This male Senufo statue from the Ferkessédougou region in northern Côte d'Ivoire belongs to the sculptural tradition of a culture whose carvings were closely linked to the religious teachings of the Poro society. Figures of this type served as vessels for spiritual presence and were utilized in initiation rituals, ancestor cults, or within sanctuaries. Their appearance combines idealized physicality with symbolically charged ornamentation that makes social identity and spiritual authority visible. The standing figure is distinguished by an exceptionally athletic and balanced physique. The hairstyle consists of a bifurcated crest - resembling a Mohawk - that converges to a point above the forehead and terminates in a braided queue at the nape of the neck. Distinctive eyebrows flow seamlessly into a long, narrow nose that defines the vertical axis of the slender face. Closed eyes and lips lend the figure a dignified, contemplative air, while the flattened, semicircular ears underscore the head's clear symmetry. Finely incised patterns on the temples, corners of the mouth, abdomen, shoulders, arms, and above the small breasts evoke traditional scarification marks, reflecting Senufo aesthetic and social concepts. The arms hang at the sides, with thumbs hooked into the loincloth, lending the posture a calm, natural composure. Armbands on the upper arms and wrists emphasize the sculpture's ceremonial character. The long, slightly flexed legs terminate in a block-like base rather than fully modeled feet, further accentuating the figure's monumental verticality. The lustrous patina and fine traces of wear bear witness to a long history of ritual use, lending the sculpture its historical authenticity. Selected Bibliography Glaze, Anita J.: Art and Death in a Senufo Village. Bloomington: Indiana University Press, 1981. Himmelheber, Hans: Negerkunst und Negerkünstler. Braunschweig 1960. Fischer, Eberhard / Homberger, Lorenz: Die Kunst der Elfenbeinküste. Zurich 1979. Boone, Sylvia Ardyn (ed.): West African Art: The Senufo. Munich: Prestel, 1986. Cole, Herbert M.: Icons: Ideals and Power in the Art of Africa. Washington, D.C. 1989. Informant: Bakari M*A*Z*1*6*6*9*2* The seller guarantees and can prove that the object was obtained legally. The seller was informed by Catawiki that they had to provide the documentation required by the laws and regulations in their country of residence. The seller guarantees and is entitled to sell/export this object. The seller will provide all provenance information known about the object to the buyer. The seller ensures that any necessary permits are/will be arranged. The seller will inform the buyer immediately about any delays in obtaining such permits.