Terracotta Figure Pair of Losso – Two Anthropomorphic Sculptures with Different Head Shapes Origin: Niamtougou Region, Kara Region, Northern Togo Cultural Attribution: Losso (Nawda), attributed Material: Fired clay, reddish-brown terracotta with pronounced gray-white surface deposits Dating: Not certain Provenance: Niamtougou Region, Togo, according to the traditional provenance information Description This ensemble of two anthropomorphic terracotta figures is characterized by remarkable formal unity and, at the same time, by distinct differences in the design of the heads. Both sculptures have elongated, nearly cylindrical bodies that terminate in a flattened base without articulated legs. The figures appear upright and frontally oriented, with their heads tilted slightly upwards. The left-hand figure, slightly larger, possesses a strikingly tall, sculpted head, the sides and upper portions of which are characterized by fan-shaped, deeply incised grooves. These radially oriented structures could represent an elaborate hairstyle, a headdress, or a stylized ornamental crowning element. The face is distinguished by a prominent nose, narrow eyes, and sculpted lips. The cheeks blend almost seamlessly into the robust neck. Two rounded protrusions emerge from the upper part of the torso, possibly representing breasts and suggesting a female identification. In contrast, the right-hand figure has an almost spherical, largely smooth head. Its features are more simplified, defined by a protruding nose, small, rounded eyes, and a narrow mouth. The body appears more compact and less differentiated. Both sculptures exhibit a heavily weathered surface, with gray, whitish, and dark brown deposits that only partially reveal the original reddish terracotta. Small chips, cracks, and irregular indentations characterize the material's structure and lend the figures a distinctly archaic appearance. Art Historical Analysis The Losso, who also refer to themselves as Nawda, are one of the ethnic groups of northern Togo. Their historical settlement areas are located primarily in the vicinity of Niamtougou and in adjacent landscapes of the present-day Kara region. The cultural traditions of this area developed within a complex regional network shaped by contact between different ethnic groups, local religious beliefs, and diverse craft practices. The ceramic traditions of northern Togo include not only functional vessels but also figurative works, the precise historical and ritual context of which is not always sufficiently documented. Based on its documented origin, the present pair of figures can be placed within this broader cultural context. Particularly characteristic is the strong reduction of the human body to a closed, columnar form. The sculptures largely omit the depiction of arms, hands, and legs, concentrating the sculptural representation on the head, face, and upper body. This formal simplification lends the figures a pronounced monumentality that is effective regardless of their actual dimensions. The different design of the heads could indicate a deliberate differentiation between two depicted persons or beings. While the left figure possesses a particular visual presence through its elaborately structured headdress, the right figure appears more reserved due to its smooth skull shape and simplified physiognomy. Whether these differences had a social, gendered, or spiritual significance cannot be determined without reliable ethnographic comparisons. The question of whether both figures were originally created as a matching ensemble also remains open. Symbolism and Iconography The iconographic peculiarity of the pair of figures lies in the juxtaposition of two human figures whose basic body form is the same, while their heads differ significantly. In numerous West African pictorial traditions, the human head holds special significance as a bearer of personal identity, social status, or spiritual concepts. A corresponding interpretation could also be considered for the terracotta figures in question, but cannot be considered certain without specific cultural evidence. The fan-shaped headdress of the left figure could represent a special hairstyle or ceremonial headdress. Its careful execution suggests that this feature was used for identification. The representation of the depicted figure was significant. The figure on the right, in contrast, has an almost smooth, spherical head, the simplified design of which forms a clear contrast. The possible depiction of female breasts on the figure on the left opens the possibility of interpreting a gender differentiation within the ensemble. Since corresponding features are not clearly discernible on the figure on the right, however, their identification as a male-female pair remains hypothetical. They could also be two figures of different ages, social ranks, or spiritual functions. The upright posture and the closed body form convey a calm, concentrated presence. The figures do not appear engaged in a specific action but rather embody a static, almost timeless form of human existence. It is precisely this restraint in the representation that opens up a wide range of interpretations without allowing for a definitive iconographic classification. Ritual Function and Cultural Context Within various societies of northern Togo, traditional religious beliefs, ancestor relationships, and local protectorates hold a historically significant position. Material objects can be used in such contexts as components of shrines, as symbolic representations of specific individuals, or as bearers of ritual significance. A corresponding function would be conceivable for the terracotta figures in question. Their column-like design and flattened lower ends could indicate that they were originally placed on a flat surface or presented in a specific spatial context. However, it is not documented whether they were used within a domestic shrine, at a communal cult site, or in some other setting. The pronounced surface deposits warrant particular attention. Their grayish-white coloration could have resulted from mineral processes, prolonged burial in the ground, or other environmental influences. Previous treatment with certain substances is also conceivable. However, without material analysis, it cannot be determined whether these deposits are attributable to ritual use. The paired presentation of the figures could also have special significance. In various West African cultures, pairs of figures can express notions of kinship, social complementarity, or genealogical continuity. Such an interpretation remains speculative for the present ensemble, however, as long as no reliable information about its original context of use is available. Art Historical Assessment The particular aesthetic quality of these two terracotta sculptures lies in their consistent focus on elementary sculptural forms. The elongated, cylindrical bodies form serene vertical axes, while the differently designed heads stand out as striking sculptural focal points. The left figure unfolds a lively, rhythmic structure through its fan-shaped crown, whose radial lines create a dynamic contrast to the smooth body form. In contrast, the right figure appears more closed and compact. Its spherical skull design underscores the focus on a few essential features of human physiognomy. The surface effect of the two sculptures is particularly noteworthy. The irregular gray and whitish deposits, the dark discolorations, and the reddish terracotta that occasionally emerges create a differentiated material texture that further accentuates the sculptural volumes. The figures thus possess an impressive physical presence, arising less from anatomical accuracy than from the balanced organization of simple forms. Within the art-historical context of the ceramic traditions of northern Togo, the ensemble can be considered, subject to its cultural attribution, a remarkable example of abstracting anthropomorphic sculpture. Its particular significance lies in the dynamic interplay between formal uniformity and individual differentiation. The two figures appear simultaneously as independent sculptures and as possible components of a shared artistic concept, the original meaning of which requires further scholarly investigation. Literature For a more in-depth scholarly analysis, ethnographic studies of the Losso and Nawda peoples, as well as comparative studies of the ceramic traditions of the Kara region and northern Togo, should be consulted. Currently, no verified art-historical publication directly related to this specific type of figure exists. Copyright and Scientific Documentation Some of the information and photographs have been generated with the assistance of artificial intelligence and are based on published sources in ethnography, archaeology, and art history. Original texts and photographs may be protected by copyright. All rights held by the respective rights holders are reserved. Inv. No. MAZ32020 Informant: Petit Coulibaly Height: 35 cm / 31 cm Weight: 2,6 kg / 2 kg Sold without TL test. Catawiki's experts perform a virtual review based on the information, photographs, provenance and supporting documentation provided during the submission process. 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