Language-specific Insights

these women

The Greek that is translated “these women” in English, referring to Euodia and Syntyche from the previous verse, was translated in the Mandarin Chinese “Peking Version” translation (publ. 1872) via affixing shì (氏) to Euodia’s and Syntyche’s names. In classical Chinese, shì could notify female gender but was likely obsolete in spoken Chinese in the 19th century already as it is today. When Katharine Bushnell (1855-1946) read this translation after arriving in China as a medical missionary in 1879, she likely didn’t understand shì that way (particularly because the “Nanking Version,”the other Mandarin Chinese translation available then, and the “Delegates Version,” the most common Literary or Classical Chinese version used more transparent translations). Instead she assumed that the gender of Euodia and Syntyche was simply dropped. She herself recounts what happened:

“Finding a sex-biassed translation in the Chinese translation of the Bible, I one day asked a male missionary about it. He said that undoubtedly it was so rendered because of pagan prejudice against the ministry of women. I was shocked. It had never before entered my mind that such a thing could be. This led to my tracing other signs, both in the Chinese and the English Bible, that pointed in the same direction, when I consulted my Greek Testament. Could it be possible that men allowed prejudice to color Scripture translation?” (Source: Katherine Bushnell in A Brief Sketch of Her Life, 1932 ).

This caused Bushnell to “devote [herself] to more careful and critical study of the Greek New Testament, and later, of the Greek Old Testament; and [she] added the study of Hebrew for comparison in the Old Testament” (source: see above), resulting in the highly influential God’s Word to Women, beginning in 1908 and finally as a 100-chapter study in book form in 1921.

Bushnell states in the book: “Supposing women only had translated the Bible, from age to age, is there a likelihood that men would have rested content with the outcome? Therefore, our brothers have no good reason to complain if, while conceding that men have done the best they could alone, we assert that they did not do the best that could have been done. The work would have been of a much higher order had they first helped women to learn the sacred languages (instead of putting obstacles in their way), and then, have given them a place by their side on translations committees.” (God’s Word to Women, p. 146, accessible here )

Jesus Ascended to Heaven

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:
Jesus Ascended to Heaven
The Lord returned to Heaven and was seated at the right hand of Father

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 a painting (“Ascension of Jesus”) by Bagong Kussudiardja (1928-2004):

“Bagong Kussudiardja was born in Indonesia and brought up among artists. He began to study the classical dances of Java at the age of 18 and his love of dance has always been foremost in his life. After independence in 1945, Bagong began to experiment with dances which would reflect the new spirit in Indonesia.

Bagong takes a close interest in all aspects of the arts. He is a skilled batik painter and as the painting indicates, his oil paintings also rank with the finest. His painting of the dancing Christ ascending to heaven was prepared for the Second Conference of the Asian Christian Art Association held in the Philippines.” (Source for this and the image: The Bible Through Asian Eyes by Masao Takenaka and Ron O’Grady 1991)

The following is a church window based on an image of Annie Vallotton. This is installed in a church of the Union des Églises Baptistes du Cameroun in Mowo (Mokong), Cameroon.

Photo and the following description by Ken Hollingsworth

“The windows are open with no screens or glass. The pictures were fabricated by projecting the picture using an overhead projector on a piece of plywood. They were drawn on the plywood with charcoal. Then the fabricator cut pieces of iron rebar to make the picture. Then the iron pieces were welded together. Later, when the pictures were installed, they were painted with different colors to help the people ‘see’ the picture.”

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.

Raising a Girl (image)

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:
Raising a Girl
Proof that Jesus is the true God

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.

Receiving the Ten Commandments (image)

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:
Receiving the Ten Commandments
The Greatest of the Ten Commandments is to love the Lord and love others

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.

Sending the Disciples to Preach (image)

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:
Sending the Disciples to Preach
The harvest is plentiful, but the workers are few. Ask the Lord of the harvest, therefore, to send out workers into his harvest field.

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 Ninth Commandment (image)

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:
The Ninth Commandment
John criticizes the King for marrying his younger brother’s wife

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.

wild ox (unicorn)

The Hebrew that is translated in most English versions as “wild ox” was translated by the Ancient Greek Septuagint translation as μονόκερως (monókeros) or “unicorn” (though it actually is the Greek word for “rhinoceros” — see below).

Bibles in the Protestant tradition also used an equivalent of that translation up into the early 20th century. This includes translations like the English King James Version/Authorised Version (unicorn), the German translation by Luther (up to and including the revision of 1912) (Einhorn), or the Swedish Charles XII Bible of 1686 (enhörningen).

Since translations of the Orthodox traditions tend to follow the Septuagint (see above), they also use an equivalent of “unicorn,” such as the Russian Synod translation with единорог (yedinorog).

Translations in the Catholic tradition tended to use an equivalent of “rhinoceros,” going back to the Latin Vulgate’s rinoceros. Modern Catholic translations that follow the Hebrew text now also use “wild ox” or an equivalent.

The influential Literary / Classical Chinese Delegates Version (publ. 1854) used sì (兕), a mythological Chinese creature that also only had one horn (see here ).

Click or tap here for the rest of the entry about “wild ox” in United Bible Societies’ All Creatures Great and Small: Living things in the Bible.

Since the beginning of the twentieth century re’em has been translated as “wild ox” in English versions, following the original suggestion made by Canon Tristram in the previous century. However, there are problems connected with this rendering. The usual justifications for this translation are a) that the Akkadian equivalent word rimu refers to the wild ox or Aurochs Bos primigenius, which was frequently hunted by Akkadian kings and b) that wild ox or aurochs fits the description of the wild untameable animal referred to in the Bible.

Both of these arguments have weaknesses from a zoological point of view and the linguistic argument is also debatable. Firstly, the aurochs hunted by the Akkadian kings was an animal found in high rainfall areas with forests. In historical times it was found only in the wooded areas of central and southeastern Europe Armenia (including the southern coastland of the Black Sea) and Mesopotamia. The only aurochs remains found in the land of Israel and the Arabian Peninsula date from the early Pleistocene Age. It is highly unlikely that this animal lived in Israel in biblical times.

Secondly, while the Akkadian rimu is usually translated as “wild ox”, the Ugaritic rum has been translated by some scholars as “buffalo”, and the Old Arabic rim is usually translated as “oryx”. Both of these words are related to the Hebrew re’em. Some scholars have argued that the re’em is really the oryx.

Furthermore, while the wild aurochs was very large, dangerous, and strong, it was not really “untameable”. Its dependence on water made it fairly easy to capture in nets and it was domesticated very early. It is the ancestor of all short-horned European cattle. Ancient pictures carved in limestone found in the excavations at Kujunjik in Iraq show carts being pulled by cattle that look exactly the same as the aurochs pictured in hunting scenes from an earlier period.

An animal similar to the aurochs was hunted by early Egyptian kings but it had disappeared from Egypt as early as the reign of Rameses III (about 1190 B.C.), who hunted instead “wild ox” (probably the Cape buffalo) in forested areas of the Sudan, where there is no evidence that the aurochs ever lived. (A commemorative painting of one of these hunts clearly shows aurochs-like animals being hunted from chariots, but this may be artistic license or a traditional stereotype-the lions in similar paintings are certainly fanciful stereotypes.)

Among the many animal mummies found in Egypt there are a number of bubal or red hartebeest and Cape buffalo. Both of these animals fit the biblical description of “wild ox”, and the hartebeest certainly lived in Arabia and the land of Israel.

The Septuagint translates re’em as monokerōs which literally means “one-horned” (hence the KJV “unicorn”) but is the ancient Greek word for rhinoceros. This translation needs to be taken seriously, because of its early date. The rhinoceros would have been an animal known to the Jews, since it was found in parts of Egypt. The ancient naturalist, Strabo of Amasia, who lived in the early part of the first century A.D., describes a rhinoceros that he saw in Egypt and refers to another naturalist of the time who had also described this animal. A variety of rhinoceros was found in Egypt, Sudan, and Ethiopia at the time of the Exodus, and a second variety was found in Mesopotamia.

At the time of the Exodus then, the aurochs would have been found in the forests of southeast Europe, the far north of Asia Minor, and Mesopotamia, but not in Egypt, Canaan, the Arabian Peninsula, Sinai, or Syria. However, the oryx and the bubal hartebeest would have been plentiful and well known, and the Cape buffalo and rhinoceros would have been known too, at least by hearsay.

There is another aspect of the question that needs to be kept in mind. Throughout human history large, prominent animals have had symbolic importance, even in societies that would never have seen the animal. Thus the lion has been important in Chinese and British culture for centuries, but there is no evidence that lions have ever lived in China or Britain. Thus the aurochs, while it may be a rather improbable interpretation, cannot be ruled out entirely.

Four things can be said for certain about the re’em. It was a wild, untameable animal, it had horns, it was very strong, and it was appropriate to contrast or compare it with domestic cattle and with lions.

Aurochs: The Aurochs Bos primigenius, which is now extinct, was a very large animal, with prominent forward-pointing horns. It looked very similar to the bulls used in Spain for bull-fighting in modern times, but it was probably even larger. The bulls were dark brown or black, with a pale stripe down the spine, while the females were a lighter brown. The German zoos of Berlin, Munich, and Frankfurt have been fairly successful in genetic engineering experiments that have been aimed at reintroducing the aurochs’ original genetic characteristics, by selective breeding from domestic cattle that have the required characteristics. The resulting animals seem to resemble closely the original aurochs.

Cape Buffalo
: The Cape Buffalo Syncerus caffer is also a very large animal not as tall as the aurochs but heavier. It is found wherever there is adequate water supply all over sub-Saharan Africa. It prefers thick bush or riverine forest in which to take cover during the day. It has very thick horns that emerge from a broad boss on its forehead then sweep sideways and down before curving sharply upward toward the head. The males have thicker horns than the females. The skin is covered in short hair that varies from black to gray or brown and is usually covered with dry mud so that the buffaloes look the same color as the local soil.

Cape buffaloes live in large herds often numbering over five hundred animals. They are extremely strong cunning and fearless and are probably the most dangerous animals in Africa. Although they have become accustomed to man in some protected areas they are unpredictable and easily provoked. Unlike the Asian water buffalo or carabao the Cape buffalo has never been domesticated.

Rhinoceros: The rhinoceros found in Mesopotamia in biblical times was a subvariety of the Great Indian Rhinoceros Rhinoceros unicornis while the variety found in Egypt and Sudan would have been the Hook-lipped or Black Rhinoceros Diceros bicornis. The hook-lipped rhinoceros weighs up to 2000 kilograms (4400 pounds) and is about 1.7 meters (70 inches) tall at the shoulder. It has two horns above the nose, one behind the other, the front one growing over half a meter (20 inches) in length. They live in bushy country and feed on leaves and twigs. They are solitary animals with poor eyesight and are very aggressive. The great Indian rhinoceros was even larger and had a single horn.

Because of the uncertainty of identifying this animal, it is probably best to have an equivalent of “wild ox” or “wild bull” in the text and indicate in a footnote, each time the word is translated, that the word may mean “buffalo” and that the Septuagint has “rhinoceros”.

A problem in many countries is that using a phrase like “wild ox” suggests that this is a domestic ox that has gone wild. For this reason, it may be better to use a local name for a large strong, horned animal.

In Africa the obvious equivalent is the buffalo, and this choice is strengthened by the fact that re’em may even mean “buffalo”.

In the Indian subcontinent, Myanmar, Thailand, Malaysia, and western China, there is an animal (now nearly extinct) known as the Gaur Bibos gaurus. In Thailand it is called the ngua-kating, and in Malaysia, the seladang. It is sometimes incorrectly referred to as the “wild water buffalo”. This is a type of wild ox very similar to the aurochs. In the Himalayas and mountains of western China there is another smaller animal similar to a wild ox called the Takin Budorcas taxicolor. Another possibility in the Himalayas and Central Asia is an expression meaning “wild yak”.

In North America the Bison or American Buffalo Bison bison is the closest equivalent. Another possible equivalent in some Arctic regions is the Musk Ox Ovibos moschatus.

Elsewhere a transliteration or a word borrowed from a locally dominant language is a possible solution.

The Seventh Commandment (image)

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:
The Seventh Commandment
The holy woman washes the Lord, a wicked disciple chastises her

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.