This elephant mask (Klolo / Glao) from the region around Yamoussoukro belongs to the visual tradition of the Baule people in Côte d’Ivoire. It represents a motif that is relatively rare within Baule mask production, yet embodies a particularly striking synthesis of human and animal symbolism. The object combines several formal elements: the broad, reddish ears of the elephant, white tusks, and a decorative band across the forehead between the ears. The eyes are rendered as half-closed and perforated, lending the mask an expression of calm, controlled dignity. The physiognomic design follows a characteristic aesthetic logic of Baule sculpture. A human facial type—defined by a serene forehead, almond-shaped eyes, and symmetrical structure—merges seamlessly with the animal body of the elephant. This fusion of human and animal features is a central feature of many West African mask traditions, enabling a process of visual transformation in which the wearer does not merely represent a character but enters a spiritual state. Within Baule cosmology, the elephant holds particular significance. It represents strength, authority, and social power. In courtly contexts, it may symbolize royal authority; within the framework of masquerade, however, it is often interpreted as an image of another form of power—the capacity for transformation and adaptation within the community. Such masks typically appear in dance performances in which the performers wear elaborate costumes. They may form part of public festivals or ritual events intended for village purification or the invocation of spiritual forces. In some instances, the elephant mask is associated with a spirit being whose manifestation during the masquerade serves to protect the community from harmful influences. The half-closed eyes—a common stylistic feature in Baule art—convey a sense of inward focus and controlled energy. Rather than emotional drama, the emphasis lies on a quiet, almost contemplative presence. In art historical literature, this aesthetic restraint is often interpreted as an expression of balance and spiritual concentration. Museumssammlungen Baule-Elefantenmasken sind heute in zahlreichen internationalen Museumssammlungen afrikanischer Kunst zu finden. Beispiele sind: Brooklyn Museum – besitzt mehrere Elefantenmasken aus der Baule-Kultur aus dem späten 19ten und frühen 20ten Jahrhundert. British Museum – umfangreiche Sammlung westafrikanischer Masken, darunter Baule-Objekte aus frühen ethnografischen Sammlungen. Cleveland Museum of Art – Sammlung von Masken von der Elfenbeinküste, einschließlich verwandter Elefantenmasken. Art Institute of Chicago – besitzt auch Masken von der Elfenbeinküste mit ähnlicher Ikonographie. Diese Museen bewahren zahlreiche Beispiele der Baule-Maskenkunst und zeigen sie in Sammlungen afrikanischer Kunst. Literatur Susann Mullin Vogel, Baule: African Art, Western Eyes, Yale University Press, 1998 Jean-Baptiste Bacquart, Die Tribal Arts von Afrika, Thames & Hudson, 2002 Carol Beckwith & Angela Fisher, Afrikanische Zeremonien, Verleger Harry N. Abrams, 1999 Alisa Lagamma, Genesis: Ideen des Ursprungs in der afrikanischen Skulptur, Metropolitan Museum of Art, 2013 Informant Bakari Bouaflé CAB38318