A Baule Maternity sculpture collected in Daoukro region, Ivory Coast, seated on a stool cradling an infant. Dark wood, glossy patina; signs of ritual use and age. Baule maternity figures are sculptural representations of women holding or nursing children, created by the Baule people of central Côte d’Ivoire. These figures form a significant subset within the broader canon of Baule statuary and are typically used in both private and communal ritual contexts. Their meanings are layered and complex, blending themes of fertility, protection, ancestral reverence, and spiritual intercession. Carved in wood, a Baule maternity figure usually depicts a seated or sometimes standing woman with a calm and symmetrical expression, holding an infant either on her lap or at her breast. The woman’s posture is upright and composed, signifying dignity and stability. Her features are idealized according to Baule aesthetic conventions: almond-shaped eyes often cast downward in introspection, an elongated nose, finely arched brows, and closed lips conveying serenity. The figure's head is often elaborately coiffed, and the body displays well-defined scarification patterns that reflect traditional concepts of beauty and social status. The infant is typically rendered at a smaller scale but with distinct features and careful attention to anatomical detail. The interaction between mother and child is understated rather than sentimental; emotional restraint in the depiction aligns with the Baule ideal of controlled behavior and inner strength. The polished surface and overall formal harmony are characteristic of Baule sculpture more broadly, reinforcing the spiritual and aesthetic values embodied by the object. These maternity figures serve multiple functions. In some cases, they are part of waka sran or "wooden person" sculptures representing spirit spouses from the otherworld. A woman may commission a maternity figure if her spirit husband is believed to be causing infertility or harm to her children. The figure thus becomes a means to appease the spirit and restore balance. Offerings, grooming, and ritual dialogues are performed to maintain the favor of the spirit world. Maternity figures also play roles in divination. Trance diviners, or komien, may use such figures in their ritual practice, where the sculpture acts as a receptacle for a spirit that provides healing knowledge or reveals the source of misfortune. In these settings, the maternal theme may extend beyond physical fertility to include protection, spiritual nurturing, and the well-being of the community. In some instances, the figures are said to represent ancestral mothers or clan founders, linking them to ideas of origin and continuity. Although primarily associated with spiritual concerns, Baule maternity figures also reflect social ideals. They embody womanhood, motherhood, and the values placed on nurturing, resilience, and beauty within Baule society. Their presence in domestic or shrine spaces reinforces the importance of female roles in both the earthly and spiritual domains. The relative naturalism and restraint of Baule maternity figures have made them highly sought after in the international art market. Their harmonious proportions and polished surfaces appeal to Western aesthetic sensibilities, while their deep symbolic significance offers insight into Baule cosmology and ritual life. Nonetheless, their full meaning can only be understood in the cultural context that produced them, where their function extended far beyond representation into the realm of spiritual agency and social coherence. References: Vogel, Susan M. Baule: African Art, Western Eyes. Yale University Press, 1997. Kerchache, Jacques, Jean-Louis Paudrat, and Lucien Stephan. Art of Africa: The Three Thousand-Year History. Harry N. Abrams, 1995. Robbins, Warren M., and Nancy Ingram Nooter. African Art in American Collections. Smithsonian Institution Press, 1989. Gottlieb, Alma, and Philip Graham. Parallel Worlds: An Anthropologist and a Writer Encounter Africa. University of Chicago Press, 1993. Fagg, William. African Sculpture. Collins, 1965.