26Jesus answered, “It is the one to whom I give this piece of bread when I have dipped it in the dish.” So when he had dipped the piece of bread, he gave it to Judas son of Simon Iscariot.
The term that is transliterated as “Judas” in English is translated in American Sign Language with the sign for the letter J and the sign signifying holding a bag of money, referring to John 12:6. (Source: Ruth Anna Spooner, Ron Lawer)
“Judas” in American Sign Language, source: Deaf Harbor
Painting by Nalini Jayasuriya (1927 – 2014). “Jayasuriya grew up in Sri Lanka and later studied art in England. She experimented with many forms of art hut is best known for her acrylic and pastel paintings on Biblical themes. She has written extensively on art subjects and held many exhibitions. In her painting of Judas the tortured face of the disciple reflects some of the complexities of the man who betrayed Jesus.” (Source for this and the image: The Bible Through Asian Eyes by Masao Takenaka and Ron O’Grady 1991)
In the Yatzachi Zapotec translation of the Gospel of John, any reference to the evangelist and presumed narrator is done in the first person.
The translator Inez Butler explains (in: Notes on Translation, September 1967, pp. 10ff.):
“In revising the Gospel of John in Yatzachi Zapotec we realized from the start that the third person references of Jesus to himself as Son of Man had to be converted into first person references, but only more recently have we decided that similar change is necessary in John’s references to himself as ‘the disciple whom Jesus loved.’ As I worked on those changes and questioned the informant about his understanding of other passages in the Gospel, I discovered that the reader misses the whole focus of the book as an eyewitness account unless every reference to the disciples indicates the writer’s membership in the group. In view of that we went back through the entire book looking for ways to cue in the reader to the fact that John was an eyewitness and a participant in a many of the events, as well as the historian.
“When the disciples were participants in events along with Jesus, it was necessary to make explicit the fact that they accompanied him, although in the source language that is left implicit, since otherwise our rendering would imply that they were not present.”
In this verse, the Yatzachi Zapotec says: “Then Jesus said to me . . .”
Following are a number of back-translations of John 13:26:
Uma: “Yesus said: ‘The person to whom I give the bread that I have dipped into the nede’ [refers to any food served with rice, usually boiled, always with sauce/liquid in it], he will be the one.’ He took a piece of bread, dipped it into the nede’, and gave it to Yudas, the son of Simon Iskariot.” (Source: Uma Back Translation)
Yakan: “Isa answered, he said, ‘The person whom I give this bread to after I have soaked it in the dish, he is the one.’ Then Isa soaked the bread and then he gave it to Judas the son of Simon Iskariyot.” (Source: Yakan Back Translation)
Western Bukidnon Manobo: “And Jesus answered, ‘When I dip this bread, the one I give it to, he is the one.’ And he dipped that bread, and he gave it to Judas the son of Simon Iscariot.” (Source: Western Bukidnon Manobo Back Translation)
Kankanaey: “‘The one-to-whom-I-give this bread that I will dip, he is the one,’ Jesus said in reply. And then he dipped the bread in the broth and gave it to Judas the child of Simon Iscariot.” (Source: Kankanaey Back Translation)
Tagbanwa: “The reply of Jesus said, ‘That one to whom I will give bread which I will dip (in something), that’s the one.’ When he had dipped bread in the sauce in the dipping-dish, he handed it to Judas, that son of Simon Iscariote.” (Source: Tagbanwa Back Translation)
Tenango Otomi: “Jesus said, ‘I am going to dip in a piece of bread. The one to whom I give it is the one of whom I am speaking.’ He dipped a piece of bread. He gave it to Judas Iscariot, the son of Simon.” (Source: Tenango Otomi Back Translation)
Willy Wiedmann, the artist, commented on this picture: “In spite of some difficulty, and unlike Leonardo da Vinci [see here ] I did not set my last supper in a theatrical scene with Jesus in the center behind an elongated table with all the disciples, with two at each end so that that there are 11 seated behind the table. And not like the panel by Juan de Juanes (1623-79) [see here ] in which the six disciples left and right are very dynamic figures. And also not like Martin Schongauer’s Last Supper [see here ] with a slightly shorter table (also incidentally very similar to Juanes in the attitudes of the figures) and two figures seen from the back in the foreground of the panel. Instead I have given the Master the middle place to the foreground, with his back to us to finally leave the controversial Jesus-existential questions unanswered. Slightly symbolically it means that he is leaving his world. The iris color is meant to transfer the rainbow to Jesus, that God once linked to Noah (my kingdom is not of this world). I attempted to present answers that correspond to the characters of each individual.”
Image and text taken from the Wiedmann Bible. For more information about the images and ways to adopt them, see here .
For other images of Willy Wiedmann paintings in TIPs, see here.
Following is a 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:
Beginning of the Holy Communion
You have this as food and this is my body.
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 an acrylic on canvas painting by Hanna-Cheriyan Varghese:
Used with permission by the Overseas Ministries Study Center (OMSC) at Princeton Theological Seminary. You can purchase this and many other artworks by artists in residence at the OSMC in high resolution and without a watermark via the OSMC website .
“Hanna-Cheriyan Varghese (1938 – 2009) of Selangor, Malaysia, was the artist in residence at OMSC for the 2006–2007 academic year. She was born to Christian parents, and she remembered her mother taking her to a different worship service every week: ‘My parents encouraged me to attend different churches so that my siblings and I would appreciate the liturgy and traditions of the Christian believers of different denominations. Christians are a minority in Malaysia so we continue to struggle for our identity in a Muslim society. There is no open conflict as such.’
“She always had a passion for painting and drawing. She worked in the mediums of acrylic paint and Batik dye.
“‘All creative work, be it the spoken word, the written word or the sung word, are essentials in praise and worship, meditation, education, inculturation and evangelism. This also includes art and pictures, which is universal seeing.’ Hanna Varghese.” (Source )
Orthodox Icons are not drawings or creations of imagination. They are in fact writings of things not of this world. Icons can represent our Lord Jesus Christ, the Virgin Mary, and the Saints. They can also represent the Holy Trinity, Angels, the Heavenly hosts, and even events. Orthodox icons, unlike Western pictures, change the perspective and form of the image so that it is not naturalistic. This is done so that we can look beyond appearances of the world, and instead look to the spiritual truth of the holy person or event. (Source )
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Like a number of other East Asian languages, Japanese uses a complex system of honorifics, i.e. a system where a number of different levels of politeness are expressed in language via words, word forms or grammatical constructs. These can range from addressing someone or referring to someone with contempt (very informal) to expressing the highest level of reference (as used in addressing or referring to God) or any number of levels in-between.
One way Japanese shows different degree of politeness is through the choice of a first person singular and plural pronoun (“I” and “we” and its various forms) as shown here in the widely-used Japanese Shinkaiyaku (新改訳) Bible of 2017. The most commonly used watashi/watakushi (私) is typically used when the speaker is humble and asking for help. In these verses, where God / Jesus is referring to himself, watashi is also used but instead of the kanji writing system (私) the syllabary hiragana (わたし) is used to distinguish God from others.
Click or tap here to see the rest of this insight.
Like a number of other East Asian languages, Japanese uses a complex system of honorifics, i.e. a system where a number of different levels of politeness are expressed in language via words, word forms or grammatical constructs. These can range from addressing someone or referring to someone with contempt (very informal) to expressing the highest level of reference (as used in addressing or referring to God) or any number of levels in-between.
One way Japanese shows different degree of politeness is through the usage of an honorific construction where the morpheme rare (られ) is affixed on the verb as shown here in the widely-used Japanese Shinkaiyaku (新改訳) Bible of 2017. This is particularly done with verbs that have God as the agent to show a deep sense of reverence. Here, atae-rare-ru (与えられる) or “give” is used.
Click or tap here to see the rest of this insight.
Like a number of other East Asian languages, Japanese uses a complex system of honorifics, i.e. a system where a number of different levels of politeness are expressed in language via words, word forms or grammatical constructs. These can range from addressing someone or referring to someone with contempt (very informal) to expressing the highest level of reference (as used in addressing or referring to God) or any number of levels in-between.
One way Japanese shows different degree of politeness is through the usage of an honorific construction where the morpheme rare (られ) is affixed on the verb as shown here in the widely-used Japanese Shinkaiyaku (新改訳) Bible of 2017. This is particularly done with verbs that have God as the agent to show a deep sense of reverence. Here, kotae-rare-ru (答えられる) or “answer” is used.
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