"staff with serpent"

#12563624

18 July 2025

Flags with the Asclepius symbol stand at the entrance of the Asklepios Klinik fur Lungenkrankheiten (Lung Diseases) in Gauting, Bavaria, Germany, on July 18, 2025. The emblem, showing a snake coiled around a staff, symbolizes healing and medicine in reference to the Greek god Asclepius.

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#12563628

18 July 2025

Flags with the Asclepius symbol stand at the entrance of the Asklepios Klinik fur Lungenkrankheiten (Lung Diseases) in Gauting, Bavaria, Germany, on July 18, 2025. The emblem, showing a snake coiled around a staff, symbolizes healing and medicine in reference to the Greek god Asclepius.

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#12563633

18 July 2025

Flags with the Asclepius symbol stand at the entrance of the Asklepios Klinik fur Lungenkrankheiten (Lung Diseases) in Gauting, Bavaria, Germany, on July 18, 2025. The emblem, showing a snake coiled around a staff, symbolizes healing and medicine in reference to the Greek god Asclepius.

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#12563637

18 July 2025

Flags with the Asclepius symbol stand at the entrance of the Asklepios Klinik fur Lungenkrankheiten (Lung Diseases) in Gauting, Bavaria, Germany, on July 18, 2025. The emblem, showing a snake coiled around a staff, symbolizes healing and medicine in reference to the Greek god Asclepius.

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#12563638

18 July 2025

Flags with the Asclepius symbol stand at the entrance of the Asklepios Klinik fur Lungenkrankheiten (Lung Diseases) in Gauting, Bavaria, Germany, on July 18, 2025. The emblem, showing a snake coiled around a staff, symbolizes healing and medicine in reference to the Greek god Asclepius.

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#12563639

18 July 2025

Flags with the Asclepius symbol stand at the entrance of the Asklepios Klinik fur Lungenkrankheiten (Lung Diseases) in Gauting, Bavaria, Germany, on July 18, 2025. The emblem, showing a snake coiled around a staff, symbolizes healing and medicine in reference to the Greek god Asclepius.

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#12434114

1 June 2025

Municipal cleanliness staff wash the ground ahead of the Bhoto Jatra procession, which marks the end of the months-long Rato Machhindranath chariot procession in Lalitpur, Nepal, on June 1, 2025. The chariot procession of Rato Machhindranath is observed for at least one month to four months and ends with the showing of the 'Bhoto,' expecting the rightful owner to come and claim it. Historians claim that the chariot procession of Machhindranath started around 1,300 years ago. According to legend, shortly after the procession started, the queen of the serpent king Karkotak developed an eye ailment. While searching for a healer, Karkotak mistook a farmer working in the fields for a physician and brought him to Taudaha, a wetland on the outskirts of Kathmandu. Frightened, the farmer prays to Machhindranath and rubs his hands on the soil to make an herbal paste. He offers it to Karkotak as medicine, and the paste cures the queen's eyes. Grateful, Karkotak rewards the farmer with a jewel-studded vest (bhoto) and returns him to the human world. The farmer begins wearing the bhoto while working in his fields. One day, a ghost in human form steals the vest. The farmer searches everywhere but cannot find it. Later, while attending the Machhindranath chariot festival, he sees the ghost wearing the same vest and claims it as his. When the ghost refuses to return it, a dispute breaks out. People summon Karkotak to resolve the conflict. In the end, because neither party can prove ownership, they entrust the bhoto to Machhindranath. Since then, devotees follow the tradition of displaying the bhoto after the chariot procession, hoping that someone with valid proof of ownership will come forward. Each year, they display the sacred vest on an auspicious date. According to legend, no one has succeeded in proving ownership of the bhoto so far.

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#11138871

11 April 2024

LONDON, UNITED KINGDOM - APRIL 11, 2024: A staff member looks at “Clive”, “Decolonised Structures ” (2022-23) comprised of seven fibreglass sculptures of colonial figures, hand-painted with Dutch wax pattern during a photocall for Yinka Shonibare's "Suspended States" exhibition at Serpentine South in London, United Kingdom on April 11, 2024. The first solo exhibition of Shonibare’s work in a London public institution for over 20 years explores central themes of legacies of colonial power, sites of refuge and shelter as well as the ecological impact of colonisation, the European legacy of imperialism and consequential attempts at peace.

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#11138872

11 April 2024

LONDON, UNITED KINGDOM - APRIL 11, 2024: A staff member stands among “Decolonised Structures” (2022-23) comprised of seven fibreglass sculptures of colonial figures such as Queen Victoria and Winston Churchill, hand-painted with Dutch wax pattern during a photocall for Yinka Shonibare's "Suspended States" exhibition at Serpentine South in London, United Kingdom on April 11, 2024. The first solo exhibition of Shonibare’s work in a London public institution for over 20 years explores central themes of legacies of colonial power, sites of refuge and shelter as well as the ecological impact of colonisation, the European legacy of imperialism and consequential attempts at peace.

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#11138873

11 April 2024

LONDON, UNITED KINGDOM - APRIL 11, 2024: Staff members stand among “Decolonised Structures” (2022-23) comprised of seven fibreglass sculptures of colonial figures such as Queen Victoria and Winston Churchill, hand-painted with Dutch wax pattern during a photocall for Yinka Shonibare's "Suspended States" exhibition at Serpentine South in London, United Kingdom on April 11, 2024. The first solo exhibition of Shonibare’s work in a London public institution for over 20 years explores central themes of legacies of colonial power, sites of refuge and shelter as well as the ecological impact of colonisation, the European legacy of imperialism and consequential attempts at peace.

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#11138874

11 April 2024

LONDON, UNITED KINGDOM - APRIL 11, 2024: A staff member looks at “Churchill”, “Decolonised Structures ” (2022-23) comprised of seven fibreglass sculptures of colonial figures, hand-painted with Dutch wax pattern during a photocall for Yinka Shonibare's "Suspended States" exhibition at Serpentine South in London, United Kingdom on April 11, 2024. The first solo exhibition of Shonibare’s work in a London public institution for over 20 years explores central themes of legacies of colonial power, sites of refuge and shelter as well as the ecological impact of colonisation, the European legacy of imperialism and consequential attempts at peace.

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#11138875

11 April 2024

LONDON, UNITED KINGDOM - APRIL 11, 2024: A staff member stands among “Decolonised Structures” (2022-23) comprised of seven fibreglass sculptures of colonial figures such as Queen Victoria and Winston Churchill, hand-painted with Dutch wax pattern during a photocall for Yinka Shonibare's "Suspended States" exhibition at Serpentine South in London, United Kingdom on April 11, 2024. The first solo exhibition of Shonibare’s work in a London public institution for over 20 years explores central themes of legacies of colonial power, sites of refuge and shelter as well as the ecological impact of colonisation, the European legacy of imperialism and consequential attempts at peace.

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#11138876

11 April 2024

LONDON, UNITED KINGDOM - APRIL 11, 2024: A staff member looks at “Queen Victoria”, “Decolonised Structures ” (2022-23) comprised of seven fibreglass sculptures of colonial figures, hand-painted with Dutch wax pattern during a photocall for Yinka Shonibare's "Suspended States" exhibition at Serpentine South in London, United Kingdom on April 11, 2024. The first solo exhibition of Shonibare’s work in a London public institution for over 20 years explores central themes of legacies of colonial power, sites of refuge and shelter as well as the ecological impact of colonisation, the European legacy of imperialism and consequential attempts at peace.

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#11138861

11 April 2024

LONDON, UNITED KINGDOM - APRIL 11, 2024: A staff member stands among “Decolonised Structures” (2022-23) comprised of seven fibreglass sculptures of colonial figures such as Queen Victoria and Winston Churchill, hand-painted with Dutch wax pattern during a photocall for Yinka Shonibare's "Suspended States" exhibition at Serpentine South in London, United Kingdom on April 11, 2024. The first solo exhibition of Shonibare’s work in a London public institution for over 20 years explores central themes of legacies of colonial power, sites of refuge and shelter as well as the ecological impact of colonisation, the European legacy of imperialism and consequential attempts at peace.

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#11138864

11 April 2024

LONDON, UNITED KINGDOM - APRIL 11, 2024: A staff member looks at “Churchill”, “Decolonised Structures ” (2022-23) comprised of seven fibreglass sculptures of colonial figures, hand-painted with Dutch wax pattern during a photocall for Yinka Shonibare's "Suspended States" exhibition at Serpentine South in London, United Kingdom on April 11, 2024. The first solo exhibition of Shonibare’s work in a London public institution for over 20 years explores central themes of legacies of colonial power, sites of refuge and shelter as well as the ecological impact of colonisation, the European legacy of imperialism and consequential attempts at peace.

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#11138865

11 April 2024

LONDON, UNITED KINGDOM - APRIL 11, 2024: A staff member looks at “Churchill”, “Decolonised Structures ” (2022-23) comprised of seven fibreglass sculptures of colonial figures, hand-painted with Dutch wax pattern during a photocall for Yinka Shonibare's "Suspended States" exhibition at Serpentine South in London, United Kingdom on April 11, 2024. The first solo exhibition of Shonibare’s work in a London public institution for over 20 years explores central themes of legacies of colonial power, sites of refuge and shelter as well as the ecological impact of colonisation, the European legacy of imperialism and consequential attempts at peace.

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