
Illustration by Annie Vallotton, copyright by Donald and Patricia Griggs of Griggs Educational Service. More images can be viewed at rotation.org .
For other images by Annie Vallotton on Translation Insights & Perspectives, see here.
τοῦτο γάρ ἐστιν τὸ αἷμά μου τῆς διαθήκης τὸ περὶ πολλῶν ἐκχυννόμενον εἰς ἄφεσιν ἁμαρτιῶν.
28for this is my blood of the covenant, which is poured out for many for the forgiveness of sins.

Illustration by Annie Vallotton, copyright by Donald and Patricia Griggs of Griggs Educational Service. More images can be viewed at rotation.org .
For other images by Annie Vallotton on Translation Insights & Perspectives, see here.
The Hebrew, Greek, Ge’ez, and Latin that are translated as “covenant” in English are translated in a variety of ways. Here are some (back-) translations:
“Right from the start we witness the influence of the Septuagint on the earliest expressions of the Christian faith. In the New Testament, Jesus speaks of his blood being a kaine diatheke, a ‘new covenant.’ The covenant is elucidated in Hebrews 8:8-12 and other texts, but it was preserved in the words of Jesus with this language in Luke 22:20 when at the Last Supper Jesus said, ‘This cup that is poured out for you is the new covenant in my blood. Jesus’s blood was to provide the grounds for the ‘new covenant,’ in contrast to the old one his disciples knew from the Jewish scriptures (e.g., Jeremiah 31:31-34). Thus, the earliest Christians accepted the Jewish Scriptures as prophecies about Jesus and in time began to call the collection the ‘Old Testament’ and the writings about Jesus and early Christianity the ‘New Testament,’ since ‘testament’ was another word for ‘covenant.’ The covenant promises of God (berith in Hebrew) were translated in the Septuagint with the word diatheke. In classical Greek diatheke had meant ‘last will, testament,’ but in the Septuagint it is the chosen equivalent for God’s covenant with his people. The author of Hebrews plays on the double meaning, and when Luke records Jesus’ announcement at the Last Supper that his blood was instituting a ‘new covenant,’ or a ‘new testament,’ he is using the language in an explicit contrast with the old covenant, found in the Jewish scriptures. Soon, the writings that would eventually be chosen to make up the texts about the life and teachings of Jesus and the earliest expression of the Christian faith would be called the New Testament. This very distinction between the Old and New Testaments is based on the Septuagint’s language.”
See also establish (covenant) and covenant (book).
Learn more on Bible Odyssey: Covenant in the Hebrew Bible .
The Greek that is translated as “this is my blood of the covenant” is translated into Tase Naga as “this is my blood that caused the covenant to come into being.”
Following are a number of back-translations of Matthew 26:28:
See also complete verse (Mark 14:24).

Click here to see the image in higher resolution.
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):

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 )
See also the last supper (icon) and We All are One in Christ.
Following is a contemporary Ukrainian Orthodox icon of the last supper by Ulyana Tomkevych.

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 )
The concept of “forgiveness” is expressed in varied ways through translations. Following is a list of (back-) translations from some languages:
See also this devotion on YouVersion .
The Hebrew, Ge’ez, and Greek that is typically translated as “sin” in English has a wide variety of translations.
The Greek ἁμαρτάνω (hamartanō) carries the original verbatim meaning of “miss the mark” and likewise, many translations contain the “connotation of moral responsibility.”
In Shipibo-Conibo the term is hocha. Nida (1952, p. 149) tells the story of its choosing: “In some instances a native expression for sin includes many connotations, and its full meaning must be completely understood before one ever attempts to use it. This was true, for example, of the term hocha first proposed by Shipibo-Conibo natives as an equivalent for ‘sin.’ The term seemed quite all right until one day the translator heard a girl say after having broken a little pottery jar that she was guilty of ‘hocha.’ Breaking such a little jar scarcely seemed to be sin. However, the Shipibos insisted that hocha was really sin, and they explained more fully the meaning of the word. It could be used of breaking a jar, but only if the jar belonged to someone else. Hocha was nothing more nor less than destroying the possessions of another, but the meaning did not stop with purely material possessions. In their belief God owns the world and all that is in it. Anyone who destroys the work and plan of God is guilty of hocha. Hence the murderer is of all men most guilty of hocha, for he has destroyed God’s most important possession in the world, namely, man. Any destructive and malevolent spirit is hocha, for it is antagonistic and harmful to God’s creation. Rather than being a feeble word for some accidental event, this word for sin turned out to be exceedingly rich in meaning and laid a foundation for the full presentation of the redemptive act of God.”
In Warao it is translated as “bad obojona.” Obojona is a term that “includes the concepts of consciousness, will, attitude, attention and a few other miscellaneous notions.” (Source: Henry Osborn in The Bible Translator 1969, p. 74ff. ). See other occurrences of Obojona in the Warao New Testament.
Martin Ehrensvärd, one of the translators for the Danish Bibelen 2020, comments on the translation of this term: “We would explain terms, such that e.g. sin often became ‘doing what God does not want’ or ‘breaking God’s law’, ‘letting God down’, ‘disrespecting God’, ‘doing evil’, ‘acting stupidly’, ‘becoming guilty’. Now why couldn’t we just use the word sin? Well, sin in contemporary Danish, outside of the church, is mostly used about things such as delicious but unhealthy foods. Exquisite cakes and chocolates are what a sin is today.” (Source: Ehrensvärd in HIPHIL Novum 8/2023, p. 81ff. )
See also sinner.
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