Following are a number of back-translations of Luke 22:28:
Noongar: “‘You have stood at my side in all the bad things which happened to me.” (Source: Warda-Kwabba Luke-Ang)
Uma: “‘You here, you are always with me in all my troubles.” (Source: Uma Back Translation)
Yakan: “‘You are the ones who stay with me even in my troubles.” (Source: Yakan Back Translation)
Western Bukidnon Manobo: “And Jesus spoke again, ‘As for you, you are going to share in all of my difficulties.” (Source: Western Bukidnon Manobo Back Translation)
Kankanaey: “‘You have had-a-share-in all my hardships, not abandoning-me,” (Source: Kankanaey Back Translation)
Tagbanwa: “Really as for you, you have held fast as my companions through the hardships I have experienced which were like tests of me.” (Source: Tagbanwa 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.
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.
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 )
Like many languages (but unlike Greek or Hebrew or English), Tuvan uses a formal vs. informal 2nd person pronoun (a familiar vs. a respectful “you”). Unlike other languages that have this feature, however, the translators of the Tuvan Bible have attempted to be very consistent in using the different forms of address in every case a 2nd person pronoun has to be used in the translation of the biblical text.
As Voinov shows in Pronominal Theology in Translating the Gospels (in: The Bible Translator 2002, p. 210ff.), the choice to use either of the pronouns many times involved theological judgment. While the formal pronoun can signal personal distance or a social/power distance between the speaker and addressee, the informal pronoun can indicate familiarity or social/power equality between speaker and addressee.
Here, Jesus is addressing his disciples, individuals and/or crowds with the formal pronoun, showing respect.
In most Dutch translations, Jesus addresses his disciples and common people with the informal pronoun, whereas they address him with the formal form.
humeis de este hoi diamemenēkotes met’ emou en tois peirasmois mou ‘you are those who have stood by me in my trials.’ humeis is emphatic but no other persons with whom the disciples are contrasted, are named. The periphrastic construction stresses the idea of permanence more strongly than the indicative of the perfect would have done. For peirasmos cf. on 4.13 and 8.13; here it is used in a passive sense.
diamenō (also 1.22) ‘to remain,’ ‘to stay with,’ ‘to stand by,’ with meta and genitive.
Translation:
Continued with me in, or, ‘remained faithful/loyal (to me)’ (cf. Willibrord), ‘persevered together-with me’ (Bahasa Indonesia); or negatively expressed, ‘never left me’ (Tae’ 1933). The phrase refers to holding out while having the same experience as Jesus had (not to helping him when he was tested).
In my trials. The noun here refers to a being put to the test by difficulties and suffering; hence, ‘in my hardships’ (Pohnpeian), ‘in my afflictions’ (Bahasa Indonesia RC), ‘in all that I have suffered,’ ‘while I have been tried/afflicted.’ Further shifts may lead to something like, ‘you and I have experienced the same trials (or, we have suffered equally), and you have held out (or, stood by me).’
Quoted with permission from Reiling, J. and Swellengrebel, J.L. A Handbook on the Gospel of Luke. (UBS Handbook Series). New York: UBS, 1971. For this and other handbooks for translators see here . Make sure to also consult the Handbook on the Gospel of Mark for parallel or similar verses.
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