Megalithic statues that are hundreds, if not thousand of years old, dot the Napu, Besoa, and Bada valley and are considered to be the finest stone monuments of their type in Indonesia. The origin of these massive, well worked, yet elegantly simple, granite carvings has been lost over time as they pre-date the existing ethnic groups found around the park. Various archaeological studies date them as early as 3,000 BC or as recently as 1,300 AD. They are believed to relate to ancestor worship. The tallest megalith stands at a higher of over 4 m, but most are 1.5 - 2.5 m tall. There are five cateories classified by shape:1)
Stone Images- These statues have human features, but only the head, shoulders and genitalia are usually distinct. They are characterised by abnormally larges eyes and head. 2)
Kalamba- These are the most common megalith shape, and resemble large urns. They may heve been cisterns, but were most probably sarcophagi associated with the burial of nobility, as traditional requires the dead to be buried with supplies for the after life. No remnants of treasures or bones remain; the assets of the Kalamba were probably raided in the 19th century.
In the Napu Valley, the Kalamba are intricately carved on the outside with depictions of men, lizards, buffalo and other creatures, but in the Bada and Besoa Valleys, they are usually plain. 3)
Tutu'na- These are large stone disks, probably the lids of the Kalambas. Some have carved figures and often the centres are raised. 4)
Batu Dakon- Flat to convex stones featuring channels, irregular pitting and other depressions. 5)
Other- Stone mortars, house supports, and several other shapes are found. Around 430 objects have been found in three districts, including 349 in Lore utara, 55 in Lore selatan, and 27 in Kulawi. the largest concentration of objects can be found at Pokekea in the Besoa valley, where there are 78 objects, 40 of which are Batu Dakon. Further objects may exist in the park but have yet to be mapped. Prior to the arrival of the Dutch, several villages were positioned around the stones and the people inhabiting them felt a spiritual connection. During conversion to Christianity, people were encouraged to relocate to new village sites, and the affinity with the stones was lost. (Book of Lore Lindu NP A Visitor's guide, 2001.)
Traditional barkcloth, kain kulit kayu is still made extensively in the Bada Valley, where it is called ranta. It is occasionally made in Kulawi, where it is called mbesa, and in Napu, where it is know as inodo. Previously, it was used throughout these valleys for blankets, as room dividers, both men's and women's clothing, and even fashioned into saddles for horses.
Several tree species can be used to make barkcloth, the most common of which, is the banyan tree (Ficus spp., locally know as nunu). 
This produces a cloth that is brown or reddish in color. The tree in not killed in the process, as only branches are used. The inner bark is boiled to soften it and then wrapped in banana leaves to ferment for two to four days, It is then pounded with deeply ridged wooden mallets, followed by a series of progressively finer-grooved stone mallets, to produce a thin, smooth piece of material. This process takes 
another three days, and several pieces of bark can be joined to make a larger cloth. Finally, it may be treated with the sap from another tree to preserve it, and then dried. The whole process takes no more than 10 or 11 days. The cloth is strong, tears can be repaired and a skirt would be expected to last up to rained, people would take their clothes off, roll them up, put them under their arms and walk around naked!
In the Bada Valley, the white bark cloth (from the paper mulberry, Broussonetia papyrifera) is painted with brightly-coloured, natural dyes in traditional motifs and geometric disigns.
