The Greek that is translated “these women” in English, referring to Euodia and Syntyche from the previous verse, was translated in the Mandarin Chinese “Peking Version” translation (publ. 1872) via affixing shì (氏) to Euodia’s and Syntyche’s names. In classical Chinese, shì could notify female gender but was likely obsolete in spoken Chinese in the 19th century already as it is today. When Katharine Bushnell (1855-1946) read this translation after arriving in China as a medical missionary in 1879, she likely didn’t understand shì that way (particularly because the “Nanking Version,”the other Mandarin Chinese translation available then, and the “Delegates Version,” the most common Literary or Classical Chinese version used more transparent translations). Instead she assumed that the gender of Euodia and Syntyche was simply dropped. She herself recounts what happened:
“Finding a sex-biassed translation in the Chinese translation of the Bible, I one day asked a male missionary about it. He said that undoubtedly it was so rendered because of pagan prejudice against the ministry of women. I was shocked. It had never before entered my mind that such a thing could be. This led to my tracing other signs, both in the Chinese and the English Bible, that pointed in the same direction, when I consulted my Greek Testament. Could it be possible that men allowed prejudice to color Scripture translation?” (Source: Katherine Bushnell in A Brief Sketch of Her Life, 1932 ).
This caused Bushnell to “devote [herself] to more careful and critical study of the Greek New Testament, and later, of the Greek Old Testament; and [she] added the study of Hebrew for comparison in the Old Testament” (source: see above), resulting in the highly influential God’s Word to Women, beginning in 1908 and finally as a 100-chapter study in book form in 1921.
Bushnell states in the book: “Supposing women only had translated the Bible, from age to age, is there a likelihood that men would have rested content with the outcome? Therefore, our brothers have no good reason to complain if, while conceding that men have done the best they could alone, we assert that they did not do the best that could have been done. The work would have been of a much higher order had they first helped women to learn the sacred languages (instead of putting obstacles in their way), and then, have given them a place by their side on translations committees.” (God’s Word to Women, p. 146, accessible here )
Painting by Wang Suda 王肅達 (1910-1963),
Copyright by the Catholic University Peking, China
Text under painting translated from Literary Chinese into English:
A Wealthy Youth
Abandon all that you have. Come and follow me
Image taken from Chinese Christian Posters . For more information on the “Ars Sacra Pekinensis” school of art, see this article , for other artworks of that school in TIPs, see here.
Painting by Wang Suda 王肅達 (1910-1963),
Copyright by the Catholic University Peking, China
Text under painting translated from Literary Chinese into English:
Establishing the Church
You are the rock, on this I will establish my Church
Image taken from Chinese Christian Posters . For more information on the “Ars Sacra Pekinensis” school of art, see this article , for other artworks of that school in TIPs, see here.
The Hebrew that is rendered in English as “proverbs” (or “Proverbs” as the title of the book) is translated into Pökoot as ngötïnyö (or Ngötïnyö), which refers to use of figurative language that is used in such a way that things are being said in an indirect way. At the same time they communicate general wisdom. (Source: Gerrit van Steenbergen)
In the Tzeltal translation for the dialectal variant of Highland Tzeltal (Biblia Tzeltal yu’un Oxchuc soc Tenejapa, 2001), a term based on “head wisdom” is used. (See wisdom (Proverbs)).
In Literary Chinese and Mandarin Chinese use 箴言 / zhēnyán which means “motto” or “proverb,” but originally means “word of warning.” A number of other East Asian languages, including Japanese (箴言 / shingen), Korean (잠언), or Vietnamese (châm ngôn) use the same term. (Source: Zetzsche)
Painting by Wang Suda 王肅達 (1910-1963),
Copyright by the Catholic University Peking, China
Text under painting translated from Literary Chinese into English:
Authorized Confession
Receive the Holy Spirit. If you forgive anyone their sins, they are forgiven.
Image taken from Chinese Christian Posters . For more information on the “Ars Sacra Pekinensis” school of art, see this article , for other artworks of that school in TIPs, see here.
John Wu Ching-hsiung (1899-1986) was a native of Ningbo, Zhejiang, a renowned jurist who studied in Europe and the United States, and served as a professor of law at Soochow University, as a judge and the Acting President of the Shanghai Provisional Court, and as the Vice President of the Commission for the Drafting of the Constitution of the Republic of China, before becoming the Minister of the Republic of China to the Holy See. Wu has written extensively, not only on law but also on Chinese philosophy, and has also written his autobiography, Beyond East and West, in English. Wu was a devout Catholic and had a personal relationship with Chiang Kai-shek (1887-1975). Wu began translating the the Psalms in 1938, and was encouraged by Chiang to translate the entire New Testament, which he corrected in his own handwriting. (…) John Wu Ching-hsiung’s translation of the Psalms (first draft in 1946, revised in 1975) was translated into Literary Chinese in the form of poetic rhyme, with attention paid to the style of writing. According to the content and mood of the different chapters of the original psalm, Wu chose Chinese poetic forms such as tetrameter, pentameter, heptameter [4, 5 or 7 syllables/Chinese characters per stanza], and the [less formal] Sao style, and sometimes more than two poetic forms were used in a single poem. (Source: Simon Wong)
John Wu Ching-hsiung himself talks about his celebrated and much-admired (though difficult-to-understand) translation in his aforementioned autobiography: (Click or tap here to see)
“Nothing could have been farther from my mind than to translate the Bible or any parts of it with a view to publishing it as an authorized version. I had rendered some of the Psalms into Chinese verse, but that was done as a part of my private devotion and as a literary hobby. When I was in Hongkong in 1938, I had come to know Madame H. H. Kung [Soong Ai-ling], and as she was deeply interested in the Bible, I gave her about a dozen pieces of my amateurish work just for her own enjoyment. What was my surprise when, the next time I saw her, she told me, “My sister [Soong Mei-ling] has written to say that the Generalissimo [Chiang Kai-shek] likes your translation of the Psalms very much, especially the first, the fifteenth, and the twenty-third, the Psalm of the Good Shepherd!”
“In the Autumn of 1940, when I was in Chungking, the Generalissimo invited me several times to lunch with him and expressed his appreciation of the few pieces that he had read. So I sent him some more. A few days later I received a letter from Madame Chiang [Soong Mei-ling], dated September 21, 1940, in which she said that they both liked my translation of the few Psalms I had sent them. ‘For many years,’ she wrote, ‘the Generalissimo has been wanting to have a really adequate and readable Wen-li (literary) translation of the Bible. He has never been able to find anyone who could undertake the matter.’ The letter ends up by saying that I should take up the job and that ‘the Generalissimo would gladly finance the undertaking of this work.’
“After some preliminary study of the commentaries, I started my work with the Psalms on January 6, 1943, the Feast of the Epiphany.
“I had three thousand years of Chinese literature to draw upon. The Chinese vocabulary for describing the beauties of nature is so rich that I seldom failed to find a word, a phrase, and sometimes even a whole line to fit the scene. But what makes such Psalms so unique is that they bring an intimate knowledge of the Creator to bear upon a loving observation of things of nature. I think one of the reasons why my translation is so well received by the Chinese scholars is that I have made the Psalms read like native poems written by a Chinese, who happens to be a Christian. Thus to my countrymen they are at once familiar and new — not so familiar as to be jejune, and not so new as to be bizarre. I did not publish it as a literal translation, but only as a paraphrase.
“To my greatest surprise, [my translation of the Psalms] sold like hot dogs. The popularity of that work was beyond my fondest dreams. Numberless papers and periodicals, irrespective of religion, published reviews too good to be true. I was very much tickled when I saw the opening verse of the first Psalm used as a headline on the front page of one of the non-religious dailies.”
A contemporary researcher (Lindblom 2021) mentions this about Wu’s translation: “Wu created a unique and personal work of sacred art that bears the imprint of his own admitted love and devotion, a landmark achievement comparable to Antoni Gaudi’s Basilica of the Sagrada Família in Barcelona, Spain. Although its use is still somewhat limited today, it continues to attract readers for the aforementioned qualities, and continues to be used in prayers and music by those who desire beauty and an authentic Chinese-sounding text that draws from China’s ancient traditions.”
The translation of Psalm 35 from the 1946 edition is in pentameter and the rarely used rhyme scheme is -i (the 1946 edition did not have verse numbers either):
Painting by Wang Suda 王肅達 (1910-1963),
Copyright by the Catholic University Peking, China
Text under painting translated from Literary Chinese into English:
Healing the Paralytic
The Lord said to him, “Rise! Walk!”
Image taken from Chinese Christian Posters . For more information on the “Ars Sacra Pekinensis” school of art, see this article , for other artworks of that school in TIPs, see here.
Painting by Wang Suda 王肅達 (1910-1963),
Copyright by the Catholic University Peking, China
Text under painting translated from Literary Chinese into English: Jesus Ascended to Heaven
The Lord returned to Heaven and was seated at the right hand of Father
Image taken from Chinese Christian Posters . For more information on the “Ars Sacra Pekinensis” school of art, see this article , for other artworks of that school in TIPs, see here.
Following is a painting (“Ascension of Jesus”) by Bagong Kussudiardja (1928-2004):
“Bagong Kussudiardja was born in Indonesia and brought up among artists. He began to study the classical dances of Java at the age of 18 and his love of dance has always been foremost in his life. After independence in 1945, Bagong began to experiment with dances which would reflect the new spirit in Indonesia.
Bagong takes a close interest in all aspects of the arts. He is a skilled batik painter and as the painting indicates, his oil paintings also rank with the finest. His painting of the dancing Christ ascending to heaven was prepared for the Second Conference of the Asian Christian Art Association held in the Philippines.” (Source for this and the image: The Bible Through Asian Eyes by Masao Takenaka and Ron O’Grady 1991)
The following is a church window based on an image of Annie Vallotton. This is installed in a church of the Union des Églises Baptistes du Cameroun in Mowo (Mokong), Cameroon.
Photo and the following description by Ken Hollingsworth
“The windows are open with no screens or glass. The pictures were fabricated by projecting the picture using an overhead projector on a piece of plywood. They were drawn on the plywood with charcoal. Then the fabricator cut pieces of iron rebar to make the picture. Then the iron pieces were welded together. Later, when the pictures were installed, they were painted with different colors to help the people ‘see’ the picture.”
The following is a stained glass window from the Three choir windows in the Marienkirche, Frankfurt (Oder), Germany, of the 14th century:
Source: Der gläserne Schatz: Die Bilderbibel der St. Marienkirche in Frankfurt (Oder), Neuer Berlin Verlag, 2005, copyright for this image: Brandenburgisches Landesamt für Denkmalpflege und Archäologisches Landesmuseum
Stained glass is not just highly decorative, it’s a medium which has been used to express important religious messages for centuries. Literacy was not widespread in the medieval and Renaissance periods and the Church used stained glass and other artworks to teach the central beliefs of Christianity. In Gothic churches, the windows were filled with extensive narrative scenes in stained glass — like huge and colorful picture storybooks — in which worshipers could ‘read’ the stories of Christ and the saints and learn what was required for their religious salvation. (Source: Victoria and Albert Museum )