The Greek that is translated in English as “beat his breast” or similar is translated in Kasem as “clapped his hands.” To beat one’s breast is considered to be a sign of arrogance and pride. To express regret people clap their hands. (Source: Urs Niggli in Holzhausen / Riderer 2010, p. 16)
Similarly in Bafut (in Luke 23:48): “If we translated the image, ‘beating their breasts’ literally, it would give a wrong meaning. ‘Beating their breasts/chests’ translates in Bafut as ‘ŋ̀kwɛɛ nɨ̂ mɨnt ̀ɨɨ̀ myaa.’ This means they were proud of what they had done. Another consideration is that literally translating ‘beating their breasts’ will mean that it was the women beating their breasts, not men, since, in Bafut, men are perceived as not having breasts. In order to bring out the right meaning using a culturally relevant image, we rendered this as ‘ŋ̀wɛtə mbô myaa,’ and this means ‘crossed their arms’ (under the chin, so the palms rested on the shoulders), which is a sign of mourning in the culture. So in order to explain the symbolic action, the translation added the implicit information, ‘nloŋ mə mɨntɨɨ̀ myaa lɛ nluu nɨ̂ àjəŋnə̀‘ which means, ‘because their hearts were full with sorrow.'” (Source: Michael Suh Niba in Vila-Chã / Hu 2022, p. 233ff.)
In Yaweyuha it is expressed more explicitly as “feeling great sorrow, repeatedly beating their chests” (source: Larson 1998, p. 98) and likewise on Chokwe as “beat his breast for sorrow” (“beat one’s breast” is the equivalent of the English “pat oneself on the back”) (source: D. B. Long in The Bible Translator 1952, p. 87ff. ).
The Greek that is translated into English as “crucify” is translated in various ways:
Naro: xgàu or “to stretch” (as is done with a skin after slaughtering in order to dry it. The word is also widely accepted in the churches.) (Source: Gerrit van Steenbergen)
Yatzachi Zapotec: “fasten him to the cross” (source for this and two above: M. Larson / B. Moore in Notes on Translation February 1970, p. 1-125)
Noongar: “kill on a tree” (source: Warda-Kwabba Luke-Ang)
Apali: “nail to a tree piece put cross-wise, lift up to stand upright (for the crucified person) to die (and in some contexts: “to die and rise again”)” (source: Martha Wade)
In British Sign Language it is signed with a sign that signifies “nails hammered into hands” and “arms stretched out.” (Source: Anna Smith)
“Crucify” or “crucifixion” in British Sign Language (source: Christian BSL, used with permission)
Following is a painting by Wang Suda 王肅達 (1910-1963):
Housed by Société des Auxiliaires des Missions Collection – Whitworth University
(click image to enlarge)
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.
Click or tap here to see a short video clip showing how crucifixion was done in biblical times (source: Bible Lands 2012)
Bawm build with bamboo and thatch in their mountainous forests. They made the apostles and prophets become the roof ridge pole and Jesus the central uprights which support it. I asked why not the corner uprights since Greek has a term that is translated in English as ‘cornerstone.’ Bawm translators responded that the central uprights are more important than the corner ones, and Greek refers to the most important stone. (“Corner uprights” used in 1 Timothy 3:15.) (Source: David Clark)
Similarly, Chris Pluger tells the following from the translation into Tsamakko: “At the end of Ephesians 2, Paul uses the idea of a building to show that people of all nations and backgrounds are united together by faith in Christ. This building is pictured as standing on a stone foundation, and believers are ‘joined together’ as parts of that building. Christ himself is the cornerstone on which everything is based. However, the Tsamakko people of southwest Ethiopia do not build on stone foundations, and their buildings are traditionally round. This makes the idea of a ‘cornerstone’ difficult for several obvious reasons. In the Tsamakko translation of Ephesians 2:20, Christ is the mososso — the big center pole of a house that holds up the roof and the entire structure of the building. The apostles and prophets are the other poles that support the frame of the house. And believers are the house itself — all the pieces that make up the walls and the roof. We are all joined together as one, and Christ is the thing that keeps us together!” (for a complete back-translation of that verse in Tsamakko, see complete verse (Ephesians 2:20).
In Mono, translators used “main post,” in Martu Wangka “two forked sticks with another long strong stick laid across” (see also 1 Peter 2:6-7.), and in Arrernte, the translation in 1 Peter 2:7 (in English translation: “the stone . . . became the very cornerstone”) was rendered as “the foundation… continues to be the right foundation,” (source for this and two above: Carl Gross) and in Uripiv and Sabaot it is the “post” (source: Ross McKerras and Jim Leonhard in Holzhausen / Riderer 2010, p. 50).
In Ixcatlán Mazatec it is translated with a term denoting the “the principal part of the ‘house’ (or work)” (source: Robert Bascom), in Enlhet as “like the house-root” (source: Jacob Loewen in The Bible Translator 1969, p. 24ff. ), in Q’anjob’al it is translated with with the existing idiom “ear of the house.” (Source: Newberry and Kittie Cox in The Bible Translator 1950, p. 91ff. ), in Desano as “main support of the house,” and in Tataltepec Chatino as “the best stone” (source for this and one above: Viola Waterhouse in Notes on Translation August 1966, p. 86ff.).
Shuar translates as “that stone was placed to the main house pole.” The Shuar use stones in house building either at the bottom of the posthole as a base for the house pole to rest on, or as chocking material around the post to hold it firm. Either function is acceptable here particularly as applied to the main house-pole. In Ocotlán Zapotec it is “master stone of the house.” This is a special stone they put into the foundation as sort of a guide stone of how the foundation is to true up. (Source: B. Moore / G. Turner in Notes on Translation 1967, p. 1ff.)
In Matumbi it is “the great foundation stone.” It’s the first large stone you place for a house, the one that determines where all the other stones will go, but unlike in Greek thought it’s often in the center of a building instead of a corner. (Source: Pioneer Bible Translators, project-specific notes in Paratext)
Fuyug houses are built with poles which cannot be put into rock, so in this passage the Fuyug translation for the term that is “rock” in English becomes “firm ground” and “sand” becomes “soft ground.” (Source: David Clark)
Likewise, and for the same reason, the wise man builds his house in Manam on “firm ground” as well. (Source: Blaine Turner in Holzhausen 1991, p. 47)
Since speakers of Karakalpak do indeed build their houses on sand, the translators had to find a slightly different solution to not imply that the Karakalpaks themselves are foolish. They ended up choosing shege qum, the term for loose yellow sand along river banks, since this indeed is a kind of sand Karakalpaks would not build their houses on. (Source: Holzhausen / Riderer 2010, p. 57)
The Greek that is translated as “no one who puts his hand to the plow and looks back (is fit for the kingdom of God)” in English is translated in Sa’a as “Whoever at all who works in his garden, but just thinks indiscriminately about other things, then he is not fit for the Kingdom of God.”. Carl Gross explains: “In a society in which plowing is unknown, it is not possible to have a farmer setting his hand to the plow, let alone looking back once he had started. [The chosen translation] would even make sense to western urban dwellers who have never seen a plow.”
In Bislama “plow” is translated as stia blong bot, “steering paddle” or “rudder.” The whole verse is translated as “A person who holds the rudder but keeps looking back cannot enter the kingdom of God.” (Source: Ross McKerras)
In Toposa it is translated as “No one aiming at an animal looks to the side when throwing the spear.” Plowing is not known in that culture and this communicated the meaning well. (Source: Martin and Helga Schröder in Holzhausen / Riderer 2010, p. 58f.)
The translation of the two Greek phrases “Can you drink the cup I drink?” and “Can you be baptized with the baptism I am baptized with?” demanded a particularly difficult decision in the translation into Avaric. “We are faced with two metaphors, for which literal translation is impossible, since the expressions “drink the cup” and “be immersed in water, be washed” are, for the Avaric, in no way connected with the idea of suffering and death.
Nevertheless there is an equivalent for the first metaphor; in the Avaric language there is an idiomatic expression “to drink from the horn of death,” which is identical to the idea of the Gospels’ “cup”. For the second metaphor the translator used a less obvious equivalent: “to cross the river” (‘or baxine), an expression which can express “to experience hardship, suffering” and at the same time contains the idea of immersion in water. (Source: Magomed-Kamil Gimbatov and Yakov Testelets in The Bible Translator 1996, p. 434ff. )
Likewise, there also is an expression in Southern Toussian that fits this context exactly. “You can’t drink from my cup” means “you can’t bear as much suffering as I can.” (Source: Hannes Wiesmann in Holzhausen / Riderer 2010, p. 35)
In Michoacán Nahuatl this section is translated as “because of me you will suffer as I suffer, and because of me you will die.” (Source: B. Moore / G. Turner in Notes on Translation 1967, p. 1ff.)
The Greek that is translated as “Follow me” in English is translated as “Be my disciple” in Ojitlán Chinantec and “Don’t forsake me” in Tenango Otomi (the latter is used in John 21). (Source: M. Larson / B. Moore in Notes on Translation February 1970, p. 1-125.)
In Kaingang it is translated as “run with me and do as I do.” (Source Ursula Wiesemann in Holzhausen / Riderer 2010, p. 65).
The Greek that is translated as “stubbornness” or “hardness of heart” is translated in Ixil as “callous heart.” (Source: Holzhausen / Riderer 2010, p. 40)
