Wood Carving and Sculpture from the Bolivian Chiquitanía

Wood carving and sculpture from the Chiquitanía in Santa Cruz.The development of the art of wood carving and sculpture takes place in the tropical region of Chiquitanía, in the Department of Santa Cruz. The history of this art can be traced back to the elaboration of ritual masks by the indigenous populations that inhabited the area in pre-Hispanic times. It was in colonial times, with the establishment of the Jesuit Missions, between 1691 and 1760, that this art reached its peak. Upon their arrival, the Jesuits reduced the indigenous population into villages with Christian names: San Francisco, San Rafael, San José, San Juan, Concepción, San Miguel, San Ignacio, San Tiago, Santa Ana, Santo Corazón. Their missionary work consisted of two objectives: 1) to evangelize the indigenous people and 2) to «civilize» them by teaching them various arts and crafts. One of these arts was wood carving and sculpture. Imposing churches were built with a large part of their structure in carved wood in the mestizo baroque style, as well as the respective sacred ornamentation: altarpieces, pulpits, sacristy boxes, chairs, confessionals, reading stands and more, taking advantage of the forest wealth of the region.

After their expulsion in 1767, the churches fell into gradual deterioration, until the ’70s of the 20th century, when the task of restoring these architectural works began. This meant the rebirth of carving and sculpture in the Chiquitanía, with the emergence of skilled masters who no longer worked only with religious-Christian motifs, but who sought to recover the regional identity and history in their works. All this with the support of institutions such as the Center for Participation and Sustainable Development CEPAD and the Spanish Agency for Development Cooperation AECID, which promoted courses and workshops for the training of artisan carvers.

Different types of wood are used for carving: cedar, mara and oak, which are light and easily worked to make paintings and small works. They also use «cuchi» for columns and other woods such as «sirari», «paquió» and «tajibo», which are used for large sculptures. It begins with the selection and preparation (drying) of the wood; the carving itself, which is a manual job that can take a few days or months, depending on the size of the work; the finishing, which consists of sanding and the application of pigments, oils or varnish, which also depends on the taste of the master carver, some prefer the natural colour, others apply dyes to enhance the color of the wood and others apply a polychrome finish; As for the varnish, it is not always used by the carvers, as they say that it covers the porosity of the wood and does not allow it to breathe, affecting its durability over time.

The motifs of carving and sculpture are diverse. They include figures of sacred art: angels, cherubs, saints, etc. There are also figures of a secular nature, emphasized from the 1970s to date: fauna, flora, landscapes and representations of the mythology and culture of the local populations. A variety of utilitarian objects are also made: spoons, napkin rings, skimmers, sugar bowls, coat racks, etc., and baroque furniture.

Elements such as colonial churches, music and the art of wood carving and sculpture were the basis for UNESCO to declare the former Jesuit Missions a World Heritage Site in 1991. Today, the expressions that come from this missionary period are recognized as «living cultures» and constitute one of the pillars of Bolivia’s eastern identity, beyond its Andean region.

The wooden works can be found in workshops and craft centers in the towns of Chiquitanía: San Javier, Santa Rosa, Concepción, San Ignacio de Velasco, San Miguel de Velasco, San Rafael, Santa Ana, San José; also in craft shops in the city of Santa Cruz de la Sierra.

Wood carving and sculpture from the Chiquitanía in Santa Cruz.The development of the art of wood carving and sculpture takes place in the tropical region of Chiquitanía, in the Department of Santa Cruz. The history of this art can be traced back to the elaboration of ritual masks by the indigenous populations that inhabited the area in pre-Hispanic times. It was in colonial times, with the establishment of the Jesuit Missions, between 1691 and 1760, that this art reached its peak. Upon their arrival, the Jesuits reduced the indigenous population into villages with Christian names: San Francisco, San Rafael, San José, San Juan, Concepción, San Miguel, San Ignacio, San Tiago, Santa Ana, Santo Corazón. Their missionary work consisted of two objectives: 1) to evangelize the indigenous people and 2) to «civilize» them by teaching them various arts and crafts. One of these arts was wood carving and sculpture. Imposing churches were built with a large part of their structure in carved wood in the mestizo baroque style, as well as the respective sacred ornamentation: altarpieces, pulpits, sacristy boxes, chairs, confessionals, reading stands and more, taking advantage of the forest wealth of the region.

After their expulsion in 1767, the churches fell into gradual deterioration, until the ’70s of the 20th century, when the task of restoring these architectural works began. This meant the rebirth of carving and sculpture in the Chiquitanía, with the emergence of skilled masters who no longer worked only with religious-Christian motifs, but who sought to recover the regional identity and history in their works. All this with the support of institutions such as the Center for Participation and Sustainable Development CEPAD and the Spanish Agency for Development Cooperation AECID, which promoted courses and workshops for the training of artisan carvers.

Different types of wood are used for carving: cedar, mara and oak, which are light and easily worked to make paintings and small works. They also use «cuchi» for columns and other woods such as «sirari», «paquió» and «tajibo», which are used for large sculptures. It begins with the selection and preparation (drying) of the wood; the carving itself, which is a manual job that can take a few days or months, depending on the size of the work; the finishing, which consists of sanding and the application of pigments, oils or varnish, which also depends on the taste of the master carver, some prefer the natural colour, others apply dyes to enhance the color of the wood and others apply a polychrome finish; As for the varnish, it is not always used by the carvers, as they say that it covers the porosity of the wood and does not allow it to breathe, affecting its durability over time.

The motifs of carving and sculpture are diverse. They include figures of sacred art: angels, cherubs, saints, etc. There are also figures of a secular nature, emphasized from the 1970s to date: fauna, flora, landscapes and representations of the mythology and culture of the local populations. A variety of utilitarian objects are also made: spoons, napkin rings, skimmers, sugar bowls, coat racks, etc., and baroque furniture.

Elements such as colonial churches, music and the art of wood carving and sculpture were the basis for UNESCO to declare the former Jesuit Missions a World Heritage Site in 1991. Today, the expressions that come from this missionary period are recognized as «living cultures» and constitute one of the pillars of Bolivia’s eastern identity, beyond its Andean region.

The wooden works can be found in workshops and craft centers in the towns of Chiquitanía: San Javier, Santa Rosa, Concepción, San Ignacio de Velasco, San Miguel de Velasco, San Rafael, Santa Ana, San José; also in craft shops in the city of Santa Cruz de la Sierra.

Wood carving and sculpture from the Chiquitanía in Santa Cruz.The development of the art of wood carving and sculpture takes place in the tropical region of Chiquitanía, in the Department of Santa Cruz. The history of this art can be traced back to the elaboration of ritual masks by the indigenous populations that inhabited the area in pre-Hispanic times. It was in colonial times, with the establishment of the Jesuit Missions, between 1691 and 1760, that this art reached its peak. Upon their arrival, the Jesuits reduced the indigenous population into villages with Christian names: San Francisco, San Rafael, San José, San Juan, Concepción, San Miguel, San Ignacio, San Tiago, Santa Ana, Santo Corazón. Their missionary work consisted of two objectives: 1) to evangelize the indigenous people and 2) to «civilize» them by teaching them various arts and crafts. One of these arts was wood carving and sculpture. Imposing churches were built with a large part of their structure in carved wood in the mestizo baroque style, as well as the respective sacred ornamentation: altarpieces, pulpits, sacristy boxes, chairs, confessionals, reading stands and more, taking advantage of the forest wealth of the region.

After their expulsion in 1767, the churches fell into gradual deterioration, until the ’70s of the 20th century, when the task of restoring these architectural works began. This meant the rebirth of carving and sculpture in the Chiquitanía, with the emergence of skilled masters who no longer worked only with religious-Christian motifs, but who sought to recover the regional identity and history in their works. All this with the support of institutions such as the Center for Participation and Sustainable Development CEPAD and the Spanish Agency for Development Cooperation AECID, which promoted courses and workshops for the training of artisan carvers.

Different types of wood are used for carving: cedar, mara and oak, which are light and easily worked to make paintings and small works. They also use «cuchi» for columns and other woods such as «sirari», «paquió» and «tajibo», which are used for large sculptures. It begins with the selection and preparation (drying) of the wood; the carving itself, which is a manual job that can take a few days or months, depending on the size of the work; the finishing, which consists of sanding and the application of pigments, oils or varnish, which also depends on the taste of the master carver, some prefer the natural colour, others apply dyes to enhance the color of the wood and others apply a polychrome finish; As for the varnish, it is not always used by the carvers, as they say that it covers the porosity of the wood and does not allow it to breathe, affecting its durability over time.

The motifs of carving and sculpture are diverse. They include figures of sacred art: angels, cherubs, saints, etc. There are also figures of a secular nature, emphasized from the 1970s to date: fauna, flora, landscapes and representations of the mythology and culture of the local populations. A variety of utilitarian objects are also made: spoons, napkin rings, skimmers, sugar bowls, coat racks, etc., and baroque furniture.

Elements such as colonial churches, music and the art of wood carving and sculpture were the basis for UNESCO to declare the former Jesuit Missions a World Heritage Site in 1991. Today, the expressions that come from this missionary period are recognized as «living cultures» and constitute one of the pillars of Bolivia’s eastern identity, beyond its Andean region.

The wooden works can be found in workshops and craft centers in the towns of Chiquitanía: San Javier, Santa Rosa, Concepción, San Ignacio de Velasco, San Miguel de Velasco, San Rafael, Santa Ana, San José; also in craft shops in the city of Santa Cruz de la Sierra.

Wood carving and sculpture from the Chiquitanía in Santa Cruz.The development of the art of wood carving and sculpture takes place in the tropical region of Chiquitanía, in the Department of Santa Cruz. The history of this art can be traced back to the elaboration of ritual masks by the indigenous populations that inhabited the area in pre-Hispanic times. It was in colonial times, with the establishment of the Jesuit Missions, between 1691 and 1760, that this art reached its peak. Upon their arrival, the Jesuits reduced the indigenous population into villages with Christian names: San Francisco, San Rafael, San José, San Juan, Concepción, San Miguel, San Ignacio, San Tiago, Santa Ana, Santo Corazón. Their missionary work consisted of two objectives: 1) to evangelize the indigenous people and 2) to «civilize» them by teaching them various arts and crafts. One of these arts was wood carving and sculpture. Imposing churches were built with a large part of their structure in carved wood in the mestizo baroque style, as well as the respective sacred ornamentation: altarpieces, pulpits, sacristy boxes, chairs, confessionals, reading stands and more, taking advantage of the forest wealth of the region.

After their expulsion in 1767, the churches fell into gradual deterioration, until the ’70s of the 20th century, when the task of restoring these architectural works began. This meant the rebirth of carving and sculpture in the Chiquitanía, with the emergence of skilled masters who no longer worked only with religious-Christian motifs, but who sought to recover the regional identity and history in their works. All this with the support of institutions such as the Center for Participation and Sustainable Development CEPAD and the Spanish Agency for Development Cooperation AECID, which promoted courses and workshops for the training of artisan carvers.

Different types of wood are used for carving: cedar, mara and oak, which are light and easily worked to make paintings and small works. They also use «cuchi» for columns and other woods such as «sirari», «paquió» and «tajibo», which are used for large sculptures. It begins with the selection and preparation (drying) of the wood; the carving itself, which is a manual job that can take a few days or months, depending on the size of the work; the finishing, which consists of sanding and the application of pigments, oils or varnish, which also depends on the taste of the master carver, some prefer the natural colour, others apply dyes to enhance the color of the wood and others apply a polychrome finish; As for the varnish, it is not always used by the carvers, as they say that it covers the porosity of the wood and does not allow it to breathe, affecting its durability over time.

The motifs of carving and sculpture are diverse. They include figures of sacred art: angels, cherubs, saints, etc. There are also figures of a secular nature, emphasized from the 1970s to date: fauna, flora, landscapes and representations of the mythology and culture of the local populations. A variety of utilitarian objects are also made: spoons, napkin rings, skimmers, sugar bowls, coat racks, etc., and baroque furniture.

Elements such as colonial churches, music and the art of wood carving and sculpture were the basis for UNESCO to declare the former Jesuit Missions a World Heritage Site in 1991. Today, the expressions that come from this missionary period are recognized as «living cultures» and constitute one of the pillars of Bolivia’s eastern identity, beyond its Andean region.

The wooden works can be found in workshops and craft centers in the towns of Chiquitanía: San Javier, Santa Rosa, Concepción, San Ignacio de Velasco, San Miguel de Velasco, San Rafael, Santa Ana, San José; also in craft shops in the city of Santa Cruz de la Sierra.

Wood carving and sculpture from the Chiquitanía in Santa Cruz.The development of the art of wood carving and sculpture takes place in the tropical region of Chiquitanía, in the Department of Santa Cruz. The history of this art can be traced back to the elaboration of ritual masks by the indigenous populations that inhabited the area in pre-Hispanic times. It was in colonial times, with the establishment of the Jesuit Missions, between 1691 and 1760, that this art reached its peak. Upon their arrival, the Jesuits reduced the indigenous population into villages with Christian names: San Francisco, San Rafael, San José, San Juan, Concepción, San Miguel, San Ignacio, San Tiago, Santa Ana, Santo Corazón. Their missionary work consisted of two objectives: 1) to evangelize the indigenous people and 2) to «civilize» them by teaching them various arts and crafts. One of these arts was wood carving and sculpture. Imposing churches were built with a large part of their structure in carved wood in the mestizo baroque style, as well as the respective sacred ornamentation: altarpieces, pulpits, sacristy boxes, chairs, confessionals, reading stands and more, taking advantage of the forest wealth of the region.

After their expulsion in 1767, the churches fell into gradual deterioration, until the ’70s of the 20th century, when the task of restoring these architectural works began. This meant the rebirth of carving and sculpture in the Chiquitanía, with the emergence of skilled masters who no longer worked only with religious-Christian motifs, but who sought to recover the regional identity and history in their works. All this with the support of institutions such as the Center for Participation and Sustainable Development CEPAD and the Spanish Agency for Development Cooperation AECID, which promoted courses and workshops for the training of artisan carvers.

Different types of wood are used for carving: cedar, mara and oak, which are light and easily worked to make paintings and small works. They also use «cuchi» for columns and other woods such as «sirari», «paquió» and «tajibo», which are used for large sculptures. It begins with the selection and preparation (drying) of the wood; the carving itself, which is a manual job that can take a few days or months, depending on the size of the work; the finishing, which consists of sanding and the application of pigments, oils or varnish, which also depends on the taste of the master carver, some prefer the natural colour, others apply dyes to enhance the color of the wood and others apply a polychrome finish; As for the varnish, it is not always used by the carvers, as they say that it covers the porosity of the wood and does not allow it to breathe, affecting its durability over time.

The motifs of carving and sculpture are diverse. They include figures of sacred art: angels, cherubs, saints, etc. There are also figures of a secular nature, emphasized from the 1970s to date: fauna, flora, landscapes and representations of the mythology and culture of the local populations. A variety of utilitarian objects are also made: spoons, napkin rings, skimmers, sugar bowls, coat racks, etc., and baroque furniture.

Elements such as colonial churches, music and the art of wood carving and sculpture were the basis for UNESCO to declare the former Jesuit Missions a World Heritage Site in 1991. Today, the expressions that come from this missionary period are recognized as «living cultures» and constitute one of the pillars of Bolivia’s eastern identity, beyond its Andean region.

The wooden works can be found in workshops and craft centers in the towns of Chiquitanía: San Javier, Santa Rosa, Concepción, San Ignacio de Velasco, San Miguel de Velasco, San Rafael, Santa Ana, San José; also in craft shops in the city of Santa Cruz de la Sierra.

Wood carving and sculpture from the Chiquitanía in Santa Cruz.The development of the art of wood carving and sculpture takes place in the tropical region of Chiquitanía, in the Department of Santa Cruz. The history of this art can be traced back to the elaboration of ritual masks by the indigenous populations that inhabited the area in pre-Hispanic times. It was in colonial times, with the establishment of the Jesuit Missions, between 1691 and 1760, that this art reached its peak. Upon their arrival, the Jesuits reduced the indigenous population into villages with Christian names: San Francisco, San Rafael, San José, San Juan, Concepción, San Miguel, San Ignacio, San Tiago, Santa Ana, Santo Corazón. Their missionary work consisted of two objectives: 1) to evangelize the indigenous people and 2) to «civilize» them by teaching them various arts and crafts. One of these arts was wood carving and sculpture. Imposing churches were built with a large part of their structure in carved wood in the mestizo baroque style, as well as the respective sacred ornamentation: altarpieces, pulpits, sacristy boxes, chairs, confessionals, reading stands and more, taking advantage of the forest wealth of the region.

After their expulsion in 1767, the churches fell into gradual deterioration, until the ’70s of the 20th century, when the task of restoring these architectural works began. This meant the rebirth of carving and sculpture in the Chiquitanía, with the emergence of skilled masters who no longer worked only with religious-Christian motifs, but who sought to recover the regional identity and history in their works. All this with the support of institutions such as the Center for Participation and Sustainable Development CEPAD and the Spanish Agency for Development Cooperation AECID, which promoted courses and workshops for the training of artisan carvers.

Different types of wood are used for carving: cedar, mara and oak, which are light and easily worked to make paintings and small works. They also use «cuchi» for columns and other woods such as «sirari», «paquió» and «tajibo», which are used for large sculptures. It begins with the selection and preparation (drying) of the wood; the carving itself, which is a manual job that can take a few days or months, depending on the size of the work; the finishing, which consists of sanding and the application of pigments, oils or varnish, which also depends on the taste of the master carver, some prefer the natural colour, others apply dyes to enhance the color of the wood and others apply a polychrome finish; As for the varnish, it is not always used by the carvers, as they say that it covers the porosity of the wood and does not allow it to breathe, affecting its durability over time.

The motifs of carving and sculpture are diverse. They include figures of sacred art: angels, cherubs, saints, etc. There are also figures of a secular nature, emphasized from the 1970s to date: fauna, flora, landscapes and representations of the mythology and culture of the local populations. A variety of utilitarian objects are also made: spoons, napkin rings, skimmers, sugar bowls, coat racks, etc., and baroque furniture.

Elements such as colonial churches, music and the art of wood carving and sculpture were the basis for UNESCO to declare the former Jesuit Missions a World Heritage Site in 1991. Today, the expressions that come from this missionary period are recognized as «living cultures» and constitute one of the pillars of Bolivia’s eastern identity, beyond its Andean region.

The wooden works can be found in workshops and craft centers in the towns of Chiquitanía: San Javier, Santa Rosa, Concepción, San Ignacio de Velasco, San Miguel de Velasco, San Rafael, Santa Ana, San José; also in craft shops in the city of Santa Cruz de la Sierra.

Wood carving and sculpture from the Chiquitanía in Santa Cruz.The development of the art of wood carving and sculpture takes place in the tropical region of Chiquitanía, in the Department of Santa Cruz. The history of this art can be traced back to the elaboration of ritual masks by the indigenous populations that inhabited the area in pre-Hispanic times. It was in colonial times, with the establishment of the Jesuit Missions, between 1691 and 1760, that this art reached its peak. Upon their arrival, the Jesuits reduced the indigenous population into villages with Christian names: San Francisco, San Rafael, San José, San Juan, Concepción, San Miguel, San Ignacio, San Tiago, Santa Ana, Santo Corazón. Their missionary work consisted of two objectives: 1) to evangelize the indigenous people and 2) to «civilize» them by teaching them various arts and crafts. One of these arts was wood carving and sculpture. Imposing churches were built with a large part of their structure in carved wood in the mestizo baroque style, as well as the respective sacred ornamentation: altarpieces, pulpits, sacristy boxes, chairs, confessionals, reading stands and more, taking advantage of the forest wealth of the region.

After their expulsion in 1767, the churches fell into gradual deterioration, until the ’70s of the 20th century, when the task of restoring these architectural works began. This meant the rebirth of carving and sculpture in the Chiquitanía, with the emergence of skilled masters who no longer worked only with religious-Christian motifs, but who sought to recover the regional identity and history in their works. All this with the support of institutions such as the Center for Participation and Sustainable Development CEPAD and the Spanish Agency for Development Cooperation AECID, which promoted courses and workshops for the training of artisan carvers.

Different types of wood are used for carving: cedar, mara and oak, which are light and easily worked to make paintings and small works. They also use «cuchi» for columns and other woods such as «sirari», «paquió» and «tajibo», which are used for large sculptures. It begins with the selection and preparation (drying) of the wood; the carving itself, which is a manual job that can take a few days or months, depending on the size of the work; the finishing, which consists of sanding and the application of pigments, oils or varnish, which also depends on the taste of the master carver, some prefer the natural colour, others apply dyes to enhance the color of the wood and others apply a polychrome finish; As for the varnish, it is not always used by the carvers, as they say that it covers the porosity of the wood and does not allow it to breathe, affecting its durability over time.

The motifs of carving and sculpture are diverse. They include figures of sacred art: angels, cherubs, saints, etc. There are also figures of a secular nature, emphasized from the 1970s to date: fauna, flora, landscapes and representations of the mythology and culture of the local populations. A variety of utilitarian objects are also made: spoons, napkin rings, skimmers, sugar bowls, coat racks, etc., and baroque furniture.

Elements such as colonial churches, music and the art of wood carving and sculpture were the basis for UNESCO to declare the former Jesuit Missions a World Heritage Site in 1991. Today, the expressions that come from this missionary period are recognized as «living cultures» and constitute one of the pillars of Bolivia’s eastern identity, beyond its Andean region.

The wooden works can be found in workshops and craft centers in the towns of Chiquitanía: San Javier, Santa Rosa, Concepción, San Ignacio de Velasco, San Miguel de Velasco, San Rafael, Santa Ana, San José; also in craft shops in the city of Santa Cruz de la Sierra.

Wood carving and sculpture from the Chiquitanía in Santa Cruz.The development of the art of wood carving and sculpture takes place in the tropical region of Chiquitanía, in the Department of Santa Cruz. The history of this art can be traced back to the elaboration of ritual masks by the indigenous populations that inhabited the area in pre-Hispanic times. It was in colonial times, with the establishment of the Jesuit Missions, between 1691 and 1760, that this art reached its peak. Upon their arrival, the Jesuits reduced the indigenous population into villages with Christian names: San Francisco, San Rafael, San José, San Juan, Concepción, San Miguel, San Ignacio, San Tiago, Santa Ana, Santo Corazón. Their missionary work consisted of two objectives: 1) to evangelize the indigenous people and 2) to «civilize» them by teaching them various arts and crafts. One of these arts was wood carving and sculpture. Imposing churches were built with a large part of their structure in carved wood in the mestizo baroque style, as well as the respective sacred ornamentation: altarpieces, pulpits, sacristy boxes, chairs, confessionals, reading stands and more, taking advantage of the forest wealth of the region.

After their expulsion in 1767, the churches fell into gradual deterioration, until the ’70s of the 20th century, when the task of restoring these architectural works began. This meant the rebirth of carving and sculpture in the Chiquitanía, with the emergence of skilled masters who no longer worked only with religious-Christian motifs, but who sought to recover the regional identity and history in their works. All this with the support of institutions such as the Center for Participation and Sustainable Development CEPAD and the Spanish Agency for Development Cooperation AECID, which promoted courses and workshops for the training of artisan carvers.

Different types of wood are used for carving: cedar, mara and oak, which are light and easily worked to make paintings and small works. They also use «cuchi» for columns and other woods such as «sirari», «paquió» and «tajibo», which are used for large sculptures. It begins with the selection and preparation (drying) of the wood; the carving itself, which is a manual job that can take a few days or months, depending on the size of the work; the finishing, which consists of sanding and the application of pigments, oils or varnish, which also depends on the taste of the master carver, some prefer the natural colour, others apply dyes to enhance the color of the wood and others apply a polychrome finish; As for the varnish, it is not always used by the carvers, as they say that it covers the porosity of the wood and does not allow it to breathe, affecting its durability over time.

The motifs of carving and sculpture are diverse. They include figures of sacred art: angels, cherubs, saints, etc. There are also figures of a secular nature, emphasized from the 1970s to date: fauna, flora, landscapes and representations of the mythology and culture of the local populations. A variety of utilitarian objects are also made: spoons, napkin rings, skimmers, sugar bowls, coat racks, etc., and baroque furniture.

Elements such as colonial churches, music and the art of wood carving and sculpture were the basis for UNESCO to declare the former Jesuit Missions a World Heritage Site in 1991. Today, the expressions that come from this missionary period are recognized as «living cultures» and constitute one of the pillars of Bolivia’s eastern identity, beyond its Andean region.

The wooden works can be found in workshops and craft centers in the towns of Chiquitanía: San Javier, Santa Rosa, Concepción, San Ignacio de Velasco, San Miguel de Velasco, San Rafael, Santa Ana, San José; also in craft shops in the city of Santa Cruz de la Sierra.

Wood carving and sculpture from the Chiquitanía in Santa Cruz.The development of the art of wood carving and sculpture takes place in the tropical region of Chiquitanía, in the Department of Santa Cruz. The history of this art can be traced back to the elaboration of ritual masks by the indigenous populations that inhabited the area in pre-Hispanic times. It was in colonial times, with the establishment of the Jesuit Missions, between 1691 and 1760, that this art reached its peak. Upon their arrival, the Jesuits reduced the indigenous population into villages with Christian names: San Francisco, San Rafael, San José, San Juan, Concepción, San Miguel, San Ignacio, San Tiago, Santa Ana, Santo Corazón. Their missionary work consisted of two objectives: 1) to evangelize the indigenous people and 2) to «civilize» them by teaching them various arts and crafts. One of these arts was wood carving and sculpture. Imposing churches were built with a large part of their structure in carved wood in the mestizo baroque style, as well as the respective sacred ornamentation: altarpieces, pulpits, sacristy boxes, chairs, confessionals, reading stands and more, taking advantage of the forest wealth of the region.

After their expulsion in 1767, the churches fell into gradual deterioration, until the ’70s of the 20th century, when the task of restoring these architectural works began. This meant the rebirth of carving and sculpture in the Chiquitanía, with the emergence of skilled masters who no longer worked only with religious-Christian motifs, but who sought to recover the regional identity and history in their works. All this with the support of institutions such as the Center for Participation and Sustainable Development CEPAD and the Spanish Agency for Development Cooperation AECID, which promoted courses and workshops for the training of artisan carvers.

Different types of wood are used for carving: cedar, mara and oak, which are light and easily worked to make paintings and small works. They also use «cuchi» for columns and other woods such as «sirari», «paquió» and «tajibo», which are used for large sculptures. It begins with the selection and preparation (drying) of the wood; the carving itself, which is a manual job that can take a few days or months, depending on the size of the work; the finishing, which consists of sanding and the application of pigments, oils or varnish, which also depends on the taste of the master carver, some prefer the natural colour, others apply dyes to enhance the color of the wood and others apply a polychrome finish; As for the varnish, it is not always used by the carvers, as they say that it covers the porosity of the wood and does not allow it to breathe, affecting its durability over time.

The motifs of carving and sculpture are diverse. They include figures of sacred art: angels, cherubs, saints, etc. There are also figures of a secular nature, emphasized from the 1970s to date: fauna, flora, landscapes and representations of the mythology and culture of the local populations. A variety of utilitarian objects are also made: spoons, napkin rings, skimmers, sugar bowls, coat racks, etc., and baroque furniture.

Elements such as colonial churches, music and the art of wood carving and sculpture were the basis for UNESCO to declare the former Jesuit Missions a World Heritage Site in 1991. Today, the expressions that come from this missionary period are recognized as «living cultures» and constitute one of the pillars of Bolivia’s eastern identity, beyond its Andean region.

The wooden works can be found in workshops and craft centers in the towns of Chiquitanía: San Javier, Santa Rosa, Concepción, San Ignacio de Velasco, San Miguel de Velasco, San Rafael, Santa Ana, San José; also in craft shops in the city of Santa Cruz de la Sierra.

Wood carving and sculpture from the Chiquitanía in Santa Cruz.The development of the art of wood carving and sculpture takes place in the tropical region of Chiquitanía, in the Department of Santa Cruz. The history of this art can be traced back to the elaboration of ritual masks by the indigenous populations that inhabited the area in pre-Hispanic times. It was in colonial times, with the establishment of the Jesuit Missions, between 1691 and 1760, that this art reached its peak. Upon their arrival, the Jesuits reduced the indigenous population into villages with Christian names: San Francisco, San Rafael, San José, San Juan, Concepción, San Miguel, San Ignacio, San Tiago, Santa Ana, Santo Corazón. Their missionary work consisted of two objectives: 1) to evangelize the indigenous people and 2) to «civilize» them by teaching them various arts and crafts. One of these arts was wood carving and sculpture. Imposing churches were built with a large part of their structure in carved wood in the mestizo baroque style, as well as the respective sacred ornamentation: altarpieces, pulpits, sacristy boxes, chairs, confessionals, reading stands and more, taking advantage of the forest wealth of the region.

After their expulsion in 1767, the churches fell into gradual deterioration, until the ’70s of the 20th century, when the task of restoring these architectural works began. This meant the rebirth of carving and sculpture in the Chiquitanía, with the emergence of skilled masters who no longer worked only with religious-Christian motifs, but who sought to recover the regional identity and history in their works. All this with the support of institutions such as the Center for Participation and Sustainable Development CEPAD and the Spanish Agency for Development Cooperation AECID, which promoted courses and workshops for the training of artisan carvers.

Different types of wood are used for carving: cedar, mara and oak, which are light and easily worked to make paintings and small works. They also use «cuchi» for columns and other woods such as «sirari», «paquió» and «tajibo», which are used for large sculptures. It begins with the selection and preparation (drying) of the wood; the carving itself, which is a manual job that can take a few days or months, depending on the size of the work; the finishing, which consists of sanding and the application of pigments, oils or varnish, which also depends on the taste of the master carver, some prefer the natural colour, others apply dyes to enhance the color of the wood and others apply a polychrome finish; As for the varnish, it is not always used by the carvers, as they say that it covers the porosity of the wood and does not allow it to breathe, affecting its durability over time.

The motifs of carving and sculpture are diverse. They include figures of sacred art: angels, cherubs, saints, etc. There are also figures of a secular nature, emphasized from the 1970s to date: fauna, flora, landscapes and representations of the mythology and culture of the local populations. A variety of utilitarian objects are also made: spoons, napkin rings, skimmers, sugar bowls, coat racks, etc., and baroque furniture.

Elements such as colonial churches, music and the art of wood carving and sculpture were the basis for UNESCO to declare the former Jesuit Missions a World Heritage Site in 1991. Today, the expressions that come from this missionary period are recognized as «living cultures» and constitute one of the pillars of Bolivia’s eastern identity, beyond its Andean region.

The wooden works can be found in workshops and craft centers in the towns of Chiquitanía: San Javier, Santa Rosa, Concepción, San Ignacio de Velasco, San Miguel de Velasco, San Rafael, Santa Ana, San José; also in craft shops in the city of Santa Cruz de la Sierra.

Wood carving and sculpture from the Chiquitanía in Santa Cruz.The development of the art of wood carving and sculpture takes place in the tropical region of Chiquitanía, in the Department of Santa Cruz. The history of this art can be traced back to the elaboration of ritual masks by the indigenous populations that inhabited the area in pre-Hispanic times. It was in colonial times, with the establishment of the Jesuit Missions, between 1691 and 1760, that this art reached its peak. Upon their arrival, the Jesuits reduced the indigenous population into villages with Christian names: San Francisco, San Rafael, San José, San Juan, Concepción, San Miguel, San Ignacio, San Tiago, Santa Ana, Santo Corazón. Their missionary work consisted of two objectives: 1) to evangelize the indigenous people and 2) to «civilize» them by teaching them various arts and crafts. One of these arts was wood carving and sculpture. Imposing churches were built with a large part of their structure in carved wood in the mestizo baroque style, as well as the respective sacred ornamentation: altarpieces, pulpits, sacristy boxes, chairs, confessionals, reading stands and more, taking advantage of the forest wealth of the region.

After their expulsion in 1767, the churches fell into gradual deterioration, until the ’70s of the 20th century, when the task of restoring these architectural works began. This meant the rebirth of carving and sculpture in the Chiquitanía, with the emergence of skilled masters who no longer worked only with religious-Christian motifs, but who sought to recover the regional identity and history in their works. All this with the support of institutions such as the Center for Participation and Sustainable Development CEPAD and the Spanish Agency for Development Cooperation AECID, which promoted courses and workshops for the training of artisan carvers.

Different types of wood are used for carving: cedar, mara and oak, which are light and easily worked to make paintings and small works. They also use «cuchi» for columns and other woods such as «sirari», «paquió» and «tajibo», which are used for large sculptures. It begins with the selection and preparation (drying) of the wood; the carving itself, which is a manual job that can take a few days or months, depending on the size of the work; the finishing, which consists of sanding and the application of pigments, oils or varnish, which also depends on the taste of the master carver, some prefer the natural colour, others apply dyes to enhance the color of the wood and others apply a polychrome finish; As for the varnish, it is not always used by the carvers, as they say that it covers the porosity of the wood and does not allow it to breathe, affecting its durability over time.

The motifs of carving and sculpture are diverse. They include figures of sacred art: angels, cherubs, saints, etc. There are also figures of a secular nature, emphasized from the 1970s to date: fauna, flora, landscapes and representations of the mythology and culture of the local populations. A variety of utilitarian objects are also made: spoons, napkin rings, skimmers, sugar bowls, coat racks, etc., and baroque furniture.

Elements such as colonial churches, music and the art of wood carving and sculpture were the basis for UNESCO to declare the former Jesuit Missions a World Heritage Site in 1991. Today, the expressions that come from this missionary period are recognized as «living cultures» and constitute one of the pillars of Bolivia’s eastern identity, beyond its Andean region.

The wooden works can be found in workshops and craft centers in the towns of Chiquitanía: San Javier, Santa Rosa, Concepción, San Ignacio de Velasco, San Miguel de Velasco, San Rafael, Santa Ana, San José; also in craft shops in the city of Santa Cruz de la Sierra.

Wood carving and sculpture from the Chiquitanía in Santa Cruz.The development of the art of wood carving and sculpture takes place in the tropical region of Chiquitanía, in the Department of Santa Cruz. The history of this art can be traced back to the elaboration of ritual masks by the indigenous populations that inhabited the area in pre-Hispanic times. It was in colonial times, with the establishment of the Jesuit Missions, between 1691 and 1760, that this art reached its peak. Upon their arrival, the Jesuits reduced the indigenous population into villages with Christian names: San Francisco, San Rafael, San José, San Juan, Concepción, San Miguel, San Ignacio, San Tiago, Santa Ana, Santo Corazón. Their missionary work consisted of two objectives: 1) to evangelize the indigenous people and 2) to «civilize» them by teaching them various arts and crafts. One of these arts was wood carving and sculpture. Imposing churches were built with a large part of their structure in carved wood in the mestizo baroque style, as well as the respective sacred ornamentation: altarpieces, pulpits, sacristy boxes, chairs, confessionals, reading stands and more, taking advantage of the forest wealth of the region.

After their expulsion in 1767, the churches fell into gradual deterioration, until the ’70s of the 20th century, when the task of restoring these architectural works began. This meant the rebirth of carving and sculpture in the Chiquitanía, with the emergence of skilled masters who no longer worked only with religious-Christian motifs, but who sought to recover the regional identity and history in their works. All this with the support of institutions such as the Center for Participation and Sustainable Development CEPAD and the Spanish Agency for Development Cooperation AECID, which promoted courses and workshops for the training of artisan carvers.

Different types of wood are used for carving: cedar, mara and oak, which are light and easily worked to make paintings and small works. They also use «cuchi» for columns and other woods such as «sirari», «paquió» and «tajibo», which are used for large sculptures. It begins with the selection and preparation (drying) of the wood; the carving itself, which is a manual job that can take a few days or months, depending on the size of the work; the finishing, which consists of sanding and the application of pigments, oils or varnish, which also depends on the taste of the master carver, some prefer the natural colour, others apply dyes to enhance the color of the wood and others apply a polychrome finish; As for the varnish, it is not always used by the carvers, as they say that it covers the porosity of the wood and does not allow it to breathe, affecting its durability over time.

The motifs of carving and sculpture are diverse. They include figures of sacred art: angels, cherubs, saints, etc. There are also figures of a secular nature, emphasized from the 1970s to date: fauna, flora, landscapes and representations of the mythology and culture of the local populations. A variety of utilitarian objects are also made: spoons, napkin rings, skimmers, sugar bowls, coat racks, etc., and baroque furniture.

Elements such as colonial churches, music and the art of wood carving and sculpture were the basis for UNESCO to declare the former Jesuit Missions a World Heritage Site in 1991. Today, the expressions that come from this missionary period are recognized as «living cultures» and constitute one of the pillars of Bolivia’s eastern identity, beyond its Andean region.

The wooden works can be found in workshops and craft centers in the towns of Chiquitanía: San Javier, Santa Rosa, Concepción, San Ignacio de Velasco, San Miguel de Velasco, San Rafael, Santa Ana, San José; also in craft shops in the city of Santa Cruz de la Sierra.

Wood carving and sculpture from the Chiquitanía in Santa Cruz.The development of the art of wood carving and sculpture takes place in the tropical region of Chiquitanía, in the Department of Santa Cruz. The history of this art can be traced back to the elaboration of ritual masks by the indigenous populations that inhabited the area in pre-Hispanic times. It was in colonial times, with the establishment of the Jesuit Missions, between 1691 and 1760, that this art reached its peak. Upon their arrival, the Jesuits reduced the indigenous population into villages with Christian names: San Francisco, San Rafael, San José, San Juan, Concepción, San Miguel, San Ignacio, San Tiago, Santa Ana, Santo Corazón. Their missionary work consisted of two objectives: 1) to evangelize the indigenous people and 2) to «civilize» them by teaching them various arts and crafts. One of these arts was wood carving and sculpture. Imposing churches were built with a large part of their structure in carved wood in the mestizo baroque style, as well as the respective sacred ornamentation: altarpieces, pulpits, sacristy boxes, chairs, confessionals, reading stands and more, taking advantage of the forest wealth of the region.

After their expulsion in 1767, the churches fell into gradual deterioration, until the ’70s of the 20th century, when the task of restoring these architectural works began. This meant the rebirth of carving and sculpture in the Chiquitanía, with the emergence of skilled masters who no longer worked only with religious-Christian motifs, but who sought to recover the regional identity and history in their works. All this with the support of institutions such as the Center for Participation and Sustainable Development CEPAD and the Spanish Agency for Development Cooperation AECID, which promoted courses and workshops for the training of artisan carvers.

Different types of wood are used for carving: cedar, mara and oak, which are light and easily worked to make paintings and small works. They also use «cuchi» for columns and other woods such as «sirari», «paquió» and «tajibo», which are used for large sculptures. It begins with the selection and preparation (drying) of the wood; the carving itself, which is a manual job that can take a few days or months, depending on the size of the work; the finishing, which consists of sanding and the application of pigments, oils or varnish, which also depends on the taste of the master carver, some prefer the natural colour, others apply dyes to enhance the color of the wood and others apply a polychrome finish; As for the varnish, it is not always used by the carvers, as they say that it covers the porosity of the wood and does not allow it to breathe, affecting its durability over time.

The motifs of carving and sculpture are diverse. They include figures of sacred art: angels, cherubs, saints, etc. There are also figures of a secular nature, emphasized from the 1970s to date: fauna, flora, landscapes and representations of the mythology and culture of the local populations. A variety of utilitarian objects are also made: spoons, napkin rings, skimmers, sugar bowls, coat racks, etc., and baroque furniture.

Elements such as colonial churches, music and the art of wood carving and sculpture were the basis for UNESCO to declare the former Jesuit Missions a World Heritage Site in 1991. Today, the expressions that come from this missionary period are recognized as «living cultures» and constitute one of the pillars of Bolivia’s eastern identity, beyond its Andean region.

The wooden works can be found in workshops and craft centers in the towns of Chiquitanía: San Javier, Santa Rosa, Concepción, San Ignacio de Velasco, San Miguel de Velasco, San Rafael, Santa Ana, San José; also in craft shops in the city of Santa Cruz de la Sierra.

Wood carving and sculpture from the Chiquitanía in Santa Cruz.The development of the art of wood carving and sculpture takes place in the tropical region of Chiquitanía, in the Department of Santa Cruz. The history of this art can be traced back to the elaboration of ritual masks by the indigenous populations that inhabited the area in pre-Hispanic times. It was in colonial times, with the establishment of the Jesuit Missions, between 1691 and 1760, that this art reached its peak. Upon their arrival, the Jesuits reduced the indigenous population into villages with Christian names: San Francisco, San Rafael, San José, San Juan, Concepción, San Miguel, San Ignacio, San Tiago, Santa Ana, Santo Corazón. Their missionary work consisted of two objectives: 1) to evangelize the indigenous people and 2) to «civilize» them by teaching them various arts and crafts. One of these arts was wood carving and sculpture. Imposing churches were built with a large part of their structure in carved wood in the mestizo baroque style, as well as the respective sacred ornamentation: altarpieces, pulpits, sacristy boxes, chairs, confessionals, reading stands and more, taking advantage of the forest wealth of the region.

After their expulsion in 1767, the churches fell into gradual deterioration, until the ’70s of the 20th century, when the task of restoring these architectural works began. This meant the rebirth of carving and sculpture in the Chiquitanía, with the emergence of skilled masters who no longer worked only with religious-Christian motifs, but who sought to recover the regional identity and history in their works. All this with the support of institutions such as the Center for Participation and Sustainable Development CEPAD and the Spanish Agency for Development Cooperation AECID, which promoted courses and workshops for the training of artisan carvers.

Different types of wood are used for carving: cedar, mara and oak, which are light and easily worked to make paintings and small works. They also use «cuchi» for columns and other woods such as «sirari», «paquió» and «tajibo», which are used for large sculptures. It begins with the selection and preparation (drying) of the wood; the carving itself, which is a manual job that can take a few days or months, depending on the size of the work; the finishing, which consists of sanding and the application of pigments, oils or varnish, which also depends on the taste of the master carver, some prefer the natural colour, others apply dyes to enhance the color of the wood and others apply a polychrome finish; As for the varnish, it is not always used by the carvers, as they say that it covers the porosity of the wood and does not allow it to breathe, affecting its durability over time.

The motifs of carving and sculpture are diverse. They include figures of sacred art: angels, cherubs, saints, etc. There are also figures of a secular nature, emphasized from the 1970s to date: fauna, flora, landscapes and representations of the mythology and culture of the local populations. A variety of utilitarian objects are also made: spoons, napkin rings, skimmers, sugar bowls, coat racks, etc., and baroque furniture.

Elements such as colonial churches, music and the art of wood carving and sculpture were the basis for UNESCO to declare the former Jesuit Missions a World Heritage Site in 1991. Today, the expressions that come from this missionary period are recognized as «living cultures» and constitute one of the pillars of Bolivia’s eastern identity, beyond its Andean region.

The wooden works can be found in workshops and craft centers in the towns of Chiquitanía: San Javier, Santa Rosa, Concepción, San Ignacio de Velasco, San Miguel de Velasco, San Rafael, Santa Ana, San José; also in craft shops in the city of Santa Cruz de la Sierra.

Wood carving and sculpture from the Chiquitanía in Santa Cruz.The development of the art of wood carving and sculpture takes place in the tropical region of Chiquitanía, in the Department of Santa Cruz. The history of this art can be traced back to the elaboration of ritual masks by the indigenous populations that inhabited the area in pre-Hispanic times. It was in colonial times, with the establishment of the Jesuit Missions, between 1691 and 1760, that this art reached its peak. Upon their arrival, the Jesuits reduced the indigenous population into villages with Christian names: San Francisco, San Rafael, San José, San Juan, Concepción, San Miguel, San Ignacio, San Tiago, Santa Ana, Santo Corazón. Their missionary work consisted of two objectives: 1) to evangelize the indigenous people and 2) to «civilize» them by teaching them various arts and crafts. One of these arts was wood carving and sculpture. Imposing churches were built with a large part of their structure in carved wood in the mestizo baroque style, as well as the respective sacred ornamentation: altarpieces, pulpits, sacristy boxes, chairs, confessionals, reading stands and more, taking advantage of the forest wealth of the region.

After their expulsion in 1767, the churches fell into gradual deterioration, until the ’70s of the 20th century, when the task of restoring these architectural works began. This meant the rebirth of carving and sculpture in the Chiquitanía, with the emergence of skilled masters who no longer worked only with religious-Christian motifs, but who sought to recover the regional identity and history in their works. All this with the support of institutions such as the Center for Participation and Sustainable Development CEPAD and the Spanish Agency for Development Cooperation AECID, which promoted courses and workshops for the training of artisan carvers.

Different types of wood are used for carving: cedar, mara and oak, which are light and easily worked to make paintings and small works. They also use «cuchi» for columns and other woods such as «sirari», «paquió» and «tajibo», which are used for large sculptures. It begins with the selection and preparation (drying) of the wood; the carving itself, which is a manual job that can take a few days or months, depending on the size of the work; the finishing, which consists of sanding and the application of pigments, oils or varnish, which also depends on the taste of the master carver, some prefer the natural colour, others apply dyes to enhance the color of the wood and others apply a polychrome finish; As for the varnish, it is not always used by the carvers, as they say that it covers the porosity of the wood and does not allow it to breathe, affecting its durability over time.

The motifs of carving and sculpture are diverse. They include figures of sacred art: angels, cherubs, saints, etc. There are also figures of a secular nature, emphasized from the 1970s to date: fauna, flora, landscapes and representations of the mythology and culture of the local populations. A variety of utilitarian objects are also made: spoons, napkin rings, skimmers, sugar bowls, coat racks, etc., and baroque furniture.

Elements such as colonial churches, music and the art of wood carving and sculpture were the basis for UNESCO to declare the former Jesuit Missions a World Heritage Site in 1991. Today, the expressions that come from this missionary period are recognized as «living cultures» and constitute one of the pillars of Bolivia’s eastern identity, beyond its Andean region.

The wooden works can be found in workshops and craft centers in the towns of Chiquitanía: San Javier, Santa Rosa, Concepción, San Ignacio de Velasco, San Miguel de Velasco, San Rafael, Santa Ana, San José; also in craft shops in the city of Santa Cruz de la Sierra.

Wood carving and sculpture from the Chiquitanía in Santa Cruz.The development of the art of wood carving and sculpture takes place in the tropical region of Chiquitanía, in the Department of Santa Cruz. The history of this art can be traced back to the elaboration of ritual masks by the indigenous populations that inhabited the area in pre-Hispanic times. It was in colonial times, with the establishment of the Jesuit Missions, between 1691 and 1760, that this art reached its peak. Upon their arrival, the Jesuits reduced the indigenous population into villages with Christian names: San Francisco, San Rafael, San José, San Juan, Concepción, San Miguel, San Ignacio, San Tiago, Santa Ana, Santo Corazón. Their missionary work consisted of two objectives: 1) to evangelize the indigenous people and 2) to «civilize» them by teaching them various arts and crafts. One of these arts was wood carving and sculpture. Imposing churches were built with a large part of their structure in carved wood in the mestizo baroque style, as well as the respective sacred ornamentation: altarpieces, pulpits, sacristy boxes, chairs, confessionals, reading stands and more, taking advantage of the forest wealth of the region.

After their expulsion in 1767, the churches fell into gradual deterioration, until the ’70s of the 20th century, when the task of restoring these architectural works began. This meant the rebirth of carving and sculpture in the Chiquitanía, with the emergence of skilled masters who no longer worked only with religious-Christian motifs, but who sought to recover the regional identity and history in their works. All this with the support of institutions such as the Center for Participation and Sustainable Development CEPAD and the Spanish Agency for Development Cooperation AECID, which promoted courses and workshops for the training of artisan carvers.

Different types of wood are used for carving: cedar, mara and oak, which are light and easily worked to make paintings and small works. They also use «cuchi» for columns and other woods such as «sirari», «paquió» and «tajibo», which are used for large sculptures. It begins with the selection and preparation (drying) of the wood; the carving itself, which is a manual job that can take a few days or months, depending on the size of the work; the finishing, which consists of sanding and the application of pigments, oils or varnish, which also depends on the taste of the master carver, some prefer the natural colour, others apply dyes to enhance the color of the wood and others apply a polychrome finish; As for the varnish, it is not always used by the carvers, as they say that it covers the porosity of the wood and does not allow it to breathe, affecting its durability over time.

The motifs of carving and sculpture are diverse. They include figures of sacred art: angels, cherubs, saints, etc. There are also figures of a secular nature, emphasized from the 1970s to date: fauna, flora, landscapes and representations of the mythology and culture of the local populations. A variety of utilitarian objects are also made: spoons, napkin rings, skimmers, sugar bowls, coat racks, etc., and baroque furniture.

Elements such as colonial churches, music and the art of wood carving and sculpture were the basis for UNESCO to declare the former Jesuit Missions a World Heritage Site in 1991. Today, the expressions that come from this missionary period are recognized as «living cultures» and constitute one of the pillars of Bolivia’s eastern identity, beyond its Andean region.

The wooden works can be found in workshops and craft centers in the towns of Chiquitanía: San Javier, Santa Rosa, Concepción, San Ignacio de Velasco, San Miguel de Velasco, San Rafael, Santa Ana, San José; also in craft shops in the city of Santa Cruz de la Sierra.

Wood carving and sculpture from the Chiquitanía in Santa Cruz.The development of the art of wood carving and sculpture takes place in the tropical region of Chiquitanía, in the Department of Santa Cruz. The history of this art can be traced back to the elaboration of ritual masks by the indigenous populations that inhabited the area in pre-Hispanic times. It was in colonial times, with the establishment of the Jesuit Missions, between 1691 and 1760, that this art reached its peak. Upon their arrival, the Jesuits reduced the indigenous population into villages with Christian names: San Francisco, San Rafael, San José, San Juan, Concepción, San Miguel, San Ignacio, San Tiago, Santa Ana, Santo Corazón. Their missionary work consisted of two objectives: 1) to evangelize the indigenous people and 2) to «civilize» them by teaching them various arts and crafts. One of these arts was wood carving and sculpture. Imposing churches were built with a large part of their structure in carved wood in the mestizo baroque style, as well as the respective sacred ornamentation: altarpieces, pulpits, sacristy boxes, chairs, confessionals, reading stands and more, taking advantage of the forest wealth of the region.

After their expulsion in 1767, the churches fell into gradual deterioration, until the ’70s of the 20th century, when the task of restoring these architectural works began. This meant the rebirth of carving and sculpture in the Chiquitanía, with the emergence of skilled masters who no longer worked only with religious-Christian motifs, but who sought to recover the regional identity and history in their works. All this with the support of institutions such as the Center for Participation and Sustainable Development CEPAD and the Spanish Agency for Development Cooperation AECID, which promoted courses and workshops for the training of artisan carvers.

Different types of wood are used for carving: cedar, mara and oak, which are light and easily worked to make paintings and small works. They also use «cuchi» for columns and other woods such as «sirari», «paquió» and «tajibo», which are used for large sculptures. It begins with the selection and preparation (drying) of the wood; the carving itself, which is a manual job that can take a few days or months, depending on the size of the work; the finishing, which consists of sanding and the application of pigments, oils or varnish, which also depends on the taste of the master carver, some prefer the natural colour, others apply dyes to enhance the color of the wood and others apply a polychrome finish; As for the varnish, it is not always used by the carvers, as they say that it covers the porosity of the wood and does not allow it to breathe, affecting its durability over time.

The motifs of carving and sculpture are diverse. They include figures of sacred art: angels, cherubs, saints, etc. There are also figures of a secular nature, emphasized from the 1970s to date: fauna, flora, landscapes and representations of the mythology and culture of the local populations. A variety of utilitarian objects are also made: spoons, napkin rings, skimmers, sugar bowls, coat racks, etc., and baroque furniture.

Elements such as colonial churches, music and the art of wood carving and sculpture were the basis for UNESCO to declare the former Jesuit Missions a World Heritage Site in 1991. Today, the expressions that come from this missionary period are recognized as «living cultures» and constitute one of the pillars of Bolivia’s eastern identity, beyond its Andean region.

The wooden works can be found in workshops and craft centers in the towns of Chiquitanía: San Javier, Santa Rosa, Concepción, San Ignacio de Velasco, San Miguel de Velasco, San Rafael, Santa Ana, San José; also in craft shops in the city of Santa Cruz de la Sierra.

Wood carving and sculpture from the Chiquitanía in Santa Cruz.The development of the art of wood carving and sculpture takes place in the tropical region of Chiquitanía, in the Department of Santa Cruz. The history of this art can be traced back to the elaboration of ritual masks by the indigenous populations that inhabited the area in pre-Hispanic times. It was in colonial times, with the establishment of the Jesuit Missions, between 1691 and 1760, that this art reached its peak. Upon their arrival, the Jesuits reduced the indigenous population into villages with Christian names: San Francisco, San Rafael, San José, San Juan, Concepción, San Miguel, San Ignacio, San Tiago, Santa Ana, Santo Corazón. Their missionary work consisted of two objectives: 1) to evangelize the indigenous people and 2) to «civilize» them by teaching them various arts and crafts. One of these arts was wood carving and sculpture. Imposing churches were built with a large part of their structure in carved wood in the mestizo baroque style, as well as the respective sacred ornamentation: altarpieces, pulpits, sacristy boxes, chairs, confessionals, reading stands and more, taking advantage of the forest wealth of the region.

After their expulsion in 1767, the churches fell into gradual deterioration, until the ’70s of the 20th century, when the task of restoring these architectural works began. This meant the rebirth of carving and sculpture in the Chiquitanía, with the emergence of skilled masters who no longer worked only with religious-Christian motifs, but who sought to recover the regional identity and history in their works. All this with the support of institutions such as the Center for Participation and Sustainable Development CEPAD and the Spanish Agency for Development Cooperation AECID, which promoted courses and workshops for the training of artisan carvers.

Different types of wood are used for carving: cedar, mara and oak, which are light and easily worked to make paintings and small works. They also use «cuchi» for columns and other woods such as «sirari», «paquió» and «tajibo», which are used for large sculptures. It begins with the selection and preparation (drying) of the wood; the carving itself, which is a manual job that can take a few days or months, depending on the size of the work; the finishing, which consists of sanding and the application of pigments, oils or varnish, which also depends on the taste of the master carver, some prefer the natural colour, others apply dyes to enhance the color of the wood and others apply a polychrome finish; As for the varnish, it is not always used by the carvers, as they say that it covers the porosity of the wood and does not allow it to breathe, affecting its durability over time.

The motifs of carving and sculpture are diverse. They include figures of sacred art: angels, cherubs, saints, etc. There are also figures of a secular nature, emphasized from the 1970s to date: fauna, flora, landscapes and representations of the mythology and culture of the local populations. A variety of utilitarian objects are also made: spoons, napkin rings, skimmers, sugar bowls, coat racks, etc., and baroque furniture.

Elements such as colonial churches, music and the art of wood carving and sculpture were the basis for UNESCO to declare the former Jesuit Missions a World Heritage Site in 1991. Today, the expressions that come from this missionary period are recognized as «living cultures» and constitute one of the pillars of Bolivia’s eastern identity, beyond its Andean region.

The wooden works can be found in workshops and craft centers in the towns of Chiquitanía: San Javier, Santa Rosa, Concepción, San Ignacio de Velasco, San Miguel de Velasco, San Rafael, Santa Ana, San José; also in craft shops in the city of Santa Cruz de la Sierra.

Wood carving and sculpture from the Chiquitanía in Santa Cruz.The development of the art of wood carving and sculpture takes place in the tropical region of Chiquitanía, in the Department of Santa Cruz. The history of this art can be traced back to the elaboration of ritual masks by the indigenous populations that inhabited the area in pre-Hispanic times. It was in colonial times, with the establishment of the Jesuit Missions, between 1691 and 1760, that this art reached its peak. Upon their arrival, the Jesuits reduced the indigenous population into villages with Christian names: San Francisco, San Rafael, San José, San Juan, Concepción, San Miguel, San Ignacio, San Tiago, Santa Ana, Santo Corazón. Their missionary work consisted of two objectives: 1) to evangelize the indigenous people and 2) to «civilize» them by teaching them various arts and crafts. One of these arts was wood carving and sculpture. Imposing churches were built with a large part of their structure in carved wood in the mestizo baroque style, as well as the respective sacred ornamentation: altarpieces, pulpits, sacristy boxes, chairs, confessionals, reading stands and more, taking advantage of the forest wealth of the region.

After their expulsion in 1767, the churches fell into gradual deterioration, until the ’70s of the 20th century, when the task of restoring these architectural works began. This meant the rebirth of carving and sculpture in the Chiquitanía, with the emergence of skilled masters who no longer worked only with religious-Christian motifs, but who sought to recover the regional identity and history in their works. All this with the support of institutions such as the Center for Participation and Sustainable Development CEPAD and the Spanish Agency for Development Cooperation AECID, which promoted courses and workshops for the training of artisan carvers.

Different types of wood are used for carving: cedar, mara and oak, which are light and easily worked to make paintings and small works. They also use «cuchi» for columns and other woods such as «sirari», «paquió» and «tajibo», which are used for large sculptures. It begins with the selection and preparation (drying) of the wood; the carving itself, which is a manual job that can take a few days or months, depending on the size of the work; the finishing, which consists of sanding and the application of pigments, oils or varnish, which also depends on the taste of the master carver, some prefer the natural colour, others apply dyes to enhance the color of the wood and others apply a polychrome finish; As for the varnish, it is not always used by the carvers, as they say that it covers the porosity of the wood and does not allow it to breathe, affecting its durability over time.

The motifs of carving and sculpture are diverse. They include figures of sacred art: angels, cherubs, saints, etc. There are also figures of a secular nature, emphasized from the 1970s to date: fauna, flora, landscapes and representations of the mythology and culture of the local populations. A variety of utilitarian objects are also made: spoons, napkin rings, skimmers, sugar bowls, coat racks, etc., and baroque furniture.

Elements such as colonial churches, music and the art of wood carving and sculpture were the basis for UNESCO to declare the former Jesuit Missions a World Heritage Site in 1991. Today, the expressions that come from this missionary period are recognized as «living cultures» and constitute one of the pillars of Bolivia’s eastern identity, beyond its Andean region.

The wooden works can be found in workshops and craft centers in the towns of Chiquitanía: San Javier, Santa Rosa, Concepción, San Ignacio de Velasco, San Miguel de Velasco, San Rafael, Santa Ana, San José; also in craft shops in the city of Santa Cruz de la Sierra.

Wood carving and sculpture from the Chiquitanía in Santa Cruz.The development of the art of wood carving and sculpture takes place in the tropical region of Chiquitanía, in the Department of Santa Cruz. The history of this art can be traced back to the elaboration of ritual masks by the indigenous populations that inhabited the area in pre-Hispanic times. It was in colonial times, with the establishment of the Jesuit Missions, between 1691 and 1760, that this art reached its peak. Upon their arrival, the Jesuits reduced the indigenous population into villages with Christian names: San Francisco, San Rafael, San José, San Juan, Concepción, San Miguel, San Ignacio, San Tiago, Santa Ana, Santo Corazón. Their missionary work consisted of two objectives: 1) to evangelize the indigenous people and 2) to «civilize» them by teaching them various arts and crafts. One of these arts was wood carving and sculpture. Imposing churches were built with a large part of their structure in carved wood in the mestizo baroque style, as well as the respective sacred ornamentation: altarpieces, pulpits, sacristy boxes, chairs, confessionals, reading stands and more, taking advantage of the forest wealth of the region.

After their expulsion in 1767, the churches fell into gradual deterioration, until the ’70s of the 20th century, when the task of restoring these architectural works began. This meant the rebirth of carving and sculpture in the Chiquitanía, with the emergence of skilled masters who no longer worked only with religious-Christian motifs, but who sought to recover the regional identity and history in their works. All this with the support of institutions such as the Center for Participation and Sustainable Development CEPAD and the Spanish Agency for Development Cooperation AECID, which promoted courses and workshops for the training of artisan carvers.

Different types of wood are used for carving: cedar, mara and oak, which are light and easily worked to make paintings and small works. They also use «cuchi» for columns and other woods such as «sirari», «paquió» and «tajibo», which are used for large sculptures. It begins with the selection and preparation (drying) of the wood; the carving itself, which is a manual job that can take a few days or months, depending on the size of the work; the finishing, which consists of sanding and the application of pigments, oils or varnish, which also depends on the taste of the master carver, some prefer the natural colour, others apply dyes to enhance the color of the wood and others apply a polychrome finish; As for the varnish, it is not always used by the carvers, as they say that it covers the porosity of the wood and does not allow it to breathe, affecting its durability over time.

The motifs of carving and sculpture are diverse. They include figures of sacred art: angels, cherubs, saints, etc. There are also figures of a secular nature, emphasized from the 1970s to date: fauna, flora, landscapes and representations of the mythology and culture of the local populations. A variety of utilitarian objects are also made: spoons, napkin rings, skimmers, sugar bowls, coat racks, etc., and baroque furniture.

Elements such as colonial churches, music and the art of wood carving and sculpture were the basis for UNESCO to declare the former Jesuit Missions a World Heritage Site in 1991. Today, the expressions that come from this missionary period are recognized as «living cultures» and constitute one of the pillars of Bolivia’s eastern identity, beyond its Andean region.

The wooden works can be found in workshops and craft centers in the towns of Chiquitanía: San Javier, Santa Rosa, Concepción, San Ignacio de Velasco, San Miguel de Velasco, San Rafael, Santa Ana, San José; also in craft shops in the city of Santa Cruz de la Sierra.

Wood carving and sculpture from the Chiquitanía in Santa Cruz.The development of the art of wood carving and sculpture takes place in the tropical region of Chiquitanía, in the Department of Santa Cruz. The history of this art can be traced back to the elaboration of ritual masks by the indigenous populations that inhabited the area in pre-Hispanic times. It was in colonial times, with the establishment of the Jesuit Missions, between 1691 and 1760, that this art reached its peak. Upon their arrival, the Jesuits reduced the indigenous population into villages with Christian names: San Francisco, San Rafael, San José, San Juan, Concepción, San Miguel, San Ignacio, San Tiago, Santa Ana, Santo Corazón. Their missionary work consisted of two objectives: 1) to evangelize the indigenous people and 2) to «civilize» them by teaching them various arts and crafts. One of these arts was wood carving and sculpture. Imposing churches were built with a large part of their structure in carved wood in the mestizo baroque style, as well as the respective sacred ornamentation: altarpieces, pulpits, sacristy boxes, chairs, confessionals, reading stands and more, taking advantage of the forest wealth of the region.

After their expulsion in 1767, the churches fell into gradual deterioration, until the ’70s of the 20th century, when the task of restoring these architectural works began. This meant the rebirth of carving and sculpture in the Chiquitanía, with the emergence of skilled masters who no longer worked only with religious-Christian motifs, but who sought to recover the regional identity and history in their works. All this with the support of institutions such as the Center for Participation and Sustainable Development CEPAD and the Spanish Agency for Development Cooperation AECID, which promoted courses and workshops for the training of artisan carvers.

Different types of wood are used for carving: cedar, mara and oak, which are light and easily worked to make paintings and small works. They also use «cuchi» for columns and other woods such as «sirari», «paquió» and «tajibo», which are used for large sculptures. It begins with the selection and preparation (drying) of the wood; the carving itself, which is a manual job that can take a few days or months, depending on the size of the work; the finishing, which consists of sanding and the application of pigments, oils or varnish, which also depends on the taste of the master carver, some prefer the natural colour, others apply dyes to enhance the color of the wood and others apply a polychrome finish; As for the varnish, it is not always used by the carvers, as they say that it covers the porosity of the wood and does not allow it to breathe, affecting its durability over time.

The motifs of carving and sculpture are diverse. They include figures of sacred art: angels, cherubs, saints, etc. There are also figures of a secular nature, emphasized from the 1970s to date: fauna, flora, landscapes and representations of the mythology and culture of the local populations. A variety of utilitarian objects are also made: spoons, napkin rings, skimmers, sugar bowls, coat racks, etc., and baroque furniture.

Elements such as colonial churches, music and the art of wood carving and sculpture were the basis for UNESCO to declare the former Jesuit Missions a World Heritage Site in 1991. Today, the expressions that come from this missionary period are recognized as «living cultures» and constitute one of the pillars of Bolivia’s eastern identity, beyond its Andean region.

The wooden works can be found in workshops and craft centers in the towns of Chiquitanía: San Javier, Santa Rosa, Concepción, San Ignacio de Velasco, San Miguel de Velasco, San Rafael, Santa Ana, San José; also in craft shops in the city of Santa Cruz de la Sierra.

Wood carving and sculpture from the Chiquitanía in Santa Cruz.The development of the art of wood carving and sculpture takes place in the tropical region of Chiquitanía, in the Department of Santa Cruz. The history of this art can be traced back to the elaboration of ritual masks by the indigenous populations that inhabited the area in pre-Hispanic times. It was in colonial times, with the establishment of the Jesuit Missions, between 1691 and 1760, that this art reached its peak. Upon their arrival, the Jesuits reduced the indigenous population into villages with Christian names: San Francisco, San Rafael, San José, San Juan, Concepción, San Miguel, San Ignacio, San Tiago, Santa Ana, Santo Corazón. Their missionary work consisted of two objectives: 1) to evangelize the indigenous people and 2) to «civilize» them by teaching them various arts and crafts. One of these arts was wood carving and sculpture. Imposing churches were built with a large part of their structure in carved wood in the mestizo baroque style, as well as the respective sacred ornamentation: altarpieces, pulpits, sacristy boxes, chairs, confessionals, reading stands and more, taking advantage of the forest wealth of the region.

After their expulsion in 1767, the churches fell into gradual deterioration, until the ’70s of the 20th century, when the task of restoring these architectural works began. This meant the rebirth of carving and sculpture in the Chiquitanía, with the emergence of skilled masters who no longer worked only with religious-Christian motifs, but who sought to recover the regional identity and history in their works. All this with the support of institutions such as the Center for Participation and Sustainable Development CEPAD and the Spanish Agency for Development Cooperation AECID, which promoted courses and workshops for the training of artisan carvers.

Different types of wood are used for carving: cedar, mara and oak, which are light and easily worked to make paintings and small works. They also use «cuchi» for columns and other woods such as «sirari», «paquió» and «tajibo», which are used for large sculptures. It begins with the selection and preparation (drying) of the wood; the carving itself, which is a manual job that can take a few days or months, depending on the size of the work; the finishing, which consists of sanding and the application of pigments, oils or varnish, which also depends on the taste of the master carver, some prefer the natural colour, others apply dyes to enhance the color of the wood and others apply a polychrome finish; As for the varnish, it is not always used by the carvers, as they say that it covers the porosity of the wood and does not allow it to breathe, affecting its durability over time.

The motifs of carving and sculpture are diverse. They include figures of sacred art: angels, cherubs, saints, etc. There are also figures of a secular nature, emphasized from the 1970s to date: fauna, flora, landscapes and representations of the mythology and culture of the local populations. A variety of utilitarian objects are also made: spoons, napkin rings, skimmers, sugar bowls, coat racks, etc., and baroque furniture.

Elements such as colonial churches, music and the art of wood carving and sculpture were the basis for UNESCO to declare the former Jesuit Missions a World Heritage Site in 1991. Today, the expressions that come from this missionary period are recognized as «living cultures» and constitute one of the pillars of Bolivia’s eastern identity, beyond its Andean region.

The wooden works can be found in workshops and craft centers in the towns of Chiquitanía: San Javier, Santa Rosa, Concepción, San Ignacio de Velasco, San Miguel de Velasco, San Rafael, Santa Ana, San José; also in craft shops in the city of Santa Cruz de la Sierra.

Wood carving and sculpture from the Chiquitanía in Santa Cruz.The development of the art of wood carving and sculpture takes place in the tropical region of Chiquitanía, in the Department of Santa Cruz. The history of this art can be traced back to the elaboration of ritual masks by the indigenous populations that inhabited the area in pre-Hispanic times. It was in colonial times, with the establishment of the Jesuit Missions, between 1691 and 1760, that this art reached its peak. Upon their arrival, the Jesuits reduced the indigenous population into villages with Christian names: San Francisco, San Rafael, San José, San Juan, Concepción, San Miguel, San Ignacio, San Tiago, Santa Ana, Santo Corazón. Their missionary work consisted of two objectives: 1) to evangelize the indigenous people and 2) to «civilize» them by teaching them various arts and crafts. One of these arts was wood carving and sculpture. Imposing churches were built with a large part of their structure in carved wood in the mestizo baroque style, as well as the respective sacred ornamentation: altarpieces, pulpits, sacristy boxes, chairs, confessionals, reading stands and more, taking advantage of the forest wealth of the region.

After their expulsion in 1767, the churches fell into gradual deterioration, until the ’70s of the 20th century, when the task of restoring these architectural works began. This meant the rebirth of carving and sculpture in the Chiquitanía, with the emergence of skilled masters who no longer worked only with religious-Christian motifs, but who sought to recover the regional identity and history in their works. All this with the support of institutions such as the Center for Participation and Sustainable Development CEPAD and the Spanish Agency for Development Cooperation AECID, which promoted courses and workshops for the training of artisan carvers.

Different types of wood are used for carving: cedar, mara and oak, which are light and easily worked to make paintings and small works. They also use «cuchi» for columns and other woods such as «sirari», «paquió» and «tajibo», which are used for large sculptures. It begins with the selection and preparation (drying) of the wood; the carving itself, which is a manual job that can take a few days or months, depending on the size of the work; the finishing, which consists of sanding and the application of pigments, oils or varnish, which also depends on the taste of the master carver, some prefer the natural colour, others apply dyes to enhance the color of the wood and others apply a polychrome finish; As for the varnish, it is not always used by the carvers, as they say that it covers the porosity of the wood and does not allow it to breathe, affecting its durability over time.

The motifs of carving and sculpture are diverse. They include figures of sacred art: angels, cherubs, saints, etc. There are also figures of a secular nature, emphasized from the 1970s to date: fauna, flora, landscapes and representations of the mythology and culture of the local populations. A variety of utilitarian objects are also made: spoons, napkin rings, skimmers, sugar bowls, coat racks, etc., and baroque furniture.

Elements such as colonial churches, music and the art of wood carving and sculpture were the basis for UNESCO to declare the former Jesuit Missions a World Heritage Site in 1991. Today, the expressions that come from this missionary period are recognized as «living cultures» and constitute one of the pillars of Bolivia’s eastern identity, beyond its Andean region.

The wooden works can be found in workshops and craft centers in the towns of Chiquitanía: San Javier, Santa Rosa, Concepción, San Ignacio de Velasco, San Miguel de Velasco, San Rafael, Santa Ana, San José; also in craft shops in the city of Santa Cruz de la Sierra.

Wood carving and sculpture from the Chiquitanía in Santa Cruz.The development of the art of wood carving and sculpture takes place in the tropical region of Chiquitanía, in the Department of Santa Cruz. The history of this art can be traced back to the elaboration of ritual masks by the indigenous populations that inhabited the area in pre-Hispanic times. It was in colonial times, with the establishment of the Jesuit Missions, between 1691 and 1760, that this art reached its peak. Upon their arrival, the Jesuits reduced the indigenous population into villages with Christian names: San Francisco, San Rafael, San José, San Juan, Concepción, San Miguel, San Ignacio, San Tiago, Santa Ana, Santo Corazón. Their missionary work consisted of two objectives: 1) to evangelize the indigenous people and 2) to «civilize» them by teaching them various arts and crafts. One of these arts was wood carving and sculpture. Imposing churches were built with a large part of their structure in carved wood in the mestizo baroque style, as well as the respective sacred ornamentation: altarpieces, pulpits, sacristy boxes, chairs, confessionals, reading stands and more, taking advantage of the forest wealth of the region.

After their expulsion in 1767, the churches fell into gradual deterioration, until the ’70s of the 20th century, when the task of restoring these architectural works began. This meant the rebirth of carving and sculpture in the Chiquitanía, with the emergence of skilled masters who no longer worked only with religious-Christian motifs, but who sought to recover the regional identity and history in their works. All this with the support of institutions such as the Center for Participation and Sustainable Development CEPAD and the Spanish Agency for Development Cooperation AECID, which promoted courses and workshops for the training of artisan carvers.

Different types of wood are used for carving: cedar, mara and oak, which are light and easily worked to make paintings and small works. They also use «cuchi» for columns and other woods such as «sirari», «paquió» and «tajibo», which are used for large sculptures. It begins with the selection and preparation (drying) of the wood; the carving itself, which is a manual job that can take a few days or months, depending on the size of the work; the finishing, which consists of sanding and the application of pigments, oils or varnish, which also depends on the taste of the master carver, some prefer the natural colour, others apply dyes to enhance the color of the wood and others apply a polychrome finish; As for the varnish, it is not always used by the carvers, as they say that it covers the porosity of the wood and does not allow it to breathe, affecting its durability over time.

The motifs of carving and sculpture are diverse. They include figures of sacred art: angels, cherubs, saints, etc. There are also figures of a secular nature, emphasized from the 1970s to date: fauna, flora, landscapes and representations of the mythology and culture of the local populations. A variety of utilitarian objects are also made: spoons, napkin rings, skimmers, sugar bowls, coat racks, etc., and baroque furniture.

Elements such as colonial churches, music and the art of wood carving and sculpture were the basis for UNESCO to declare the former Jesuit Missions a World Heritage Site in 1991. Today, the expressions that come from this missionary period are recognized as «living cultures» and constitute one of the pillars of Bolivia’s eastern identity, beyond its Andean region.

The wooden works can be found in workshops and craft centers in the towns of Chiquitanía: San Javier, Santa Rosa, Concepción, San Ignacio de Velasco, San Miguel de Velasco, San Rafael, Santa Ana, San José; also in craft shops in the city of Santa Cruz de la Sierra.

Wood carving and sculpture from the Chiquitanía in Santa Cruz.The development of the art of wood carving and sculpture takes place in the tropical region of Chiquitanía, in the Department of Santa Cruz. The history of this art can be traced back to the elaboration of ritual masks by the indigenous populations that inhabited the area in pre-Hispanic times. It was in colonial times, with the establishment of the Jesuit Missions, between 1691 and 1760, that this art reached its peak. Upon their arrival, the Jesuits reduced the indigenous population into villages with Christian names: San Francisco, San Rafael, San José, San Juan, Concepción, San Miguel, San Ignacio, San Tiago, Santa Ana, Santo Corazón. Their missionary work consisted of two objectives: 1) to evangelize the indigenous people and 2) to «civilize» them by teaching them various arts and crafts. One of these arts was wood carving and sculpture. Imposing churches were built with a large part of their structure in carved wood in the mestizo baroque style, as well as the respective sacred ornamentation: altarpieces, pulpits, sacristy boxes, chairs, confessionals, reading stands and more, taking advantage of the forest wealth of the region.

After their expulsion in 1767, the churches fell into gradual deterioration, until the ’70s of the 20th century, when the task of restoring these architectural works began. This meant the rebirth of carving and sculpture in the Chiquitanía, with the emergence of skilled masters who no longer worked only with religious-Christian motifs, but who sought to recover the regional identity and history in their works. All this with the support of institutions such as the Center for Participation and Sustainable Development CEPAD and the Spanish Agency for Development Cooperation AECID, which promoted courses and workshops for the training of artisan carvers.

Different types of wood are used for carving: cedar, mara and oak, which are light and easily worked to make paintings and small works. They also use «cuchi» for columns and other woods such as «sirari», «paquió» and «tajibo», which are used for large sculptures. It begins with the selection and preparation (drying) of the wood; the carving itself, which is a manual job that can take a few days or months, depending on the size of the work; the finishing, which consists of sanding and the application of pigments, oils or varnish, which also depends on the taste of the master carver, some prefer the natural colour, others apply dyes to enhance the color of the wood and others apply a polychrome finish; As for the varnish, it is not always used by the carvers, as they say that it covers the porosity of the wood and does not allow it to breathe, affecting its durability over time.

The motifs of carving and sculpture are diverse. They include figures of sacred art: angels, cherubs, saints, etc. There are also figures of a secular nature, emphasized from the 1970s to date: fauna, flora, landscapes and representations of the mythology and culture of the local populations. A variety of utilitarian objects are also made: spoons, napkin rings, skimmers, sugar bowls, coat racks, etc., and baroque furniture.

Elements such as colonial churches, music and the art of wood carving and sculpture were the basis for UNESCO to declare the former Jesuit Missions a World Heritage Site in 1991. Today, the expressions that come from this missionary period are recognized as «living cultures» and constitute one of the pillars of Bolivia’s eastern identity, beyond its Andean region.

The wooden works can be found in workshops and craft centers in the towns of Chiquitanía: San Javier, Santa Rosa, Concepción, San Ignacio de Velasco, San Miguel de Velasco, San Rafael, Santa Ana, San José; also in craft shops in the city of Santa Cruz de la Sierra.

Wood carving and sculpture from the Chiquitanía in Santa Cruz.The development of the art of wood carving and sculpture takes place in the tropical region of Chiquitanía, in the Department of Santa Cruz. The history of this art can be traced back to the elaboration of ritual masks by the indigenous populations that inhabited the area in pre-Hispanic times. It was in colonial times, with the establishment of the Jesuit Missions, between 1691 and 1760, that this art reached its peak. Upon their arrival, the Jesuits reduced the indigenous population into villages with Christian names: San Francisco, San Rafael, San José, San Juan, Concepción, San Miguel, San Ignacio, San Tiago, Santa Ana, Santo Corazón. Their missionary work consisted of two objectives: 1) to evangelize the indigenous people and 2) to «civilize» them by teaching them various arts and crafts. One of these arts was wood carving and sculpture. Imposing churches were built with a large part of their structure in carved wood in the mestizo baroque style, as well as the respective sacred ornamentation: altarpieces, pulpits, sacristy boxes, chairs, confessionals, reading stands and more, taking advantage of the forest wealth of the region.

After their expulsion in 1767, the churches fell into gradual deterioration, until the ’70s of the 20th century, when the task of restoring these architectural works began. This meant the rebirth of carving and sculpture in the Chiquitanía, with the emergence of skilled masters who no longer worked only with religious-Christian motifs, but who sought to recover the regional identity and history in their works. All this with the support of institutions such as the Center for Participation and Sustainable Development CEPAD and the Spanish Agency for Development Cooperation AECID, which promoted courses and workshops for the training of artisan carvers.

Different types of wood are used for carving: cedar, mara and oak, which are light and easily worked to make paintings and small works. They also use «cuchi» for columns and other woods such as «sirari», «paquió» and «tajibo», which are used for large sculptures. It begins with the selection and preparation (drying) of the wood; the carving itself, which is a manual job that can take a few days or months, depending on the size of the work; the finishing, which consists of sanding and the application of pigments, oils or varnish, which also depends on the taste of the master carver, some prefer the natural colour, others apply dyes to enhance the color of the wood and others apply a polychrome finish; As for the varnish, it is not always used by the carvers, as they say that it covers the porosity of the wood and does not allow it to breathe, affecting its durability over time.

The motifs of carving and sculpture are diverse. They include figures of sacred art: angels, cherubs, saints, etc. There are also figures of a secular nature, emphasized from the 1970s to date: fauna, flora, landscapes and representations of the mythology and culture of the local populations. A variety of utilitarian objects are also made: spoons, napkin rings, skimmers, sugar bowls, coat racks, etc., and baroque furniture.

Elements such as colonial churches, music and the art of wood carving and sculpture were the basis for UNESCO to declare the former Jesuit Missions a World Heritage Site in 1991. Today, the expressions that come from this missionary period are recognized as «living cultures» and constitute one of the pillars of Bolivia’s eastern identity, beyond its Andean region.

The wooden works can be found in workshops and craft centers in the towns of Chiquitanía: San Javier, Santa Rosa, Concepción, San Ignacio de Velasco, San Miguel de Velasco, San Rafael, Santa Ana, San José; also in craft shops in the city of Santa Cruz de la Sierra.

Wood carving and sculpture from the Chiquitanía in Santa Cruz.The development of the art of wood carving and sculpture takes place in the tropical region of Chiquitanía, in the Department of Santa Cruz. The history of this art can be traced back to the elaboration of ritual masks by the indigenous populations that inhabited the area in pre-Hispanic times. It was in colonial times, with the establishment of the Jesuit Missions, between 1691 and 1760, that this art reached its peak. Upon their arrival, the Jesuits reduced the indigenous population into villages with Christian names: San Francisco, San Rafael, San José, San Juan, Concepción, San Miguel, San Ignacio, San Tiago, Santa Ana, Santo Corazón. Their missionary work consisted of two objectives: 1) to evangelize the indigenous people and 2) to «civilize» them by teaching them various arts and crafts. One of these arts was wood carving and sculpture. Imposing churches were built with a large part of their structure in carved wood in the mestizo baroque style, as well as the respective sacred ornamentation: altarpieces, pulpits, sacristy boxes, chairs, confessionals, reading stands and more, taking advantage of the forest wealth of the region.

After their expulsion in 1767, the churches fell into gradual deterioration, until the ’70s of the 20th century, when the task of restoring these architectural works began. This meant the rebirth of carving and sculpture in the Chiquitanía, with the emergence of skilled masters who no longer worked only with religious-Christian motifs, but who sought to recover the regional identity and history in their works. All this with the support of institutions such as the Center for Participation and Sustainable Development CEPAD and the Spanish Agency for Development Cooperation AECID, which promoted courses and workshops for the training of artisan carvers.

Different types of wood are used for carving: cedar, mara and oak, which are light and easily worked to make paintings and small works. They also use «cuchi» for columns and other woods such as «sirari», «paquió» and «tajibo», which are used for large sculptures. It begins with the selection and preparation (drying) of the wood; the carving itself, which is a manual job that can take a few days or months, depending on the size of the work; the finishing, which consists of sanding and the application of pigments, oils or varnish, which also depends on the taste of the master carver, some prefer the natural colour, others apply dyes to enhance the color of the wood and others apply a polychrome finish; As for the varnish, it is not always used by the carvers, as they say that it covers the porosity of the wood and does not allow it to breathe, affecting its durability over time.

The motifs of carving and sculpture are diverse. They include figures of sacred art: angels, cherubs, saints, etc. There are also figures of a secular nature, emphasized from the 1970s to date: fauna, flora, landscapes and representations of the mythology and culture of the local populations. A variety of utilitarian objects are also made: spoons, napkin rings, skimmers, sugar bowls, coat racks, etc., and baroque furniture.

Elements such as colonial churches, music and the art of wood carving and sculpture were the basis for UNESCO to declare the former Jesuit Missions a World Heritage Site in 1991. Today, the expressions that come from this missionary period are recognized as «living cultures» and constitute one of the pillars of Bolivia’s eastern identity, beyond its Andean region.

The wooden works can be found in workshops and craft centers in the towns of Chiquitanía: San Javier, Santa Rosa, Concepción, San Ignacio de Velasco, San Miguel de Velasco, San Rafael, Santa Ana, San José; also in craft shops in the city of Santa Cruz de la Sierra.

Wood carving and sculpture from the Chiquitanía in Santa Cruz.

The development of the art of wood carving and sculpture takes place in the tropical region of Chiquitanía, in the Department of Santa Cruz. The history of this art can be traced back to the elaboration of ritual masks by the indigenous populations that inhabited the area in pre-Hispanic times. It was in colonial times, with the establishment of the Jesuit Missions, between 1691 and 1760, that this art reached its peak. Upon their arrival, the Jesuits reduced the indigenous population into villages with Christian names: San Francisco, San Rafael, San José, San Juan, Concepción, San Miguel, San Ignacio, San Tiago, Santa Ana, Santo Corazón. Their missionary work consisted of two objectives: 1) to evangelise the indigenous people and 2) to «civilise» them by teaching them various arts and crafts. One of these arts was wood carving and sculpture. Imposing churches were built with a large part of their structure in carved wood in the mestizo baroque style, as well as the respective sacred ornamentation: altarpieces, pulpits, sacristy boxes, chairs, confessionals, reading stands and more, taking advantage of the forest wealth of the region.

After their expulsion in 1767, the churches fell into a gradual deterioration, until the ’70s of the 20th century, when the task of restoring these architectural works began. This meant the rebirth of carving and sculpture in the Chiquitanía, with the emergence of skilled masters who no longer worked only with religious-Christian motifs, but who sought to recover the regional identity and history in their works. All this with the support of institutions such as the Centre for Participation and Sustainable Development CEPAD and the Spanish Agency for Development Cooperation AECID, which promoted courses and workshops for the training of artisan carvers.

Different types of wood are used for carving: cedar, mara and oak, which are light and easily worked to make paintings and small works. They also use «cuchi» for columns and other woods such as «sirari», «paquió» and «tajibo», which are used for large sculptures. It begins with the selection and preparation (drying) of the wood; the carving itself, which is a manual job that can take a few days or months, depending on the size of the work; the finishing, which consists of sanding and the application of pigments, oils or varnish, which also depends on the taste of the master carver, some prefer the natural colour, others apply dyes to enliven the colour of the wood and others apply a polychrome finish; as for the varnish, it is not always used by the carvers, as they say that it covers the porosity of the wood and does not allow it to breathe, affecting its durability over time.

The motifs of carving and sculpture are diverse. They include figures of sacred art: angels, cherubs, saints, etc. There are also figures of a secular nature, emphasised from the 1970s to date: fauna, flora, landscapes and representations of the mythology and culture of the local populations. A variety of utilitarian objects are also made: spoons, napkin rings, skimmers, sugar bowls, coat racks, etc., and baroque furniture.

Elements such as colonial churches, music and the art of wood carving and sculpture were the basis for UNESCO to declare the former Jesuit Missions a World Heritage Site in 1991. Today, the expressions that come from this missionary period are recognised as «living cultures» and constitute one of the pillars of Bolivia’s eastern identity, beyond its Andean region.

The wooden works can be found in workshops and craft centres in the towns of Chiquitanía: San Javier, Santa Rosa, Concepción, San Ignacio de Velasco, San Miguel de Velasco, San Rafael, Santa Ana, San José; also in craft shops in the city of Santa Cruz de la Sierra.