This female Baule figurine from the Tiébissou region in central Ivory Coast belongs to the rich Baule sculptural tradition, in which idealized human representations serve as vehicles for aesthetic, social, and spiritual values. Such figures were often associated with ancestor worship, personal cults, or the concept of blolo beings, the spiritual companions of the afterlife, and embody an ideal of beauty, balance, and moral integrity. The figurine is distinguished by its meticulously crafted hairstyle, with three braids held close to the head, alluding to the importance of hair as a sign of social identity and refined appearance. The alert, frontal gaze and slightly pursed lips lend the face a focused yet dignified presence. The long, straight neck emphasizes the elegance of the figure, while the finely sculpted hands rest on the abdomen, conveying a posture of inner reflection. A vertical groove runs between the flatly modeled breasts, complemented by further linear incised ornamentation on the abdomen and back. These delicate decorations are reminiscent of traditional body ornamentation and underscore the figure's aesthetic perfection. The cord, wrapped several times around the hips and adorned with beads on the back, subtly suggests jewelry and social status. The slightly bent knees lend the figure a gentle sense of movement. Abrasion marks and the patina, which shines in places, attest to prolonged ritual use and careful maintenance. Literature (Selection) Vogel, Susan Mullin: Baule: African Art, Western Eyes. New Haven 1997. Delafosse, Maurice: Les Baoulé et les Agni de la Côte d’Ivoire. Paris 1901. Cole, Herbert M.: Icons: Ideals and Power in the Art of Africa. Washington D.C. 1989. Himmelheber, Hans: The Art of the Baule. Munich 1960. Roberts, Mary Nooter / Roberts, Allen F.: A Saint in the City: Sufi Arts of Urban Senegal. Los Angeles 2003. MAZ14282