TRIGONOLITH Polished grey stone Dim.H 20 x W 14 cm. Taino culture, c. 1000-1500 AD Provenance Ex Schuler, Zurich, June 1998, lot 2853 French private collection, Paris, since then Remarkable trigonite in finely polished grey stone, of characteristic triangular shape with pointed top and rounded base. The sculpture features a stylised anthropomorphic face in relief on one side: schematised facial features with protruding globular eyes, a prominent nose and a mouth suggested by linear incisions. An ear modelled in volume stands out on the left side, while incised geometric motifs adorn the surface, including a rectangular cartouche with internal decoration on the upper part. Trigonoliths are one of the most enigmatic manifestations of pre-Columbian art in the Greater Antilles. These ceremonial objects, typical of the Taino culture that dominated the Caribbean islands (present-day Cuba, Hispaniola, Puerto Rico and Jamaica) before the arrival of Europeans, bear witness to a complex cosmology and an elaborate ritual system. The term "trigonolite" (from the Greek trigonon, triangle, and lithos, stone) refers to these triangular stones, the exact function of which is still debated. The main hypotheses suggest that they were ritual objects linked to cohoba ceremonies (inhalation of hallucinogenic substances), territorial markers, or symbolic representations of sacred mountains and deified ancestors. The anthropomorphic representation on this piece probably evokes a zemi, a central spiritual entity in the Taino religion. Zemis embodied the forces of nature and deified ancestors, acting as intermediaries between the visible and invisible worlds. Their representation in stone ensured a permanent, protective presence. The stylised facial features and bulging eyes are characteristic of Taino aesthetics, possibly reflecting the visionary state of trance sought during ritual ceremonies. The incised geometric motifs probably had a precise symbolic value, perhaps constituting a codified visual language understood by initiates. The triangular shape itself has a cosmological significance, evoking the three levels of the Taino cosmos: the celestial world, the terrestrial world and the aquatic underworld. A Taino Grey Stone Trigonolith. c. 1000-1500 A.D. Remarkable trigonolith in finely polished grey stone, of characteristic triangular form with pointed apex and rounded base. The sculpture presents a stylized anthropomorphic face in relief on one side: schematized facial features with protruding globular eyes, prominent nose, and mouth suggested by linear incisions. A volumetrically modeled ear projects from the left side, while incised geometric motifs adorn the surface, notably a rectangular cartouche with internal decoration on the upper portion. Trigonoliths constitute one of the most enigmatic manifestations of pre-Columbian art of the Greater Antilles. These ceremonial objects, specific to the Taíno culture that dominated the Caribbean islands (present-day Cuba, Hispaniola, Puerto Rico, Jamaica) before the arrival of Europeans, bear witness to a complex cosmology and elaborate ritual system. The term "trigonolith" (from Greek trigonon, triangle, and lithos, stone) designates these triangular stones whose exact function remains debated. The principal hypotheses suggest they were ritual objects linked to cohoba ceremonies (inhalation of hallucinogenic substances), territorial markers, or symbolic representations of sacred mountains and deified ancestors. The anthropomorphic representation on this example likely evokes a zemi, a central spiritual entity in Taíno religion. Zemis embodied the forces of nature, deified ancestors, and served as intermediaries between the visible and invisible worlds. Their representation in stone ensured a permanent and protective presence. The stylized facial features and globular eyes characterize Taíno aesthetics, possibly reflecting the visionary trance state sought during ritual ceremonies. The incised geometric motifs likely possessed precise symbolic value, perhaps constituting a codified visual language understood by initiates. The triangular form itself holds cosmological significance, evoking the three levels of the Taíno cosmos: the celestial world, the terrestrial world, and the aquatic underworld.