purification

The team that translated the New Testament into Paraguayan Guaraní (in the 1960s) had to translate the Greek that is translated as “purification” in English. Jacob Loewen (in The Bible Translator 1967, p. 33ff. ) tells this story:

“An interesting lesson regarding intelligibility grew out of the translation of Luke 2:22 speaking about ‘the days of purification’. Each of the translations carried rather high-flown euphemisms and no one seemed to be satisfied with the euphemism of the other. There was a mother of seven children present at the meeting, and so she was asked to complete the following sentence in what would be publicly acceptable Guarani: I have given birth to seven children. After each childbirth 1 observed a period of . . .. The mother of seven immediately came back with an expression which back-translated into English would mean the ‘forties’. It was a reference to the forty days of purification which local culture required. When the translators were asked how such an expression would sound in Luke 2, one of them objected: ‘Why, if we use that idiom, everybody would know what we are talking about!’ In the discussion that followed, the committee realized that it is the translator’s responsibility to provide a message which will speak the truth clearly.”

present

The Greek in Luke 2:22 that is translated as “present” in English is translated in Elhomwe as “show.” (Source: project-specific translation notes in Paratext)

Jesus' human vs. divine nature in modern Burmese translation

There are three different levels of speech in Burmese: common language, religious language (addressing and honoring monks, etc.), and royal language (which is not in active use anymore). Earliest Bible translations used exclusively royal and religious language (in the way Jesus is addressed by others and in the way Jesus is referred to via pronouns), which results in Jesus being divine and not human. Later editions try to make distinctions.

In the Common Language Version (publ. 2005) the human face of Jesus appears in the narrative of the angel’s message to Joseph and what Joseph did in response (Matthew 1:21-25). The angel told Joseph that Mary was going to give birth to a son, not a prince.

Likewise in Luke 2:6-7 the story of Jesus’ birth in Bethlehem is told simply using the Common language. Again in the description of the shepherds’ visit to the baby Jesus (Mark 1:21-25), in the story of Jesus’ circumcision (Luke 2:6-2:7), and in the narrative of the child Jesus’ visit to Jerusalem (Luke 2:46-51), the human face of Jesus comes to the forefront.

On the other hand, the child Jesus is clearly depicted as a royal or a divine child in the story of the wise men (Matthew 2:9-12), the story of the flight to Egypt (Matthew 2:13-14), and the return to Nazareth (Matthew 2:20-21).

(Source: Gam Seng Shae in The Bible Translator 2002, p. 202ff. )

See also Mary (mother of Jesus).

The Circumcision of Christ

Following is an Albanian Orthodox icon of the circumcision of Christ of ca. 1760-1780 by Athanasios of Korcë (located in the Church of the Annunciation to the Virgin, Tirane).

source: Tourta 2006, p. 165

 

“The Circumcision of Christ is not depicted very often in Byzantine and Post-Byzantine painting, and is not included amongst the Twelve Great Feasts. According to the Gospel of Saint Luke (2:21), Joseph and Mary took Jesus to the temple when he was eight months old to have him circumcised and named. In the Orthodox Church, the Circumcision is celebrated on 1 January together with the memory of Basil the Great, which accounts for the depiction in the present icon of Saint Basil, who often accompanies the Circumcision in both earlier and later works. In the icon from the church of the Annunciation at Tirane, the painter followed a westernizing model presumably derived from an engraving, as in the other works in the same church. The representation is dominated by the ciborium with its rich curtain and decoration, and also by the round altar with its gold-embroidered cover, on which Christ lies, enveloped in a lacy fabric. The luxurious garments worn by the priests contrast with the plain appearance of Joseph and Mary, who are standing nearby.

“The predominant color in the representation is red, contrasting with the gold-yellow used for the background, clothes and halos.

“Equally impressive are the meticulous workmanship in the luxurious garments and diaphanous fabrics, and the naturalistic rendering of objects such as the scissors in the hands of the priest.” (Source: Tourta 2006, p. 164ff.)

The person depicted in the foreground is Basil of Caesarea .

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 )

Following is an image of the circumcision according to the tradition of the Ethiopian Tewahedo church:

Source: @ArtEthiopic .

complete verse (Luke 2:22)

Following are a number of back-translations of Luke 2:22:

  • Noongar: “The day came for Joseph and Mary for doing the baby’s Cleansing Day as the Law of Moses said. So they took the baby to Jerusalem to give him to God,” (Source: Warda-Kwabba Luke-Ang)
  • Uma: “After that, the time came that Yusuf and Maria must make the custom/ceremony after childbirth, according to the Law of the Lord that Musa wrote. At that time, they carried their baby going to Yerusalem to offer him to the Lord,” (Source: Uma Back Translation)
  • Yakan: “When forty days were over after Mariyam had given birth, Yusup and Mariyam followed the custom for purification as it was commanded in the law of Musa. They brought the child to Awrusalam so that they would hand him over/dedicate him there to God.” (Source: Yakan Back Translation)
  • Western Bukidnon Manobo: “And a week later was the time for Joseph and Mary to fulfill the custom of cleansing according to that which Moses left behind long ago concerning a woman who had just given birth. They took the child to the town of Jerusalem and they entered into the church which was called the House of God, because they would bring that child of theirs before God.” (Source: Western Bukidnon Manobo Back Translation)
  • Kankanaey: “When the day arrived for Jose and Maria to fulfil what the law of Moses commanded concerning one who has just-given-birth, they went to Jerusalem to go offer to God what that law said which was two doves or two young pigeons. They also took-along the baby in order to offer him to the Lord God. For what was written in that law of the Lord God, ‘It is necessary to offer to God all firstborn males.'” (Source: Kankanaey Back Translation)
  • Tagbanwa: “Well, when the day had now also been reached which was the-time-for-cleansing them in the sight of God, according to what Moises commanded concerning childbirth, Jose and Maria went to Jerusalem. They took the child to the Templo, for at that time they would present the child before God.” (Source: Tagbanwa Back Translation)

Presentation in the Temple

This is a contemporary tempera/gouache on leather painting by an unknown Ethiopian artist. Source: Sacred Art Pilgrim website .

Following is a painting by Chen Yuandu 陳緣督 (1902–1967):

Housed in the Société des Auxiliaires des Missions Collection – Whitworth University.

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.

The following is a stained glass window from the Three choir windows in the Marienkirche, Frankfurt (Oder), Germany, of the 14th century:

Source: Der gläserne Schatz: Die Bilderbibel der St. Marienkirche in Frankfurt (Oder), Neuer Berlin Verlag, 2005, copyright for this image: Brandenburgisches Landesamt für Denkmalpflege und Archäologisches Landesmuseum

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 )

See also other stained glass windows from the Marienkirche in Frankfurt.

law

The Greek, Hebrew, and Ge’ez that is translated in English as “Law” or “law” is translated in Mairasi as oro nasinggiei or “prohibited things” (source: Enggavoter 2004) and in Noongar with a capitalized form of the term for “words” (Warrinya) (source: Warda-Kwabba Luke-Ang).

In Yucateco the phrase that is used for “law” is “ordered-word” (for “commandment,” it is “spoken-word”) (source: Nida 1947, p. 198) and in Central Tarahumara it is “writing-command.” (Source: Waterhouse / Parrott in Notes on Translation October 1967, p. 1ff.)

In a 1922 translation into Chagatai, a precursor language of both Uzbek and Uighur, it is translated with the Arabic loan word shari’at (شريعت), originally meaning “(Islamic) law (Shari’a).” (Source: F. Erbay and F.N. Küçükballı in Acta Theologica 2025 45/2, p. 133ff. )

See also teaching / law (of God) (Japanese honorifics).