One of the delicate handicrafts in Iran, like the other kinds of ancient crafts which is a combination of art and patience, is wood carving. Its artisans create highly artistic and valuable consumer goods from cheap and great deal of initial materials. Although wood is not durable against environmental elements, palaces doors, boxes over graves, raised structures for preaching in mosques, etc. which belongs to the remote old times shows the flourish and spread of this art in Iran.

Wood carving involves carving of wood based on accurate designs. This, as a simple and written definition, does not remind any memory to the mind. But each carved piece of wood is a good sample of its creator's feeling, perception, and thought.

The history of wood carving, like the other arts and crafts which was born and grown among scattered populations whose founders were ordinary people, is not so clear. Actually, it can not be said from which era this art industry flourished. But unquestionably, wood as the most plentiful material in nature is the first thing that drew man's attention to it and was used for making artistic and consumer goods. Based on the available documents, wood carving in Iran goes back to the Achaemenid and Sassanid periods. In the northeast of Persepolis, some clay inscriptions have been found the translation some of which indicate wage paying to the masters of inlaying art.

One of the striking wood carved works which goes back to the first half of the third century A.H. belongs to Atigh mosque in Shiraz. It was created of poplar wood in Omar En Leice Safari era. It is decorated with very beautiful polygon designs out of walnut wood. After this, the other work which is the upper part of a door carved out of deal and belongs to the fourth century A.H. should be pointed. It is delicately carved with Kufic scripts of 3 centimeters thick. 

With regard to the moral dissemination of building Islamic centers and mosques after the manifestation of Islam, Iranian artists made their best to decorate mosques. Along with architects, tilers, masons, and plaster moulders; wood carvers were fascinated by performing their art in this way. Unfortunately there are not a lot of samples of their works. Yet, relaying on those rare remains, it can be said that what were used for decoration of mosques_ in the shape of raised structures for preaching, doors, and windows_ are very valuable samples of Iranian art and talent. 

 In Safavid era, considering the eye-catching and noticeable development of religious buildings and royal palaces, a great number of artists went to the center of the country, Isfahan_where the most of the above mentioned buildings were constructed. One of the results of their gathering in one place that caused the creation of marvelous and worthy of everlasting works, was the exchange of their skills and experiments.

After the attack of Afghans to Iran, political challenges made every constructive performance limited. However, those who insisted on preventing and wood carvers were scattered and attracted to unprofessional the death of this art industry did not have much opportunity for their artistic and industrial performances. At that time, Abadeh a suburb of Shiraz was the only center of wood carvers. Except that place, there were no signs of wood carvers and wood carving through all the country.

 Following on the fall of Qajar dynasty people who were exhausted by transferring of their country to foreigners with no limitations sought a way to turn back to their cultural and industrial values. Although the revolt government tried to keep the pervious relationships and regulations, a lot of criterias were broken up. Eventually, under such circumstances artists and craftsmen had a great duty, too. Among a few remaining wood carvers, the two head artisans, Mr. Ahmad Saniee and Mr. Ali Mokhtari came to Tehran and while performing their art seriously, they trained some students to revive and  keep their ancestors' art and industry. The establishment of the handicraft organization of Iran as guardian for traditional and domestic industries became a means for supplying artists and prevented wood carving to die.

Now, Abadeh in the province of Shiraz and Golpaygan in the province of Isfahan Province are the main centers of wood carving. Besides, there is a group occupied in wood carving in Bushehr. In the other parts of the country wood carvings are done separately, too.

 Iranian wood carvers use different kinds of woods available in the country easily and cheaply. With praiseworthy patience they use very simple tools such as a few metal chisels and to manifest their works with Islamic and Iranian values in the shape of Kufic scripts, Arabesques, Cathays, flowers, birds, etc. 

Important wood carvings in the country can be found in mosques, palaces and ancient buildings. Some of the Iranian inlaid works are preserved in museums inside or outside Iran. The usual images are rose leaves and drawings of birds and animals. Latticed woodwork is another art, which is made by hand. Old latticed doors and windows of Iran are famous. Among other artworks sudorific inlaid work can be mentioned. In this kind of inlaid work, the artist strictly avoids protrusions on the surface of the wood. The images cut out of natural wood in various colors are finely inlaid in the wooden outline. After the application of a fine finish, an even surface is portrayed, which tend to produce an interesting image of trees, flowers and animals. The art of inlaid and sudorific woodwork is supported by the workshops of the Cultural Heritage Organization of Iran. These arts are also practiced in private workshops.