An Attie ceremonial staff "de la justice ", Ivory coast, région Akoupé, natural brownish patina, partly shiny by a touch patina, signs of ritual use. Incl stand. Attie sculptures originate from the Attie (or Atyé) people, an Akan-speaking group primarily located in the south-eastern regions of Côte d’Ivoire, near the lagoons of the Gulf of Guinea. Their sculptural traditions, although less widely studied than those of other West African groups, have garnered increasing scholarly attention for their distinctive style and ritual function. These sculptures are primarily anthropomorphic and exhibit a complex interplay of form, symbolism, and social function. Attie male figures are generally carved in wood and are characterized by upright posture, elongated torsos, and delicately modeled faces. The faces often feature almond-shaped eyes, high foreheads, and relatively small, pursed mouths. Scarification marks may be present, echoing traditional bodily modifications practiced within the community. The hairstyle or headgear depicted on the figures often mirrors real-life ceremonial hairstyles or headdresses worn by men of status. The detailing tends to be symmetrical, and although the surface treatment varies, it often includes a rich patina resulting from ritual handling, oiling, or libations. Functionally, Attie sculptures were not merely aesthetic objects. Male figures were used in shrines as intermediaries between the human and spiritual realms. These figures played a role in various contexts, such as ancestor worship, protective rites, and fertility ceremonies. In some cases, they were kept by diviners or spiritual leaders (commonly referred to as “komian”) who employed them during consultations or healing rituals. They could represent spiritual beings, deceased ancestors, or tutelary spirits. The male gender of the figure was often associated with roles such as protection, authority, and community leadership. The style of Attie male sculptures reflects both local artistic canons and broader Akan influences, which is evident in their formal elegance and emphasis on lineage and identity. Yet they retain distinctive regional traits, setting them apart from neighboring Baule or Agni traditions, even if certain stylistic features overlap due to shared cultural and religious frameworks across the southern Ivorian forest zone. Academic documentation of Attie sculpture remains relatively limited compared to other Akan-related traditions. Much of what is known comes from comparative studies, museum catalogues, and field research conducted in the mid-to-late twentieth century. Though not produced in large numbers, Attie figures reflect a deep engagement with the metaphysical and social structure of their communities. They provide insight into the ways in which visual form was used to negotiate identity, spiritual presence, and historical continuity. References: Vogel, Susan M. Baule: African Art, Western Eyes. Yale University Press, 1997. Holas, B. Arts de la Côte d’Ivoire. Musée de l’Homme, 1969. Kerchache, Jacques, Jean-Louis Paudrat, and Lucien Stephan. Art of Africa: The Three Thousand-Year History. New York: Harry N. Abrams, 1995. Robbins, Warren M., and Nancy Ingram Nooter. African Art in American Collections. Smithsonian Institution Press, 1989. Bohumil Holas. Les Attié: Côte d'Ivoire. Editions Berger-Levrault, 1957. Musée du Quai Branly – Jacques Chirac, object records and catalogue entries. Height: 54 cm without stand.