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:
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 (1982).
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.
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.
The following is an artwork by Vinayak Shivaram Masoji (1897–1977):
“V.S. Masoji is a Bengali Indian artist who studied at Shantiniketan, an artist’s institution founded by the national poet of Bengal, Rabindranath Tagore.” (Source for this and the image: The Bible Through Asian Eyes by Masao Takenaka and Ron O’Grady 1991)
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 sits in front of some religious leaders listening and asking questions as they listen to him, their astonishment evident in their facial expressions. In the background we see Mary and Joseph approaching, undoubtedly relieved to find their child safe and sound. We are reminded of Jesus’ humanity in this story. He was a child who did not fully consider the feelings of his parents and the consequences of his actions. He grew not only physically, but intellectually and emotionally as well. Through Jesus’ increase in wisdom, we are reminded that we too are called to grow into deeper understanding. And that requires that we ask questions whose answers may challenge our long-held beliefs and theologies.
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 from Mary Lowndes after William Holman Hunt, made by Lowndes and Drury, 1910. From St Martin & All Saints Church, Oxford:
Photo by the wub, hosted by Wikimedia Commons under a Creative Commons CC0 1.0 Universal Public Domain Dedication 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 )
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 painting by Kim Ki-chang (1913-2001):
Kim Ki-chang (pen name: Unbo) had been deaf and partially mute since the age of 7. He painted a series of 30 paintings for the “Life of Christ” cycle in 1952 during the Korean War. Kim portrayed Jesus as a seonbi / 선비, or a Joseon Period (1392-1910) gentleman scholar, wearing a gat / 갓 (hat) and dopo / 도포 (robe). For other images of Kim Ki-chang 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.
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 beautiful rendering of the healing of the ten lepers sets the tone as one of joyous celebration. Jesus has just restored the health of ten people and only one has returned in thanksgiving, but this fact from the story does not impact the painting negatively. The one has knelt before Jesus to offer his gratitude while the other nine rejoice in the background. The piece is dynamic as we see arms thrown in the air in elation while onlookers are also rejoicing at this miracle. The smiling faces in this painting are contagious as the viewer can join in applause and praise of God for such wonderful works.
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.
1936 painting by Wang Suda 王肅達 (1910-1963),
Housed in the Société des Auxiliaires des Missions Collection – Whitworth University
(click image to enlarge)
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:
Jesus stands in the center inspecting the baskets of leftover food the disciples are bringing to him. All around him are content crowds of people who have just been fed. The miracle of this story rests in Jesus’ taking the resources people shared and breaking (read dividing) them among all in attendance that day. Christians are called to live and follow Christ in his example—this means sharing what we have with those around us, especially those in need. In this world, there is plenty to go around. Rather than projecting a gospel of prosperity, we should radiate a gospel of giving.
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.
“It is unusual for anyone to seek out another at night unless it is desired to be kept secret. Betel nut and condiments are laid out to welcome the guest even at the late hour. Nicodemus’s robe and bared shoulder show he is a religious devotee.”
For more images by Sawai Chinnawong in TIPs see here.
The following 1973 painting “Nicodemus” of the JESUS MAFA project is 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:
Here we see Jesus patiently teaching about the kingdom of God to a perplexed Nicodemus, whose hands are in a gesture of questioning. Nicodemus has, like so many before and since, gotten caught up in the literal and limited understanding of the scriptures. Jesus attempted to explain the nature of reality in different terms that thereby he (and we) might be transformed. The boundaries we place on ourselves can be escaped if only we are brave enough to venture beyond them. Shall we remain in the cover of night with Nicodemus or step into the light that Jesus offers?
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.
