On its twenty-seventh (day) he opened the ark and sent from it the animals, birds, and whatever moves about. On the first of the third month he left the ark and built an altar on this mountain. He made atonement for the earth, took a kid and atoned with its blood for all the sins of the earth because everything that was on it had been obliterated except those who were in the ark with Noah.
Jubilees (also known as Lesser Genesis, Leptogenesis, or the Book of Division) is canonical scripture for the Ethiopian Orthodox Tewahedo Church and Eritrean Orthodox Tewahedo Church. The only complete copies of Jubilees are available in Ge’ez (Classical Ethiopic), here used with permission by the Bible Society of Ethiopia.
Bura-Pabir: “sacrifice mound” (source: Andy Warrren-Rothlin)
Kalanga: “fireplace of sacrifice” (source: project-specific notes in Paratext)
Cherokee: “fire nurturing place” (source: Bender / Belt 2025, p. 26) (note that the Jewish priest is “fire feeder” in Cherokee)
The Ignaciano translators decided to translate the difficult term in that language according to the focus of each New Testament passage in which the word appears (click or tap here to see the rest of this insight
Willis Ott (in Notes on Translation 88/1982, p. 18ff.) explains:
Matt. 5:23,24: “When you take your offering to God, and arriving, you remember…, do not offer your gift yet. First go to your brother…Then it is fitting to return and offer your offering to God.” (The focus is on improving relationships with people before attempting to improve a relationship with God, so the means of offering, the altar, is not focal.)
Matt. 23:18 (19,20): “You also teach erroneously: ‘If someone makes a promise, swearing by the offering-place/table, he is not guilty if he should break the promise. But if he swears by the gift that he put on the offering-place/table, he will be guilty if he breaks the promise.'”
Luke 1:11: “…to the right side of the table where they burn incense.”
Luke 11.51. “…the one they killed in front of the temple (or the temple enclosure).” (The focus is on location, with overtones on: “their crime was all the more heinous for killing him there”.)
Rom. 11:3: “Lord, they have killed all my fellow prophets that spoke for you. They do not want anyone to give offerings to you in worship.” (The focus is on the people’s rejection of religion, with God as the object of worship.)
1Cor. 9:13 (10:18): “Remember that those that attend the temple have rights to eat the foods that people bring as offerings to God. They have rights to the meat that the people offer.” (The focus is on the right of priests to the offered food.)
Heb. 7:13: “This one of whom we are talking is from another clan. No one from that clan was ever a priest.” (The focus in on the legitimacy of this priest’s vocation.)
Jas. 2:21: “Remember our ancestor Abraham, when God tested him by asking him to give him his son by death. Abraham was to the point of stabbing/killing his son, thus proving his obedience.” (The focus is on the sacrifice as a demonstration of faith/obedience.)
Rev. 6:9 (8:3,5; 9:13; 14:18; 16:7): “I saw the souls of them that…They were under the table that holds God’s fire/coals.” (This keeps the concepts of: furniture, receptacle for keeping fire, and location near God.)
Rev. 11:1: “Go to the temple, Measure the building and the inside enclosure (the outside is contrasted in v. 2). Measure the burning place for offered animals. Then count the people who are worshiping there.” (This altar is probably the brazen altar in a temple on earth, since people are worshiping there and since outside this area conquerors are allowed to subjugate for a certain time.)
In the Hebraic English translation of Everett Fox it is translated as slaughter-site and likewise in the German translation by Buber / Rosenzweig as Schlachtstatt.
The Greek and Ge’ez that is translated as “sacrifice” in English is translated in Huba as hatǝmachi or “shoot misfortune.”
David Frank (in this blog post ) explains: “How is it that ‘shoot misfortune’ comes to mean sacrifice, I wanted to know? Here is the story: It is a traditional term. Whenever there were persistent problems such as a drought, or a rash of sickness or death, the king (or his religious advisor) would set aside a day and call on everyone to prepare food, such as the traditional mash made from sorghum, or perhaps even goat. The food had to be put together outside. The king or his religious advisor would give an address stating what the problem was and what they were doing about it. Then an elder representing the people would take a handful of that food and throw it, probably repeating that action several times, until it was considered to be enough to atone for all the misfortune they had been having. With this action he was ‘shooting (or casting off) misfortune’ to restore well-being to his people. As he threw the food, he would say that this is to remove the misfortune that had fallen on his people, and everybody would respond by saying aɗǝmja, ‘let it be so.’ People could eat some of this food, but they could not bring the food into their houses, because that would mean that they were bringing misfortune into their house. There is still a minority of people in this linguistic and cultural group that practices the traditional religion, but the shooting of misfortune is no longer practiced, and the term ‘shoot misfortune’ is used now in Bible translation to refer to offering a sacrifice. Aɗǝmja is how they translate ‘amen.'”
The following is a stained glass window depicting Noah by Endre Odon Hevezi and Gyula Bajo from 1965 for the Debre Libanos Monastery, Oromia, Ethiopia:
Photo by Timothy A. Gonsalves, hosted by Wikimedia Commons under a Creative Commons Attribution-Share Alike 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 )
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