Kartini is known as a figure of anxious hero and a high social spirit. In addition to fight for the emancipation of women, Kartini is also concerned with the fate of local wisdom of Jepara is the art of carving. The things that encourage Kartini to notice the fate of the carvers in Jepara is quite surprising. Especially before Kartini could not carve at all. The purpose of this study is to describe the role double of Kartini in developing the art of carving of brackets of Jepara. This study uses historical methods ranging from theme selection, source collection, source criticism, interpretation and historiography. Kartini was born in Jepara, 21 April 1879. As a descendant of Jepara regent, Kartini leads a strict feudal life. After graduating from elementary education, Kartini has a period of serious persecution. Her father, Raden Mas Adipati Ario Sosroningrat, supported Kartini to develop her potential and dreams. One of Kartini's dreams is to develop the artistic potency of Jepara carving. Kartini realize that Jepara carving art is not appreciated properly so that the income of the carver is low. Although it was constrained, Kartini tried to encourage carving artisans in Kampung Belakanggunung to be more productive. Kartini commissioned them to make various furniture among others; cigarettes box, seams and small tables. In 1903, Kartini sparked a new variety of carvings to enrich the art of Jepara carving is a bunch of certain flowers and macan kurung (tiger brackets). The meaning of the art of sculpture carving brackets is the struggle of craftsmen carving against the pressures of life at that time. Kartini also played a major role in marketing the carving of Jepara sculpture to Semarang, Batavia and the Netherlands. Kartini's struggle as an independent woman and creative in responding to the challenges of the times.