Feeding of the Five Thousand

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.

Religious leaders sought him out to find answers to life's deepest questions

“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.”

Drawing by Sawai Chinnawong who employs northern and central Thailand’s popular distinctive artistic style originally used to depict Buddhist moral principles and other religious themes; explanation by Paul DeNeui. From That Man Who Came to Save Us by Sawai Chinnawong and Paul H. DeNeui, William Carey Library, 2010.

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.

The Unforgiving Servant

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.

Gethsemane

Hand colored stencil print on momigami by Sadao Watanabe (1962). 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 painting (“Jesus’ agony in the garden of Gethsemane”) 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 painting (“Prayer at Gethsemane”) by He Qi:

He Qi © 2021 All Rights Reserved.

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 in the Hamzanama style:

Prayer at Gethsemane, 2017-2018, Paul Abraham with Manish Soni, Opaque watercolour and natural pigments on hand-made paper, © Sarmaya Arts Foundation. (2018.33.12)

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 from 1906 and made by R. T. Giles & Co. of Minneapolis for the First Presbyterian Church, Salt Lake City, Utah :

Photo by NateBergin, hosted by Wikimedia Commons under a Creative Commons Attribution 4.0 International 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 )

Parable of the Talents

The following artwork is part of a series of 56 paintings on biblical themes by Kazakh artist Nelly Bube (born 1949):

Copyright by Norwegian Bible Society , used with permission.

For other images of Nelly Bube 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 Daughter of Jairus

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 2006 stained glass window by Annemiek Punt from the Nieuwe Kerk, Delft, Netherlands:

Source: Art in the Christian Tradition , a project of the Vanderbilt University Divinity Library, Nashville, TN. Original source: Wikimedia

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 )

John the Baptist Preaching in the Desert

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:

John the Baptist dramatically preaches by the water’s edge to his audience that consists of common people as well as religious leaders. He appears to be in the middle of his harsh pronouncement on the Pharisees and Sadducees, calling them a “brood of vipers.” They stand at the right-hand side of the painting, arms folded, seemingly indignant at John’s words. The rest of the crowd watches and listens intently to John, curious and enthralled by the scene before them. In the distance there are some figures approaching the group. Could it be Jesus on the way to his baptism?

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 Transfiguration

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 theatrical representation of Jesus’ transfiguration, Jesus is robed in a dazzling white garment, as the story in the gospels describes. He appears to be greeting Moses and Elijah like old friends as they are surrounded by a cloud that makes the whole scene feel ethereal. Peter, James, and John look on with flabbergasted and fearful expressions, bewildered at what they should do. This painting invites the viewer to imagine what it would be like to have seen such amazing things. Undoubtedly, it would inspire one to follow and obey Jesus, just as God commands in the story: “This is my son, the beloved. Listen to him!”

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.