This sculptural healing vessel of the Adamawa Region occupies a liminal position between object and agent, matter and mediation. Emerging from a constellation of societies whose artistic production resists strict separation between aesthetic form and ritual efficacy, such vessels must be understood not as passive containers but as active participants in therapeutic processes. Their carved or modeled bodies articulate a visual language through which illness, misfortune, and restoration are conceptualized, negotiated, and ultimately transformed. In this context, the vessel does not merely hold substances; it structures relationships—between healer and patient, human and spirit, interior affliction and exterior intervention. Please note that in absence of laboratory tests, the attribution is provided for reference only, based on our knowledge and experience in the field. Incl stand. Materially, these works are most often fashioned from wood, though ceramic examples are also attested, each medium carrying distinct connotations of durability, permeability, and ancestral resonance. The surfaces bear traces of handling and repeated use: accumulations of libations, residues of vegetal compounds, and the patina of time. Such markings are neither incidental nor degradative; rather, they index the object’s biography within cycles of activation and repose. The vessel’s form frequently incorporates anthropomorphic or zoomorphic elements, suggesting a convergence of corporeal and symbolic registers. A torso may swell to create a cavity, a head may seal or guard an opening, or limbs may stabilize the object in a posture that evokes vigilance or supplication. These formal strategies articulate a conception of the body as both vulnerable to intrusion and capable of containment, mirroring broader understandings of health as a balance of forces rather than a fixed state. Within healing practices, the vessel operates as a focal point for the orchestration of substances and words. Herbal preparations, mineral powders, or liquids are introduced into its interior, their efficacy augmented through incantation, gesture, and the invocation of ancestral or tutelary entities. The sculptural exterior, far from being merely decorative, frames and intensifies this process. It renders visible the otherwise intangible dimensions of affliction and cure, giving form to entities or energies that are believed to inhabit or influence the human body. In this sense, the vessel can be read as a diagram of transformation, one in which containment and release are staged as complementary movements. The opening of the container, whether literal or symbolic, marks the moment at which disorder is confronted and reconfigured. To approach these objects within a museum or catalogue context entails a necessary shift in perspective. Removed from their original settings of use, they risk being reduced to stylistic exemplars or ethnographic curiosities. Yet their formal complexity and material specificity continue to encode the conditions of their making and use. The tension between their aesthetic presence and their former ritual function invites a reconsideration of categories that have historically governed the display of African art. Rather than privileging form over function, or vice versa, the Adamawa healing vessel insists on their inseparability. It embodies a mode of artistic production in which the efficacy of an object is inseparable from its appearance, and in which the visible and the invisible are held in a dynamic, and ultimately generative, equilibrium.