ONE OF THE AKAN PEOPLE WHO INHABITED AN
AREA OF SOUTHERN GHANA, THE BAULE
PROBABLY MIGRATED WEST TO THEIR PRESENT
HOME IN IVORY COAST MORE THAN TWO
HUNDRED YEARS AGO. ALTHOUGH INFLUENCED
BY THE GURO, SENUFO, AND OTHER
NEIGHBORING GROUPS, BAULE FIGURE
SCULPTURE IS DISTINCTIVE FOR ITS GRACE,
BEAUTY AND THE VIRTUOSITY OF ITS CARVING.
BAULE FIGURES FUNCTION IN TWO PRINCIPLE
WAYS; AS THE ABODE OF A NATURE SPIRIT
BEFORE WHOM SACRIFICES ARE MADE, OR AS A
REPRESENTATION OF ONE'S SPOUSE IN THE
SPIRIT WORLD, WHOSE IMAGE MUST BE
ENSHRINED AND ATTENDED. THE SEATED
FEMALE FIGURE SITS ON A STOOL, EMANATING
THE FEELING OF FERTILITY THROUGH HER
POSTURE, VOLUPTUOUS BODY AND HER
GRACEFUL FEMININITY. HER FACE IS
INTRICATELY CARVED TO SHOW DETAILS, AND
HER REALISTIC FEATURES CREATE A DISTINCT
EXPRESSION. FROM HER CHIN PROTRUDES OUT
AN OVAL SHAPED OBJECT WHICH PEHAPS HAS A
SYMBOLIC SIGNIFICANCE. SHE ALSO WEARS A
BEADED NECKLACE AROUND HER GRACEFUL
NECK, AND HER FEET ARE PROTECTED WITH A
PAIR OF SANDLES. HER HANDS ARE GENTLY
PLACED ON HER BELLY, BEAUTIFULLY
ACCENTUATING HER FERTILITY. SUCH
SCULPTURE WAS MOST LIKELY PLACED ON A
SHRINE, REPRESENTING ONE'S SPOUSE OR A
SPIRIT THAT GRANTS WOMEN FERTILITY AND
LIFE. AS BEAUTIFULLY SCULPTED AS THE FIGURE
IS, IT IS CLEAR THAT HER SPIRIT WAS ALSO
NURTURING AND BENEVOLENT.
- (PF.3629)
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