This bone figurine from northern Togo belongs to the cultural context of the Moba (Bimoba) people, whose sculptural traditions are characterized by a pronounced reduction and symbolic condensation. Figures of this type are often associated with ancestor worship and protective practices, serving as material anchors of spiritual presence within domestic or ritual spaces. Incl stand. The figure is strictly frontal and upright, distinguished by a radical simplification of the human form. A spherical, faceless head sits directly on a cuboid chest, deliberately eliminating anatomical differentiation. A notch separates the torso from the abdomen and structures the vertical axis. The arms lie close to the body and extend downwards without sculpted hands, further emphasizing the formal unity. Below the hips, accentuated by a yellow beaded necklace, the body widens slightly before transitioning into only suggested, tapered legs. The absence of feet reinforces the impression of an abstracted, almost symbolic figure. The glossy reddish-brown patina and visible signs of wear suggest prolonged use and underscore the object's integration into ritual practices. In its formal rigor and material reduction, the figure articulates an aesthetic that aims less at individualization than at the intensification of presence and spiritual efficacy. Literature (selection) Roy, Christopher D.: Art of the Upper Volta Rivers. Paris, 1987. Cole, Herbert M.: Icons: Ideals and Power in the Art of Africa. Washington, 1989. Blier, Suzanne Preston: African Vodun: Art, Psychology, and Power. Chicago, 1995. Vogel, Susan Mullin: Africa Explores: 20th Century African Art. New York, 1991. CAB47035