This group of Prampram figurines from the south-central coastal region of Ghana belongs to a long-established group of figurative sculptures originating within the cultural context of the Ga and Dangme societies. Such figures were frequently associated with ancestor worship, protective functions, and local sacred sites. Their highly abstracted formal language differs significantly from the naturalistic tendencies of other West African art traditions and focuses on the symbolic representation of spiritual presence. The ensemble consists of a pair of standing figures, each mounted on its own pedestal. Both figures exhibit the characteristic features of Prampram sculptures: large, round heads, elongated bodies, and tapered limbs without detailed hands or feet. The arms hanging down at the sides emphasize the vertical unity of the composition and lend the figures a serene yet dynamic presence. The eyes, nose, and mouth are rendered as perforations. The circularly opened mouths, in particular, convey the impression of singing, whistling, or ritual speech, thus alluding to the importance of sound and invocation within spiritual practices. The perforated breasts and the three vertically arranged openings on the abdomen rhythmically structure the body's surface, creating a remarkable formal unity. The slightly protruding bellies can be interpreted as symbols of vitality and fertility. Small cracks and signs of wear document the figures' history of use and lend them historical authenticity. Literature (Selection) Cole, Herbert M. / Ross, Doran H.: The Arts of Ghana. Los Angeles 1977. Ross, Doran H.: Art at the Crossroads: The Continent and the Diaspora. Gainesville 2013. Blier, Suzanne Preston: African Vodun: Art, Psychology, and Power. Chicago 1995. Garrard, Timothy F.: Akan Weights and the Gold Trade. London 1980. Cole, Herbert M.: Icons: Ideals and Power in the Art of Africa. Washington D.C. 1989. MAZ14991 Hight: 101 cm / 103 cm Weight: 3,3 kg / 3,3 kg (incl. stand)