Wood Carving is an integral part of Malay Culture. The art is featured in ordinary dwellings and Palaces. 'The earliest reference to woodcarving is in the Malay Annal (Sejarah Melayu)  which describes features of' the palace of Sultan Mansur Shah of Melaka (1459-1477). Known as "The Palace of Lust and Desire" (Istana Hawa Nafsu), it is described as a palace lavishly decorated and enriched with woodcarvings. During the J5th century, woodcarving as C an art-form gained prominence. The Perak historical document called the, Misa Melayu written by of the royal family, Raja Chulan, mentions the use of woodcarving to decorate the Palace of Sultan Zulkarnain (1756 - 1780).

There are surviving examples of past woodcarvings, though they are all less than 200 years old. These are the Istana Balai Besar (Palace with a Big Hall) of Kelantan, which is approximately 150 years old; Istana Tengku Nik or. Rumah Tele of Terengganu, built during the reign of Sultan Zainal Abidin (1881-1918); Istana Satu, also of Terengganu, which have been relocated to the grounds of the National Museum in Kuala Lumpur; and Istana Raja Besut, which is in the district of Besut, Terengganu. The last timber-built palace is at Sri Menanti in Negeri Sembilan, where construction began in 1920 and was completed in 1928, It. was the official residence of the Yang Dipertuan Besar Tuanku Muhammad.

The development of all traditional arts was made possible by the Patronage of sultans or chieftains. However, craftsmen often did not receive any payment for their services but were given daily food and clothing. They also gained status by working as master craftsmen for a highly respected or powerful individual. For his part, the ruler took pride in his palace or house being beautifully decorated. Such patron- age and privileges disappeared with the coming of the British.

TOOL S AND MATERIALS.
Malay woodcarving involves simple tools, some self-made and others bought from stores. These consist of an assortment of chisels, large and small saws, hammers, and files. In recent times, a motorized chainsaw and a drill called bendso are used. The bendso removes the unwanted part of the panel before the actual carving work is done.

Low relief does not allow air and light to pass through. The common design of this category is the awan larat that is normally represented in the form of spiral leaves and branches. The design is repeated from one end of the panel to the other.

There are five different types of motifs, namely cosmic motif floral motif, faunal motif geometric motif, and calligraphy. Both cosmic and faunal motifs are remnants of the pre-Islamic cultural tradition.

Today, faunal motifs are rarely used in Malay woodcarving, as carving of living creatures is forbidden in Islam. However, this prohibition is not fully adhered to, and we can still see many works of art with such motifs. Among the common faunal motifs is "itik pulang petang" ("clucks returning at dawn") which, by depicting ducks walking in a row, emphasizes social discipline.

The most common motifs are floral motifs and in recent times, calligraphy. Flora always present in the immediate surroundings of the Malays, are useful either as food items or as traditional medicine.
 
A carver usually selects of his natural surroundings certain items (like leaves, flowers, plants, or even insects) that lie is most familiar with and that have it special meaning to him.

PRINCIPLES
The motifs in wood carvings are guided by several principles which reflect the cultural values of the Malays. First, a new emerging branch of a plant must be featured as appearing from behind or below the original branch. This represents a Malay cultural value that the elderly must be given precedence. As the Malay saying goes, "orang tua makan garam lebilh dahulu" ("older people tasted salt earlier than younger ones").
 
Second, when two leaves are portrayed in close contact, the sharp end of one must not touch the other. This is to indicate that in one's life, one must not hate or despise or cause hardship to others.

Living in harmony and having good relations is a virtue, as opposed to conflict and antagonism. This underlines the maxim that all Muslims are brothers. It also conveys the message that "liok tak patah, tajam tak menikam" ("though soft it is not easily, broken, though sharp it does not  pierce"). This literally means that we must be flexible and not practise back-stabbing. 

Third, a design should not be too elaborate. There should not be a mixture of several motifs to form a sophisticated pattern. Such a design is regarded as mabuk (drunk) and mabuk is not permitted in Islam. It is also riot pleasing to the eve.  Fourth, the design should not be stiff. It must express the softness of tile carver. And finally, a small branch should end in a fold. This means that life ill this world is full of mystery and that our life does i tot end in this world.