This Senufo statue from the Sikasso region stands in the tradition of figurative art from the northern Senufo cultural sphere, which extends beyond present-day national borders. Within the religious and social institutions of the Senufo, particularly in connection with the Poro Society, sculptures served as bearers of spiritual authority and as material manifestations of protection, ancestral presence, and moral order. Their formal design combines idealized physicality with symbolic expressiveness. The standing figure is characterized by a compact, dynamic pose. The bent arms with clenched fists lend it a remarkable energy; the short staff in the right hand can be interpreted as an attribute of authority, protection, or ritual action. Above the high forehead rises a characteristic mohawk, its pointed shape emphasizing the sculpture's vertical dynamism. The closed eyes and pursed mouth convey an impression of inner reflection and spiritual concentration. Two semicircular grooves on the cheeks are reminiscent of scarification patterns, which marked identity and social affiliation in many West African societies. The small amulet alludes to the figure's protective dimension, while the pointed breasts and patterned loincloth emphasize gender and social identity. The legs, ending in a base, draw the eye to the powerfully sculpted torso. A glossy patina and fine wear marks document its long history of use and lend the work an impressive historical presence. Literature (selection) Anita J. Glaze, Art and Death in a Senufo Village, Bloomington 1981. Robert Goldwater, Senufo Sculpture from West Africa, New York 1964. Patrick R. McNaughton, The Mande Blacksmiths: Knowledge, Power and Art in West Africa, Bloomington 1988. Eberhard Fischer / Hans Himmelheber, The Art of the Ivory Coast, Zurich 1984. Herbert M. Cole, Icons: Ideals and Power in the Art of Africa, Washington D.C. 1989. Jacques Kerchache, Jean-Louis Paudrat and Lucien Stéphan, L'Art africain, Paris 1988. MAZ14029