AAP 47 (1996). 11-29 STYLES OF SWAHILI CARVING ATHMAN H. ATHMAN Introductory Remarks A woodcarver since the age of fifteen, I have been a keen observer of carving patterns and motifs practiced by contemporary Swahili wood carvers In my investigations, I discovered that carvers along the coast of East Africa, do not practice a uniform style of carving, although their heritage was to a great deal influenced by Middle Eastern and Indian patterns. In larnu, for instance, four styles of carving are applied io decoratiog doors and furniture. What I found astonishiog, is that most contemporary Swahili wood carvers seem to be unaware of the differences io styles, especially with regard to their history and desigo features. Apparently, most of the patterns used by the contemporary wood carvers of the three promioent Swahili towos under discussion (Zanzibar, Mombasa, Lamu) are directly copied from doors that were made between 1700-1930 Most of these doors are knowo to have been iotroduced to the East African littoral by groups who settled io the region at different periods. Distioguishiog the different styles of Swahili carving may sometimes prove very difficult, especially to a person who does not possess carviog skills. Swahili carving styles carmot be richer in decorative elements and distioctive io their desigo composition Moreover, these decorative arts can easily be identified because of certaio unchanging features. Swahili carving is very diverse and consists of many different styles with specific functions and forms that have been gradually blended by centuries of ethnic co-existence on the coast Siu [Incised] Bajunl Chip (Geometric] I SWAHILI CARVING j Omani [High relief] Gujerati [High relief & Pierced) Zanzibar [High relief & Pierced J Lamu [Kijumwa] [Low relief High relief and Pierced] Fig l: Different Swahili carving styles Ali Swabu (low relief] Map1 [Engra.vingj