This paper analyses the diversity of the shapes and styles of woodcarving artworks in Southeast Asia, specifically in Jepara, Indonesia which is the centre of woodcarving artworks production which is produced by exceptional art skills on beautiful and attractive woods. The artworks are created through a carving process with the use of specific carving equipment that is executed by the talented and skilful engravers who have had developed their talents and skills since their early days. Various models and patterns of calligraphy woodcarving were found in Jepara. That was spread to the entire archipelago were not merely as the woodcarvings for decoration and furniture, but they have been instigated as the Islamic art in the forms of the pulpit, doors, palaces, offices, museums, schools, mosques, houses, and others. They had become the manifestation of artistic and aesthetic works that underlie local customs, traditions, arts, and cultures. The woodcarving has its model, style, symbol, and philosophy that reflect the life of the individuals or society, but the creativity in its making represents the challenges, the opportunities, and the hopes. This study relies on the methodology of collecting data from the field investigation through the theory and practice of woodcarving art in Jepara. The objective of this study is to elevate the creativity of the woodcarving art of the Southeast Asia and to preserve the local cultural heritage. The outcomes of the research will present the analysis of the woodcarving calligraphies from Jepara as the primary producer of various engraving works in Indonesia, and to become a scientific discourse that reveals the richness and the legacy of the Islamic calligraphy art in the Southeast Asia.

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