledge from foreigners. Second, foreign companies were 
not allowed to produce finished products, so these companies still had to cooperate 
with local companies. Third, the presence of foreign companies was considered to 
encourage the spirit of local entrepreneurs to compete healthily (Hayati, 2000, p. 62). 

However, there were also losses felt by local entrepreneurs, namely the increase 
in wages. With the presence of foreign companies, artisans who were considered 
skilled were given the opportunity to work in foreign companies with relatively high 
wages. The provision of relatively high wages also influenced artisans working for 
local entrepreneurs to demand the same wages as their colleagues working in foreign 
companies. The increase in wages caused production costs to increase, even though 
the selling price of goods could not be increased. Meanwhile, if the price is increased, 
there is a concern that the goods will not sell due to the high competition among 
entrepreneurs (Sulistyorini, 2016, p. 135). 

In 2000, industrial growth based on statistical reports from Jepara in Figures did 
not experience significant changes even though there had been degradation of carving 
motifs. Thus, the degradation of carving motifs in the context of internationalization 
did not have a significant impact on the carved furniture industry. This can be seen 
from the number of exporters, destination countries, volume, value, and PMA/PMDN 
which did not show a decrease. The decline in volume occurred in 2000-2001 reaching 
almost 50%, but this decline was not significant enough in each year. The growth of 
the carved furniture industry in terms of business units, workforce, volume, and its 
value in rupiah, entering the years 2000-2004 did not experience much change, as 
shown in Table 1. 

Jepara carving motifs in the early 21st century after the export boom and timber 



 
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looting declined further, especially in international orders, experienced a shift as seen 
in Figure 5. Products competitors who are superior and modern competition becomes 
tight. The shift in consumer tastes is the most decisive factor. Jepara carvings which 
still maintain their traditional nature both in terms of manufacture and motifs find it 
difficult to survive. Only craftsmen who are able to meet consumer tastes survive 
(Roda et al, 2004, pp. 21-22). Jepara carvings in turn are considered ancient and do not 
reflect the trend of modernization, different from carving products from China or 
Japan which are considered better than Jepara. Therefore, as an effort to survive, Jepara 
carving craftsmen only follow orders whose models are in accordance with consumer 
tastes. As a consequence, Jepara carving varieties have also begun to be abandoned 
(Roda et al, 2004, p. 25). 
 
Table 1. Growth of the Jepara Carving Industry in 2000-2004 Based on Business Units, 
Workforce, Volume, and Value (Rp) 

No Type of Commodity                       Year 
2000 

Year 
2001 

Year 
2002 

Year 
2003 

Year 
2004 

1. Household Furniture 
from Wood 

     

Business Units                          3,400 3,008 3,120 3,597 3,776 
Workforce   57,000 43,916 58,210 50,063 59,210 
Volume (Pieces/Sets) 1,957,000 1,967,070 868,446 2,494,000 2,495,000 
Value (Rp 000,-) 
 

1,174,200 1,045,440 742,500,000 749,925.000 748,500,000 

2. Wood Carving Crafts       
Business Units                          210 131 154 155 150 
Workforce   791 791 945 945 1,092 
Volume (Pieces/Setsl) 189,625 189,523 190,953 36,825 36,900 
Value (Rp 000,-) 170,662,500 162,983,780 171,857,700 2,950,000 4,428,000 

Source: Department of Industry, Trade, and Cooperatives, Jepara, 2004.  
 

Jepara carving motifs in the early 21st century after the export boom and timber 
looting declined further, especially in international orders, experienced a shift as seen 
in Figure 5. Products competitors who are superior and modern competition becomes 
tight. The shift in consumer tastes is the most decisive factor. Jepara carvings which 
still maintain their traditional nature both in terms of manufacture and motifs find it 
difficult to survive. Only craftsmen who are able to meet consumer tastes survive 
(Roda et al, 2004, pp. 21-22). Jepara carvings in turn are considered ancient and do not 
reflect the trend of modernization, different from carving products from China or 
Japan which are considered better than Jepara. Therefore, as an effort to survive, Jepara 
carving craftsmen only follow orders whose models are in accordance with consumer 
tastes. As a consequence, Jepara carving varieties have also begun to be abandoned 
(Roda et al, 2004, p. 25). 

 



 
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Figure 5. On the Left is a Scandinavian-style Sofa Chair Furniture Model from PT 
Singa Jati, on the Right is a Miami Furniture Model from PT Umafindo, and at the 

Bottom is a European-style Bed Model from PT Habitats Indonesia, 2010 
Source: PT Umafindo and Habitats Indonesia, 2023. 

 
Based on Figure 5, it is evident that there has been a shift in consumer preferences 

when ordering Jepara’s carved products. Two Jepara-based companies, PT. Umafindo 
and Habitats Indonesia, have both adopted minimalist and plain carving models in 
their marketing promotions. This shift is driven by consumer demand, particularly in 
the international market. Jepara’s woodcarving artisans must adapt to market trends 
to remain competitive with products from China, Japan, and Italy, which are perceived 
as more beautiful, modern, and precise due to the use of advanced technology in their 
production (Chrisswantra, 2021, pp. 254-269). 

Chinese carvings, characterized by traditional styles featuring dragon motifs—a 
sacred symbol in China—exemplify unique design strategies crafted by artisans to 
attract consumer interest (Achdiawan & Puntodewo, 2011, p. 32). The presence of 
superior, higher-quality competing carvings has made it difficult for Jepara’s 
woodcarving artisans to survive, as they have prioritized maximizing economic profit 
over developing innovations. Jepara’s furniture carving craft is also unable to compete 
with products from countries like China and Japan, which utilize modern technology, 
such as machinery, rather than handicrafts, enabling faster production of a large 
number of products. On the other hand, most of Jepara’s carving furniture industries 
still rely on traditional tools and human skills, with most carving industries operating 
as small to medium-sized home-based businesses employing between 2 and 50 
workers. Therefore, in facing the highly dynamic global competition, Jepara’s 
furniture carving industry must develop strategies to compete with industrial 



 
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enterprises, especially those from developed countries (Iswahyudi, 2017, pp. 45-48). 
The degradation of Jepara’s carving decorative styles has also become more 

apparent due to the instability of international export markets, especially in the carved 
furniture sector, following the global economic crisis of 2008-2010 (Bill, 2004, p. 77). 
This situation was further exacerbated by the withdrawal of foreign investors back to 
their home countries, leaving the artisans without access to market their products. The 
dependence on foreign entrepreneurs eventually led to the collapse of Jepara’s 
woodcarving industry. The artisans were affected by layoffs from various 
woodcarving companies in Jepara after foreign entrepreneurs returned to their 
countries (Sulistyorini, 2016, p. 135). 
 
Impact of Decorative Style Degradation on Jepara's Woodcarving Artisans 
The degradation of Jepara’s decorative carving styles has significantly affected the 
woodcarving business activities. This degradation is essentially a survival strategy; if 
the artisans continued to produce only highly intricate carvings without accepting 
orders for minimalist or even plain designs, they would not earn any income. 
However, the degradation also represents a decline in the value of Jepara’s carvings in 
the international market. The widespread popularity of minimalist and plain furniture 
has gradually stifled artisans’ creativity. As this trend continued, artisans were 
criticized for their inability to maintain the aesthetic value of their carvings and instead 
focused solely on catering to consumer preferences. However, the shift from classical 
to contemporary styles must be seen as a survival strategy for Jepara’s artisans in 
adapting to changing times. This adaptation is accompanied by a high level of 
flexibility in responding to market demands, resulting in the production of modern 
carvings with simple designs (Karmadi, 1985, pp. 43-50). This challenge was met with 
innovation in carving production that followed market preferences while still 
incorporating Jepara’s distinctive carving accents. The impact of the degradation of 
Jepara's decorative carving styles can also be observed in the export figures for Jepara’s 
carved furniture in the international market from 2000-2010 (Table 2). 

The impact of Jepara’s decorative carving style degradation is also echoed by two 
Jepara woodcarving artisans who engage in business with foreign entrepreneurs, a 
trend driven by the emergence of new furniture designs by Jepara artisans. These 
artisans, named Rositta (also known as Sitta) and Farida, are both involved in the 
carved furniture business. Sitta started her woodcarving furniture business with her 
American husband, Mr. Hans, and since 2006, there has been a continuous decline in 
the variety of Jepara’s carved furniture designs. The primary cause is market demand 
for modern furniture designs that lack decorative carvings. Sitta also noted that 
consumers perceive modern designs of Jepara furniture as more attractive compared 
to the carved furniture, which is considered classic, old-fashioned, and traditional. 
Another reason is that consumers ordering Jepara furniture from abroad are capitalists 
or individuals who prioritize economic profit over cultural preservation. The furniture 
purchased from Jepara is used in restaurants, hotels, luxury homes, entertainment 
venues, and other establishments. Sitta also mentioned that most of the Jepara 



 
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Internationalization and the Erosion of Jepara Carving Traditions      | 167 

furniture is exported to the United States. She is unable to do much because if she does 
not fulfill consumer orders and relies solely on Jepara’s woodcarving furniture, her 
business would not be able to thrive (Rossita, 2023). 

 
Table 2. Fluctuations in the Export Volume of Jepara's Carved Furniture, 2000-2010  

Source: Central Bureau of Statistics, Jepara in Figures, 2000-2010. 
 
Farida, who started her woodcarving furniture business in Jepara with her 

French husband, Mr. Gael, corroborated Sitta's statement. She said that it is rare for 
consumers (export orders) to request furniture with decorative carvings, as they prefer 
modern and trendy designs. In response to this situation, Farida and Mr. Gael continue 
to introduce Jepara’s decorative carved furniture to consumers, hoping to spark their 
interest. However, it ultimately depends on consumer preferences. Farida also 
revealed that during the golden era of Jepara's woodcarving furniture, from around 
1990-1999, many carved designs were sought after by consumers due to their unique, 
antique, and creative qualities (Farida, 2023). 
 
Conclusions 
The degradation of Jepara’s decorative carving styles did not occur suddenly; rather, 
it was influenced by several contributing factors, rooted in historical contexts, that led 
to the decline of Jepara’s woodcarving art. The first factor is the availability of natural 
resources, particularly the abundance of diverse tree species such as teak, mahogany, 
and sono keling, whose wood has been traditionally used as the primary medium for 
carving. This wood was sourced from two main suppliers: village-owned trees and 
state-managed forestry. Initially, this supply chain operated smoothly, as Jepara’s 
woodcarving artisans had no difficulty accessing the necessary raw materials. 
However, by the late 20th century, the state forestry agency began to reduce the supply 
of wood to the artisans due to the diminishing number of trees. This situation was 
exacerbated by illegal logging activities, which further depleted the availability of 
high-quality woods like teak and mahogany for carving. As a result, consumers 
became dissatisfied with the products created by Jepara’s artisans, leading to a shift 
toward minimalist and plain designs. Besides environmental factors, economic factors 
also played a role, including competition from foreign carved products in the 

No Year Number of 
Exporters 

Nunmber of 
Destination 
Countries 

Volume (Kg) Value (US$) 

1 2000 436 71 35,773,970 74,737,879 
2 2001 451 88 38,956,277 76,110,290 
3 2002 325 78 49,852,973 107,816,151 
4 2004 343 78 61,817,687 134,500,648 
5 2006 265 68 55,765,736 111,842,200 
6 2008 248 68 37,847,093 100,334,715 
7 2009 254 67 36,297,275 91,309,963 
8 2010 252 60 35,209,331 90,498,084 



 
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Internationalization and the Erosion of Jepara Carving Traditions      | 168 

international market, particularly from China, Japan, and other countries. 
The process of Jepara’s decorative style degradation can be divided into two 

stages. The first stage, the pre-degradation phase, occurred between 1980 and 1999, 
during which Jepara’s woodcarving artisans began establishing their presence in the 
international market with the support of foreign investors. These investors played a 
significant role in representing consumer preferences for carved products in various 
countries and facilitated access to international marketing, particularly in the export 
sector. Thus, the presence of foreign investors greatly benefited the growth of Jepara’s 
woodcarving industry in the global market. In 1999, Jepara’s carvings experienced an 
export boom, marking the beginning of the degradation of decorative styles in the 
early 21st century, from 2000 to 2010 (the degradation stage). During this period, the 
high volume of orders was not matched by the quality of the carvings, coupled with 
limited raw materials, leading to disappointment among international consumers. 
This was compounded by the emergence of superior and more modern competing 
products, such as those from China, known for their dragon carvings, and Japan, 
known for lotus or cherry blossom motifs. Consequently, from 2000 to 2010, many 
carving orders shifted from classical to contemporary styles, characterized by modern, 
minimalist, and plain designs intended for use in restaurants, hotels, and other 
establishments, as these were considered modern, not outdated, and elegant. 

The degradation of Jepara’s decorative carving styles has significantly impacted 
the lives of Jepara’s woodcarving artisans. This impact can be understood from two 
perspectives. First, the degradation has led to a decline in the value and quality of 
Jepara’s carvings, as international consumers now perceive them as outdated and less 
in tune with current trends, making them less suitable for placement in hotels, 
restaurants, cafes, and similar venues. This contrasts with the past when Jepara 
carvings were regarded as unique, antique, and creative. This shift in consumer 
preferences has been influenced by the competitive quality that shapes the tastes of the 
international market. Second, the degradation of Jepara’s decorative carving styles has 
forced the artisans to work harder to sustain their businesses by accepting all orders 
from the international market. Failure to do so would threaten the survival of their 
businesses, leading to their eventual closure. 
 
Acknowledgements 
The author acknowledges Arravi Rizal Firmansyah who has helped in finalizing 
technical submission in this article. 
 
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