This statue of the Bété people from the Guibéroua region belongs to the artistic traditions of the western forested areas of Côte d’Ivoire. Bété art is closely linked to concepts of ancestral presence, spiritual efficacy, and social identity. Figurative representations served not only decorative purposes but also functioned as material interfaces between the visible and invisible worlds. Incl stand. The upright figure is characterized by a remarkable combination of abstraction and physical presence. The forward-facing palms lend it an open yet authoritative posture. The intricately articulated hairstyle is particularly noteworthy, its tripartite structure emphasizing the sculpture's verticality. A delicate eyebrow runs beneath the high forehead, continuing in raised lines below the eyes and giving the face a mask-like quality. The closed eyes and circularly shaped ears evoke a state of inner reflection and spiritual concentration. The long neck flows into a powerfully sculpted shoulder and chest area, while the elongated, downward-pointing breasts emphasize the figure's feminine identity. The diamond-shaped ornament on the narrow abdomen structures the surface and may allude to scarification patterns or social affiliation. The deliberately shortened legs, lacking detailed feet, reinforce the formal density of the composition. A glossy patina, fine drying cracks, and signs of wear testify to age and use, lending the work that historical depth characteristic of many authentically used Bété sculptures. Literature (selection) Eberhard Fischer / Hans Himmelheber, The Art of the Ivory Coast, Zurich 1984. Hans Himmelheber, Negro Art and Negro Artists in Africa, Braunschweig 1960. Herbert M. Cole, Icons: Ideals and Power in the Art of Africa, Washington D.C. 1989. Susan M. Vogel, Africa Explores: 20th Century African Art, New York 1991. Jacques Kerchache, Jean-Louis Paudrat and Lucien Stéphan, L'Art africain, Paris 1988. MAZ13665