A female Jimini sculpture, Ivory Coast, collected in the region of Tabey, standing on a fragmentary base with small feet, die angewinkelten Arme enden kleinen offenen Händen, ein geringelter hals zeigt einen großen ovalen Kopf mit charakteristischen Kulango features, brownish to blackened patina, traces of use in particular at the breasts. The Jimini (also spelled Djimini or Dyimini) are a Mande-speaking group living in northeastern Côte d’Ivoire, particularly in areas around Tabey and the broader Tanda region. Their sculptural tradition is closely linked to ritual life, especially male initiation associations and funerary ceremonies. Unlike the refined, serene aesthetic of Baule carving in central Côte d’Ivoire, Jimini sculpture tends toward abstraction, angularity, and strong graphic presence. In the Tabey region, masks are the most characteristic form. They are typically carved in wood and designed for performance. A striking stylistic peculiarity is the elongated facial structure, often organized around a pronounced vertical ridge running from the forehead down toward the nose and mouth. This central projection sometimes evokes the beak of a hornbill, a powerful symbolic bird in the wider northern Ivorian region associated with spiritual authority, fertility, and ancestral connection. Facial features are stylized rather than softly modeled. Eyes may be narrow slits or rounded forms set into planar surfaces. The cheeks and forehead frequently display carved scarification marks arranged in rhythmic lines or dotted patterns, reflecting local identity markers and social belonging. The overall surface is less polished than Baule work, retaining a more tactile, direct carving quality. Color plays an important role. Pigments such as white, red, and occasionally blue are applied to emphasize scarification, eyes, or projecting elements. These colors are symbolic: white is often associated with the spirit world and ancestral presence, red with vitality and power. The use of pigment enhances the mask’s visibility and impact during dance performances. There are also stylistic overlaps with neighboring Senufo and Kulango traditions, visible in the use of facial projections and compositional symmetry. However, Jimini works from the Tabey area maintain a distinctive emphasis on verticality, angular facial construction, and a somewhat austere, abstracted human presence. Overall, Jimini sculpture from the Tabey region is characterized by elongation, strong central facial projection, patterned scarification, restrained but symbolic color, and a ritual function that prioritizes spiritual potency and performative impact over naturalistic beauty. CAB34830