A Prampram couple, Southern Ghana, natural brownish surface. Among the Prampram people of coastal Ghana, paired sculptural figures are associated with local shrine practices and protective ritual contexts. Examples collected in Accra often originate from communities along the eastern coastal corridor where Prampram carving traditions developed in interaction with neighboring Ga and Dangme artistic styles. Prampram couples are typically carved as male and female figures presented as a balanced pair, standing upright with rigid frontal posture and simplified anatomy. Bodies tend to be slender with elongated torsos and relatively long legs, giving the figures a vertical emphasis. Arms are commonly straight or slightly bent and positioned close to the sides. A characteristic regional feature is the strong stylization of the head. Heads are often disproportionately large, with cylindrical or slightly oval forms. Facial features are carved in a restrained manner: eyes and mouth as small holes, the nose as a long and narrow ridge. The figures are usually covered with a natural brownish to occhre patina, sometimes enhanced by ritual substances or oils applied during use. Another recurring trait in Prampram pairs is the clear gender differentiation through minimal attributes: the female figure may display indicated breasts or a slightly wider hip area, while the male figure often appears more linear in body structure. The overall style emphasizes symmetry, verticality, and schematic carving, characteristic of sculptural production in the Prampram coastal region. Herbert M. Cole and Doran H. Ross, The Arts of Ghana (Los Angeles: UCLA Museum of Cultural History, 1977). A foundational survey with important sections on Ga and Adangbe shrine arts, including figural representations and their ritual contexts. Roy Sieber, African Sculpture: The Catalogue of the University Museum, University of Pennsylvania (Philadelphia: University of Pennsylvania Press, 1969). վաղ canonical classifications and discussions of coastal Ghanaian sculpture, including early documentation of Ga–Adangbe figures. Susan Mullin Vogel, African Aesthetics: The Carlo Monzino Collection (New York: Center for African Art, 1986). Offers interpretive approaches to surface, patina, and the relationship between use and form, applicable to southern Ghanaian works. Barbara Thompson, “The Sign of the Divine: The Aesthetic and Ritual Use of Kaolin in West Africa,” African Arts 26, no. 2 (1993): 56–67. While centered on kaolin, this article provides broader insight into surface treatment and symbolic materials across the region. Rosalind I. J. Hackett, Art and Religion in Africa (London: Cassell, 1996). Contextualizes the role of objects within religious systems, including shrine use among coastal Ghanaian communities. Marion Johnson, “Aspects of the Art of the Ga-Adangbe,” in African Arts 5, no. 2 (1972): 28–33. One of the few focused discussions on Ga–Adangbe artistic production, including figural sculpture and its social meanings. Kwame Amoah Labi, The Art of the Ga and Adangbe Peoples of Ghana (Accra: Institute of African Studies, University of Ghana, 1980). A regionally grounded study անդր emphasizing indigenous interpretations of form, function, and symbolism. CAB41758 Height: 111 cm / 107 cm Weight: 5 kg / 5,1 kg