Following is a 1973 painting of the JESUS MAFA project, a response to New Testament readings from the Lectionary by a Christian community in Cameroon, Africa. Each of the readings was selected and adapted to dramatic interpretation by the community members. Photographs of their interpretations were made, and these were then transcribed to paintings:
From Art in the Christian Tradition, a project of the Vanderbilt Divinity Library, Nashville, TN. Image retrieved March 23, 2026. Original source: librairie-emmanuel.fr.
Painting by Chen Yuandu 陳緣督 (1902-1967)
Housed in the Société des Auxiliaires des Missions Collection – Whitworth University
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 1973 painting of the JESUS MAFA project, a response to New Testament readings from the Lectionary by a Christian community in Cameroon, Africa. Each of the readings was selected and adapted to dramatic interpretation by the community members. Photographs of their interpretations were made, and these were then transcribed to paintings:
This dramatic painting is full of joy—calling the viewer to be happy alongside the children running to Jesus. We know from the gospel passage that the disciples were rebuking the people bringing the children to him. Jesus responds saying, “Let the little children come to me, and do not hinder them, for the kingdom of God belongs to such as these” Mark 10:14. Imagine choosing a life of humility, one that recognizes the value in others and fully celebrates the beautiful differences and similarities we share as humans. Imagine a world where the weakest and most vulnerable are not rejected but protected, heard, and valued. Let us be like the children in this painting—eager to hear Jesus and accept his blessings. Let us be like Jesus, accepting the vulnerable into our hearts and lives.
From Art in the Christian Tradition, a project of the Vanderbilt Divinity Library, Nashville, TN. Image retrieved March 23, 2026. Original source: librairie-emmanuel.fr.
Following is a hand-colored stencil print on washi by Sadao Watanabe (1992):
Image taken with permission from the SadaoHanga Catalogue where you can find many more images and information about Sadao Watanabe.
For other images of Sadao Watanabe art works in TIPs, see here.
Illustration “So he ran ahead and climbed a sycamore tree to see him” by Annie Vallotton, copyright by Donald and Patricia Griggs of Griggs Educational Service. More images can be viewed at rotation.org .
For other images by Annie Vallotton on Translation Insights & Perspectives, see here.
Following is a hand-colored stencil print on momigami by Sadao Watanabe (1993).
Image taken with permission from the SadaoHanga Catalogue where you can find many more images and information about Sadao Watanabe.
For other images of Sadao Watanabe art works in TIPs, see here.
Following is a 1973 painting of the JESUS MAFA project, a response to New Testament readings from the Lectionary by a Christian community in Cameroon, Africa. Each of the readings was selected and adapted to dramatic interpretation by the community members. Photographs of their interpretations were made, and these were then transcribed to paintings:
From Art in the Christian Tradition, a project of the Vanderbilt Divinity Library, Nashville, TN. Image retrieved March 23, 2026. Original source: librairie-emmanuel.fr.
Hand colored stencil print on washi by Sadao Watanabe (1969).
Image taken with permission from the SadaoHanga Catalogue where you can find many more images and information about Sadao Watanabe. For other images of Sadao Watanabe art works in TIPs, see here.
The following is the image “Pentecost” by Sister Marie Claire , SMMI (1937–2018) from Bengaluru, India:
Following is a 1973 painting of the JESUS MAFA project, a response to New Testament readings from the Lectionary by a Christian community in Cameroon, Africa. Each of the readings was selected and adapted to dramatic interpretation by the community members. Photographs of their interpretations were made, and these were then transcribed to paintings:
The exuberant expression of joy in this depiction represents the Acts story, including Mary and the women mentioned in Acts, Chapter 1. Pentecost was originally an ancient Hebrew time of thanksgiving celebration for the first grain harvest, as recorded in Leviticus. The new significance given to this day by the gospel writers and early Christians extends that joyful expression to the new “filling up” by the Holy Spirit.
Source: Art in the Christian Tradition, a project of the Vanderbilt Divinity Library, Nashville, TN. Image retrieved March 23, 2026. Original source: librairie-emmanuel.fr.
The following is a 2003 stained glass window by Ronald Kraut from the Our Lady Of Pentecost Church, Quezon City, Philippines:
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 )
Following is a 1973 painting of the JESUS MAFA project, a response to New Testament readings from the Lectionary by a Christian community in Cameroon, Africa. Each of the readings was selected and adapted to dramatic interpretation by the community members. Photographs of their interpretations were made, and these were then transcribed to paintings:
In this painting, we see a generous, wealthy host, choosing to hold a feast for the poor. A large group of disenfranchised people are gathered together eating, talking, and enjoying one another’s company. The faces of the host and all his guests show expressions of joy and gratitude. This scene reveals a community who took Jesus’ instructions from Luke 14:13 seriously: “But when you give a banquet, invite the poor, the crippled, the lame, and the blind.” Followers of Jesus are to remain humble, expecting nothing in return for the Christ-like love we are called to share with the world.
From Art in the Christian Tradition, a project of the Vanderbilt Divinity Library, Nashville, TN. Image retrieved March 23, 2026. Original source: librairie-emmanuel.fr.
Image taken from He Qi Art . For purchasing prints of this and other artworks by He Qi go to heqiart.com .
For other images of He Qi art works in TIPs, see here.
Following is a 1973 painting of the JESUS MAFA project, a response to New Testament readings from the Lectionary by a Christian community in Cameroon, Africa. Each of the readings was selected and adapted to dramatic interpretation by the community members. Photographs of their interpretations were made, and these were then transcribed to paintings:
Jesus and his disciples stand in a back corner observing the transactions taking place at the temple treasury. A man in rich clothing throws a gold coin into the jar while a seemingly blind beggar sits a few feet away asking for help from passersby. The widow carries a large jug on her head, holding a small child as she drops small, dull coins into the same jar. Jesus’ comments have been widely misunderstood as mere praise for the widow, for poverty. Instead, his words are also a critique of the systemic economic injustices that require the widow (whom the religious establishment should be helping) to give all she has to support the rich community of religious leaders. The church would do well to remember that it is out of its abundance that it is called to help those who are needy—not exploit what little the needy have for its own personal gain.
From Art in the Christian Tradition, a project of the Vanderbilt Divinity Library, Nashville, TN. Image retrieved March 23, 2026. Original source: librairie-emmanuel.fr.
Image taken from He Qi Art . For purchasing prints of this and other artworks by He Qi go to heqiart.com . For other images of He Qi art works in TIPs, see here.
Following is an artwork by Sister Marie Claire , SMMI (1937–2018) from Bengaluru, India:
For more information about images by Sister Marie Claire and ways to purchase them as lithographs, see here . For other images of Sister Marie Claire paintings in TIPs, see here.
Following is a 1973 painting of the JESUS MAFA project, a response to New Testament readings from the Lectionary by a Christian community in Cameroon, Africa. Each of the readings was selected and adapted to dramatic interpretation by the community members. Photographs of their interpretations were made, and these were then transcribed to paintings:
From Art in the Christian Tradition, a project of the Vanderbilt Divinity Library, Nashville, TN. Image retrieved March 23, 2026. Original source: librairie-emmanuel.fr.
The following is a stained glass window depicting Mary’s visitation to Elizabeth. It was created by Ateliers Maréchal de Metz between 1848 and 1860 for the Cathédrale Notre-Dame de Luxembourg.
Photo by Marcin Szala, hosted by Wikimedia Commons under a Creative Commons Attribution-Share Alike 3.0 Unported license
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 )
Following is a 1973 painting of the JESUS MAFA project, a response to New Testament readings from the Lectionary by a Christian community in Cameroon, Africa. Each of the readings was selected and adapted to dramatic interpretation by the community members. Photographs of their interpretations were made, and these were then transcribed to paintings:
From Art in the Christian Tradition, a project of the Vanderbilt Divinity Library, Nashville, TN. Image retrieved March 23, 2026. Original source: librairie-emmanuel.fr.
