This figure from northern Togo belongs to the cultural context of the Losso (also known as Nawdeba), a society in the savannah region of West Africa whose sculptural traditions are characterized by a reduced, functionally oriented formal language. Sculptures of this kind are often associated with protective practices, ancestral veneration, or locally rooted ritual acts, and serve as material vehicles of spiritual presence. The upright figure is oriented frontally and is distinguished by a consistent simplification of human anatomy. The head sits directly on the shoulders without a pronounced neck and displays highly reduced facial features: round hollows for eyes, a long, straight nose, and a closed mouth with full lips. Circular ears frame the face and reinforce its schematic clarity. The arms run close to the body, taper downwards, and end without sculpted hands. The torso features prominently displayed nipples and navel, while a suggested band of ornamentation encircles the chest and hips, alluding to social or ritual markers. The broad pelvis transitions into short, tapered legs without feet, giving the figure a stable yet abstract base. Mounting the sculpture on a pedestal, along with clear signs of wear, cracks, and surface loss, indicates prolonged use and suggests its integration into ritual contexts. In its formal reduction, the sculpture embodies an aesthetic of condensation, in which physical presence and spiritual function are inextricably linked. 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. LaGamma, Alisa (ed.): Sahel: Art and Empires on the Shores of the Sahara. New York, 2020. Insoll, Timothy: Archaeology, Ritual, Religion. London, 2004. CAB47284