Lobi female sculpture, Burkina Faso, Kampti region. Incl stand. The sculpture depicts a standing human figure, extremely refined and vertical. The artist has prioritized the simplification of volumes and the power of the silhouette rather than anatomical naturalism. The figure is organized along a strictly frontal axis, conveying a strong impression of stability and immobility. The head is ovoid or slightly polygonal in shape with a flattened apex. The face is reduced to a few essential elements: the eyes are represented by small, shallow circular cavities; the long, triangular nose descends directly from the forehead in an almost continuous plane; and a discreet mouth, sculpted in low relief beneath the nose, together producing a calm, distant, and timeless expression. The arms are drawn forward, the hands seeming to converge toward the abdomen where they frame or support a small child—a symbolic representation of the womb or fertility, an attribute specific to a particular category of bateba (traditional Lobi figures). “The Lobi people are an ethnic group that primarily resides in Burkina Faso, Ghana, and Ivory Coast in West Africa. They are known for their unique artistic and craft traditions, especially their wood-carving skills. Wood is considered a sacred material among the Lobi people, and it plays an important role in their artistic and spiritual traditions. The Lobi people believe that wood has a spirit or life force and that it can be used to connect with the spiritual world. Lobi wooden sculptures are typically carved from a single piece of wood, with the grain of the wood used to accentuate the contours of the figure. The figures are often highly stylized, with elongated limbs and exaggerated features. They are decorated with intricate patterns and designs that are often symbolic of the Lobi people's animist beliefs. One of the most common types of Lobi-carved wooden sculptures is the Bateba figure. These figures are believed to represent the spirits of ancestors and are often used in ancestor worship. They are typically depicted with their arms outstretched and their faces turned upwards as if reaching toward the spiritual world. Another common type of Lobi wooden sculpture is the Thil figure. These figures are used in divination and healing ceremonies and are often decorated with cowrie shells, beads, and other materials. The Thil figure is usually depicted with its arms at its sides and its legs bent at the knees.” Lit: Daniela Bognolo: Lobi. Visions of Africa, 2007 Milan; Floros & Sigrid Katsouros/Stephan und Petra Herkenhoff: Anonyme Schnitzer der Lobi, Hannover 2006; Piet Meyer: Kunst und Religion der Lobi, Zürich 1981; Galerie Flak: Magie Lobi, Paris 2003; Floros Katsouros: Lobi - Figuren, chefs d'oeuvre und Kultobjekte, Hannover 2013; Kat. Ausst.: Lobi. Westafrikanische Skulpturen aus der Sammlung Greschik, anlässlich der Ausstellung „Die Entdeckung des Individuums“, 2016. Giovanni Franco Scanzi, Lobi Traditional Art, 1993. This information is created by AI and based on published ethnographic and art-historical sources.