At first glance one could attribute this beautiful mask to the Dan cultural realm, while in fact it originates from their Western neighbors in Liberia, the Mano. Both cultures, however, share the same practices, and the present mask would be used in a very similar manner as it would in Ivory Coast. A notable difference with Dan masks is the typical presence of ears. Characteristically, Dan masks have a flat back, while Mano masks are more angled, the lower half of the face gently projecting forwards. This beautiful mask is distinguished by the remarkable delicacy in which its facial features are defined. The gorgeous naturalistic lips imbue the mask with personality. A deep groove on top of the upper lip indicates the philtrum, while the nose features elegant nostrils. The narrow slit eyes identify this Mano mask as feminine; it indeed embodied the female beauty ideal of the Mano. The lush dark patina of the mask exalts the tension of its curves. From the front, the perfect rigor of the composition imposes itself, with a perfect harmony between the different features. The superb surface on the back, the thinness of the carving and the old worn suspension holes attest to the great age of this mask. Crowning this perfectly balanced face, the double line of perforations formerly marking the location of a fiber headdress, offers an ultimate minimalist adornment. The van Strien Mano mask asserts itself by the sereneness of its physiognomy, combining naturalism and idealization.