This Bété figure from the Gagnoa region in southwestern central Ivory Coast belongs to the tradition of sculptures that, within Bété societies, served as vehicles of spiritual presence, social identity, and ritual efficacy. In contrast to the more idealized figures of neighboring Akan groups, Bété art is often characterized by a powerful physicality and a pronounced physical presence, visualizing strength, protection, and vitality. The standing figure is crowned by a finely crafted braided hairstyle that structures the head and alludes to the significance of hair as an expression of social affiliation. The frontal gaze and slight smile lend the face an open, almost communicative aura. The large ears are striking and can be interpreted as symbols of attentiveness, wisdom, or spiritual receptivity. The body is characterized by robust proportions. The downward-pointing breasts, the small, stamp-like navel, and the band-like ornaments on the neck and lower abdomen structure the figure and combine physical presence with decorative order. The bent arms with upward-facing palms create a gesture of offering, receiving, or spiritual openness. The prominently emphasized knees and large feet, in particular, lend the sculpture a strong sense of stability and underscore its monumental effect. The glossy patina and slight signs of wear document prolonged use and attest to the figure's cultic significance. Literature (Selection) Himmelheber, Hans: The Art of the Ivory Coast. Munich 1964. Fischer, Eberhard / Homberger, Lorenz: The Art of the Ivory Coast. Zurich 1979. Cole, Herbert M.: Icons: Ideals and Power in the Art of Africa. Washington D.C. 1989. Vandenhoute, Claude: Masques and traditional societies of Côte d'Ivoire. Paris 1975. Glaze, Anita J.: Art and Death in a Senufo Village. Bloomington 1981. MAZ14571