Baule Festival Mask, Didiévi Region, Ivory Coast, wood with polychrome paintwork; Central Ivory Coast, Didiévi Region. Incl stand. This festival mask belongs to the rich mask tradition of the Baule people in the central region of Ivory Coast. Within Baule society, masks served not only religious purposes but were also central elements of public festivals, dances, and ceremonial performances. They combined spiritual presence with aesthetic virtuosity and conveyed ideals of beauty, vitality, and social order. The mask's powerful colors are particularly striking. A black-painted, cap-like headdress rises above the flat face, culminating in two prominent horns. Their white tips, along with the rows of white dots on the forehead, create a strong contrast to the dark areas. Red dotted ornaments below the horns further enliven the composition and lend it a festive air. The face is painted in a vibrant red and follows a highly stylized design language. A long, ridge-like nose dominates the central axis, connecting the forehead and mouth into a single vertical line. The stamp-like, protruding eyes, their white shapes accentuated by black internal markings, enhance the abstract effect. The open mouth with its pointed white teeth and red-highlighted tongue lends the mask a vibrant, almost theatrical expressiveness. The construction as a helmet-like mask with internal fastening cords suggests its use in dance. Cracks and signs of wear document its age and ritual use, underscoring the authenticity of this extraordinary work. Literature (Selection) Susan Mullin Vogel: Baule: African Art, Western Eyes. New Haven 1997. Monni Adams: Akan Arts and Aesthetics. Los Angeles 1983. Herbert M. Cole: Icons: Ideals and Power in the Art of Africa. Washington 1989. Eberhard Fischer / Hans Himmelheber: The Art of the Ivory Coast. Zurich 1984. Christopher D. Roy: Traditional Art of Africa. Upper Saddle River 1999. Jacques Kerchache among others: L’Art Africain. Paris 1988.