29Some thought that, because Judas had the common purse, Jesus was telling him, “Buy what we need for the festival,” or that he should give something to the poor.
The Hebrew that is translated as “the poor” in English is translated in Chichewa as “people without power.” In Chichewa context this refers to those who are in the lower class in terms of both social status and political influence in a community. (Source: Mawu a Mulungu mu Chichewa Chalero Back Translation)
In Cherokee it is translated as “those who are not doing well.” “The concept of poverty was unknown to Cherokee prior to European arrival due to the sharing of resources among clan members and the shared and welfare tradition known as gadugi (ᎦᏚᎩ). In contrast, the concepts of rich and poor play a large role in the world and message or the New Testament (…) This phrase (‘those who are not doing well’), still used today for ‘poor,’ speaks to a more general understanding of well-being than the presence of monetary resources.” (Source: Bender / Belt 2025, p. 45)
The Greek in John 13:29 that is translated in English as “think” or similar is translated as “say in one’s heart” in Chol. (Source: John Beekman in Notes on Translation 12, November 1964, p. 1ff.)
The term that is transliterated as “Judas” in English means “Praise of the LORD.” The name Iscariot means “man of Kerioth” or “a man of murder.” (Source: Cornwall / Smith 1997 )
It 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)
Following are a number of back-translations of John 13:29:
Uma: “Some thought that maybe Yesus ordered Yudas to buy something that they needed for their feast, or to give money to the poor. Because Yudas was the one who stored their money.” (Source: Uma Back Translation)
Yakan: “Because Judas was holding their money, some of them thought-mistakenly that Isa told him to go and buy what they needed for the festival, or that he was told to give alms to the poor.” (Source: Yakan Back Translation)
Western Bukidnon Manobo: “Some of them supposed that Jesus was having him buy things that they needed to celebrate the feast, and if not that, there was something Jesus was having him give to the poor. The reason they thought that was because Judas, he was the one who kept their money.)” (Source: Western Bukidnon Manobo Back Translation)
Kankanaey: “But since Judas was in-charge-of their money, what was in the minds of some of them was that Jesus was sending him to go buy what they needed at the fiesta or to go give money to the poor.” (Source: Kankanaey Back Translation)
Tagbanwa: “Because Judas was the one who was holding (in charge of) their money, they thought-mistakenly that Judas was being sent to buy what they needed for the fiesta, or he was being sent to give to the poor.” (Source: Tagbanwa Back Translation)
Tenango Otomi: “Because Judas was the one in charge of the money bag, some thought that Jesus intended to tell him to buy what was needed for the celebration, or to give something to the poor people.” (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 )
Many languages distinguish between inclusive and exclusive first-person plural pronouns (“we”). (Click or tap here to see more details)
The inclusive “we” specifically includes the addressee (“you and I and possibly others”), while the exclusive “we” specifically excludes the addressee (“he/she/they and I, but not you”). This grammatical distinction is called “clusivity.” While Semitic languages such as Hebrew or most Indo-European languages such as Greek or English do not make that distinction, translators of languages with that distinction have to make a choice every time they encounter “we” or a form thereof (in English: “we,” “our,” or “us”).
For this verse, translators typically select the inclusive form (including Judas).
Source: Velma Pickett and Florence Cowan in Notes on Translation January 1962, p. 1ff.
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 are (され) 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, iw-are-ru (言われる) or “say” is used.
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