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.
Following is an artwork by Sister Marie Claire , SMMI (1937–2018) from Bengaluru, India:
For more information about images by Sister Marie Claire and ways to purchase them as lithographs, see here . For other images of Sister Marie Claire paintings in TIPs, see here.
“The low social status of these men is indicated by the fact that they are wearing only one piece of cloth, all that they own. They are men of different ages working out in the fields raising animals. No one usually visits them.”
Hand colored stencil print on washi by Sadao Watanabe (1979)
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 artworks in TIPs, see here.
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.
Batik dye artwork 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, the latter medium being an ancient decorative craft that has come into use as a high art medium in the last 50 or 60 years. A Batik image is created as a pattern or picture dyed in fabric. Certain parts of the fabric are covered with a wax, which acts as a “resist” to the colorful dyes. Hanna Varghese mastered the medium, and the sacred art images she created with it are original, bold and graphic.
“‘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 )
The Greek in Luke 2:8 that is translated as “keeping watch over their flock by night” or similar in English was difficult to understand in a direct translation into Apali, since domesticated animals are not known for being watched unless they are supposed to be shot to be butchered. The Apali translation had to clarify that the watching men were the sheep’s papas, responsible for their well-being rather than their demise. (Source: Eunice Herchenroeder in this blog post )
The Greek, Latin, Ge’ez, and Hebrew that is translated as “shepherd” in English is translated in Kouya as Bhlabhlɛɛ ‘yliyɔzʋnyɔ — ” tender of sheep.”
Philip Saunders (p. 231) explains:
“Then one day they tackled the thorny problem of ‘shepherd’. It was problematic because Kouyas don’t have herdsmen who stay with the sheep all the time. Sheep wander freely round the village and its outskirts, and often a young lad will be detailed to drive sheep to another feeding spot. So the usual Kouya expression meant a ‘driver of sheep’, which would miss the idea of a ‘nurturing’ shepherd. ‘A sheep nurturer’ was possible to say, but it was unnatural in most contexts. The group came up with Bhlabhlɛɛ ‘yliyɔzʋnyɔ which meant ‘a tender of sheep’, that is one who keeps an eye on the sheep to make sure they are all right. All, including the translators, agreed that this was a most satisfactory solution.”
Other translations include:
Chuj: “carer” (there was no single word for “shepherd”) (source: Ronald Ross)
Muna: “sheep guard” (dhagano dhumba) (there was no immediate lexical equivalent) (source: René van den Berg),
Mairasi: “people who took care of domesticated animals” (source: Enggavoter 2004)
Following are a number of back-translations of Luke 2:8:
Noongar: “In that country, shepherds were working outside in the night, looking after their sheep.” (Source: Warda-Kwabba Luke-Ang)
Uma: “Outside Betlehem town, there were several shepherds. While they were taking care of their sheep in the fields that night,” (Source: Uma Back Translation)
Yakan: “Na, that night there were caretakers of sheep in that place staying awake to watch their crowds/flocks of sheep in a grassy-place in open-country.” (Source: Yakan Back Translation)
Western Bukidnon Manobo: “And on that night, nearby that town, there were some people in the pastures because they were pasturing their domestic animals which were sheep.” (Source: Western Bukidnon Manobo Back Translation)
Kankanaey: “During that night, there were people in the pastureland who were guarding their sheep.” (Source: Kankanaey Back Translation)
Tagbanwa: “That night, there were some shepherds guarding their sheep there at the feeding area.” (Source: Tagbanwa Back Translation)
Illustration by Horst Lemke (1922-1985) for the GermanGute Nachricht für Sie – NT68, one of the first editions of the Good News Bible in German of 1968. Lemke was a well-known illustrator who illustrated books by Erich Kästner , Astrid Lindgren and many others.
Barclay Newman, a translator on the teams for both the Good News Bible and the Contemporary English Version, translated passages of the New Testament into English and published them in 2014, “in a publication brief enough to be non-threatening, yet long enough to be taken seriously, and interesting enough to appeal to believers and un-believers alike.” The following is the translation of Luke 2:8-20:
At night in the fields near Bethlehem,
some shepherds were guarding their sheep,
when suddenly an angel came down from the Lord,
and the glory of the Lord flashed all around.
The shepherds were shaken, but the angel encouraged them,
“Don’t be afraid! I have good news for you —
news that will bring happiness to all who hear.
Today a Savior was born for you in King David’s hometown.
This Savior is Christ the Lord, and you’ll recognize him —
he’s a newborn baby on a bed of hay.”
At that very moment a multitude of angels
descended from heaven, singing:
“Praise! Shout praises to God in heaven!
Peace to everyone who pleases God!”
After the angels had returned to heaven,
the shepherds said to each other,
“Let’s go to Bethlehem and see what this is all about.”
They wasted no time, and when they arrived,
Mary and Joseph were there —
and a newborn baby on a bed of hay.
The shepherds told the baby’s parents
what the angel had said about Jesus.
They and everyone else were surprised,
but Mary kept all this in mind
and never stopped wondering what it meant.
With praises to God flowing from their lips,
the shepherds returned to their sheep.
Everything had happened exactly as the angel had said.
Leave a Reply
You must be logged in to post a comment.