Indian Naga Sadhus, or naked holy men, participate in a procession before taking a “shahi snans”, or holy bath, at the Sangam river, the confluence of three of the holiest rivers in Hindu mythology, the Ganga, the Yamuna and the Saraswati, during Kumbh Mela festival in Allahabad, Uttar Pradesh, India, 15 January 2019. The Hindu festival is one of the biggest in India and will be held from 15 January to 04 March 2019 in Allahabad. (Photo by Rajat Gupta/EPA/EFE)

Labourers push wooden boards before carrying them to construct a temporary pontoon bridge over the Ganges river for the upcoming Hindu festival of Magh Mela in Allahabad on November 24, 2019. The Magh Mela is held every year on the banks of Triveni Sangam – the confluence of the three great rivers Ganga, Yamuna and the mystical Saraswati – in Allahabad during the Hindu month of Magh which corresponds to mid January – mid February. (Photo by Sanjay Kanojia/AFP Photo)

An Indian sadhu (Hindu holy man) sits on the banks of Sangam – the confluence of the Ganges, Yamuna and mythical Saraswati rivers – on the auspicious bathing day of 'Maghi Purnima' during the Kumbh Mela festival in Allahabad on February 19, 2019. Millions of Hindu pilgrims took the plunge in holy rivers on the most auspicious bathing days of the Kumbh Mela festival, led by naked, ash-smeared holy men and accompanied by chants from Hindu holy texts. (Photo by Sanjay Kanojia/AFP Photo)

Members of Panchayati Akhara Bada Udasin take part in a religious procession as they head towards the Kumbh Mela festival ahead of the royal bath near the Sangam, the confluence of three of the holiest rivers in Hindu mythology – Ganga, Yamuna, and the mythical Saraswati – in Prayagraj, Uttar Pradesh, India, 12 January 2025. Every 12 years, Hindu pilgrims gather for ritual baths at the river's banks during the Maha Kumbh Mela festival. (Photo by Rajat Gupta/EPA)

Rangoli, also known as kolam or Muggu, is a folk art from India in which patterns are created on the floor in living rooms or courtyards using materials such as colored rice, dry flour, colored sand or flower petals. It is usually made during Diwali, Onam, Pongal and other Indian festivals. They are meant to be sacred welcoming areas for the Hindu deities. The ancient symbols have been passed down through the ages, from each generation to the next, keeping both the art form and the tradition alive. Similar practices are followed in different Indian states: in Tamil Nadu, there is Kolam in Tamil Nadu; Mandana in Rajasthan; Chaookpurna in Chhattisgarh; Alpana in West Bengal; Aripana in Bihar; Chowk pujan in Uttar Pradesh; Muggu in Andhra Pradesh and others.

While communism, collectivism, worms, dry rot and casual looting failed to destroy the majestic wooden churches of Russia, it may be ordinary neglect that finally does them in. Dwindled now to several hundred remaining examples, these glories of vernacular architecture lie scattered amid the vastness of the world’s largest country. Just over a decade ago, Richard Davies, a British architectural photographer, struck out on a mission to record the fragile and poetic structures. Austerely beautiful and haunting, “Wooden Churches: Traveling in the Russian North” (White Sea Publishing; $132) is the result. Covering thousands of miles, Mr. Davies described how he and the writer Matilda Moreton tracked down the survivors from among the thousands of onion-domed structures built after Prince Vladimir converted to Christianity in 988.

Is it a leaf? Is it tree bark? No, it’s the Satanic leaf-tailed gecko. Cleverly disguised as a rotting leaf, Madagascar’s camouflage king has red eyes, pointy horns and a taste for night hunting: it’s nature’s most devilish deceiver. The twisted body and veiny skin echo the detail of a dry leaf, which ensures the gecko blends in with its forest home. The mottled tail appears to have sections missing, as though it has withered over time. This mini-monster epitomises survival of the fittest, having adapted gradually to become today’s extraordinary leaf impersonator. (Photo by Thomas Marent/ARDEA)

Some companies in Taiwan spend months building temples with bricks and cement, but Lin Fu-Chun's firm simply pours concrete into a giant mould and waits for it to dry. The 78-year-old Lin said his temple factory, Chuanso, needed just over six weeks to finish a building that normally took six months with conventional methods – and moulding was 40 percent cheaper. Here: An employee paints a ready-made Chinese traditional temple at the Chuanso factory that manufactures religious objects in Pingtung, Taiwan July 5, 2016. (Photo by Tyrone Siu/Reuters)