A Royal Baule mask, Toumodi region, Côte d’Ivoire. Toumodi lies in the forest–savanna transition zone of central Côte d’Ivoire, within the historic Baule (Baoulé) cultural heartland. The Baule emerged in the eighteenth century as part of Akan-speaking migrations from present-day Ghana, traditionally linked to the legacy of Queen Pokou. Over time, Baule polities developed decentralized but hierarchically organized chiefdoms, each governed by a ruler (amanhene) supported by lineage heads and ritual specialists. The Toumodi region became an important political and artistic center due to fertile agricultural land (yam, cocoa, coffee cultivation) and its role in linking northern trade routes with the forested south. Baule artistic production—particularly sculpture and masking—flourished within this environment of courtly patronage, lineage competition, and ritual performance. Unlike more overtly dramatic masks of northern Côte d’Ivoire, Baule royal masks emphasize elegance, idealization, and composure—qualities aligned with Akan concepts of civilized beauty and moral character. These masks are portrait-like but not naturalistic. They present an idealized image of a respected individual—often a chief, lineage head, or honored community member—embodying inner character (sunsum) rather than literal likeness. Toumodi masks represent what many scholars consider the classical Baule ideal: equilibrium, composure, and refined spiritual presence. Other Baule regions maintain the same aesthetic philosophy but interpret it with different degrees of ornamentation, sculptural boldness, or performative emphasis. In essence, Toumodi royal masks are distinguished less by radical formal differences and more by level of courtly refinement and sculptural subtlety, reflecting the region’s historical importance within Baule political and artistic networks. CAB34459