myrrh

The Greek and Hebrew that is translated as “myrrh” in English is translated as “bitter medicine” in Michoacán Nahuatl and as “myrrh perfume” in Tzotzil (source: Ronald D. Olson in Notes on Translation January, 1968, p. 15ff.).

In Mark 15:23, Usila Chinantec translates it as “the herb myrrh which is useful so that one not feel pain in his body. (Source: B. Moore / G. Turner in Notes on Translation 1967, p. 1ff.)

See also mixture of myrrh with aloes.

Mary (mother of Jesus)

The name that is transliterated as “Mary” in English is translated in Spanish Sign Language with arms folded over chest which is the typical pose of Mary in statues and artwork. (Source: John Elwode in The Bible Translator 2008, p. 78ff.)


“Mary” in Spanish Sign Language, source: Sociedad Bíblica de España

In American Sign Language it is translated with a sign for the letter M and the sign for “virgin,” which could also be interpreted as “head covering,” referring to the way that Mary is usually portrayed in art works. (Source: RuthAnna Spooner, Ron Lawer)


“Mary” in American Sign Language, source: Deaf Harbor

In the Burmese Common Language Version (publ. 2005), Mary is described as a king’s mother by using the royal noun suffix taw / တော် with the word “mother” in Matthew 1:16 and Luke 2:33. This is done to highlight the status of Jesus as a king or the divine Son. Othjer passages where taht is used include Matthew 2:11, 13, 14, 20, and 21. (Source: Gam Seng Shae, The Bible Translator 2002, p. 202ff.) See also Jesus’ human vs. divine nature in modern Burmese translation.

Adoration of the magi (image)

Hand colored stencil print on washi by Sadao Watanabe (1994).

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 art works in TIPs, see here.

Following is a painting by He Qi (“Adoration of the Magi”):

He Qi © 2021 All Rights Reserved.

Image taken from He Qi Art . For purchasing prints of this and other artworks by He Qi go to heqiart.com . For other images of He Qi art works in TIPs, see here.

Following is a painting by Kim Ki-chang (1913-2001):

Kim Ki-chang (pen name: Unbo) had been deaf and partially mute since the age of 7. He painted a series of 30 paintings for the “Life of Christ” cycle in 1952 during the Korean War. Kim portrayed Jesus as a seonbi / 선비, or a Joseon Period (1392-1910) gentleman scholar, wearing a gat / 갓 (hat) and dopo / 도포 (robe). For other images of Kim Ki-chang art works in TIPs, see here.

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, The Bible Translator 2002, p. 202ff.)

See also Mary (mother of Jesus).

worship

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The Hebrew, Aramaic and Greek terms that are often translated as “worship” (also, “kneel down” or “bow down”) are likewise translated in other languages in certain categories, including those based on physical activity, those which incorporate some element of “speaking” or “declaring,” and those which specify some type of mental activity.

Following is a list of (back-) translations (click or tap for details):

  • Javanese: “prostrate oneself before”
  • Malay: “kneel and bow the head”
  • Kaqchikel: “kneel before”
  • Loma (Liberia): “drop oneself beneath God’s foot”
  • Tepeuxila Cuicatec: “wag the tail before God” (using a verb which with an animal subject means “to wag the tail,” but with a human subject)
  • Tzotzil: “join to”
  • Kpelle: “raise up a blessing to God”
  • Kekchí: “praise as your God”
  • Cashibo-Cacataibo: “say one is important”
  • San Blas Kuna: “think of God with the heart”
  • Rincón Zapotec: “have one’s heart go out to God”
  • Tabasco Chontal: “holy-remember” (source of this and all above: Bratcher / Nida)
  • Q’anjob’al: “humble oneself before” (source: Newberry and Kittie Cox in The Bible Translator 1950, p. 91ff. )
  • Alur: rwo: “complete submission, adoration, consecration” (source: F. G. Lasse in The Bible Translator 1956, p. 22ff. )
  • Obolo: itọtọbọ ebum: “express reverence and devotion” (source: Enene Enene)
  • Ngäbere: “cut oneself down before” (“This figure of speech comes from the picture of towering mahoganies in the forest which, under the woodman’s ax, quiver, waver, and then in solemn, thunderous crashing bury their lofty heads in the upstretched arms of the surrounding forest. This is the experience of every true worshiper who sees ‘the Lord, high and lifted up.’ Our own unworthiness brings us low. As the Valientes say, ‘we cut ourselves down before’ His presence. Our heads, which have been carried high in self-confidence, sink lower and lower in worship.)
  • Tzeltal: “end oneself before God.” (“Only by coming to the end of oneself can one truly worship. The animist worships his deities in the hope of receiving corresponding benefits, and some pagans in Christendom think that church attendance is a guarantee of success in this life and good luck in the future. But God has never set a price on worship except the price that we must pay, namely, ‘coming to the end of ourselves.'”) (Source of this and the one above: Nida 1952, p. 163)
  • Folopa: “die under God” (“an idiom that roughly back-translates “dying under God” which means lifting up his name and praising him and to acknowledge by everything one does and thanks that God is superior.”) (Source: Anderson / Moore, p. 202)
  • Chokwe: kuivayila — “rub something on” (“When anyone goes into the presence of a king or other superior, according to native law and custom the inferior gets down on the ground, takes a little earth in the fingers of his right hand, rubs it on his own body, and then claps his hands in homage and the greeting of friendship. It is a token of veneration, of homage, of extreme gratitude for some favor received. It is also a recognition of kingship, lordship, and a prostrating of oneself in its presence. Yet it simply is the applicative form of ‘to rub something on oneself’, this form of the verb giving the value of ‘because of.’ Thus in God’s presence as king and Lord we metaphorically rub dirt on ourselves, thus acknowledging Him for what He really is and what He has done for us.”) (Source: D. B. Long in The Bible Translator 1952, p. 87ff. )

In Luang it is translated with different shades of meaning:

Source: Kathy Taber in Notes on Translation 1/1999, p. 9-16.