15Making a whip of cords, he drove all of them out of the temple, with the sheep and the cattle. He also poured out the coins of the money changers and overturned their tables.
Painting by Lino Pontebon, “an artist from the Negros island of the Philippines. The area in which he lives has been the scene of considerable military action and this has added to the already hard life of the peasants. His painting of the angry Christ captures a mood in the Philippines and reflects the prevailing anger of the people at being manipulated by forces beyond their control.
The painting became popular in many parts of the world, especially among the young. It counteracts the image of ‘gentle Jesus meek and mild’ with the reminder that Jesus also became angry at injustice.”
(Source for this and the image: The Bible Through Asian Eyes by Masao Takenaka and Ron O’Grady 1991)
“Sheep are known throughout most of the world, even though, as in Central Africa, they are a far cry from the fleecy wool-producing animals of colder climates. Where such animals are known, even by seemingly strange names, e.g. ‘cotton deer’ (Yucateco) or ‘woolly goat’ (Inupiaq), such names should be used. In some instances, one may wish to borrow a name and use a classifier, e.g. ‘an animal called sheep.’ In still other instances translators have used ‘animal which produces wool’, for though people are not acquainted with the animals they are familiar with wool.” (Source: Bratcher / Nida)
In Dëne Súline, it is usually translated as “an evil little caribou.” To avoid the negative connotation, a loan word from the neighboring South Slavey was used. (Source: NCEM, p. 70)
Note that the often-alleged Inuktitut translation of “sheep” with “seal” is an urban myth (source Nida 1947, p. 136).
“Jesus is doing something extremely dangerous here. The Thai temple is a place in which it is considered by religious people inappropriate to show any anger or strong emotions. It has to be an extremely urgent reason for someone to do something as violent as this in such a sacred space.”
In many English translations the Greek terms “hieron” (the whole “temple” in Jerusalem or specifically the outer courts open to worshippers) and “naos” (the inner “shrine” or “sanctuary”) are translated with only one word: “temple” (see also for instance “Tempel” in German [for exception see below] and “tempel” in Dutch, Danish, or Afrikaans).
Other languages make a distinction: (Click or tap here to see more)
Navajo (Dinė): “house in which worship is carried out” (for naos)
Balinese: “inner part of the Great Temple” (“the term ‘inner part’ denoting the hindmost and holiest of the two or three courts that temples on Bali usually possess”) vs. “Great Temple”
Telugu: “womb (i.e. interior)-of-the-abode” vs. “abode”
Thai: a term denoting the main audience hall of a Buddhist temple compound vs. “environs-of-the-main-audience-hall”
Kituba: “place of holiness of house-God Lord” vs. “house-God Lord”
Shipibo-Conibo: “deep in God’s house” vs. “God’s house” (source: Reiling / Swellengrebel)
Germandas Buch translation by Roland Werner (publ. 2009-2022): “inner court of the temple” (Tempelinnenhof) vs. “temple”
Languages that, like English, German, Dutch, Danish, or Afrikaans, don’t make that distinction include:
Toraja-Sa’dan: “house that is looked upon as holy, that is sacred, that is taboo and where one may not set foot” (lit. “house where-the-belly-gets-swollen” — because taboo is violated — using a term that is also applied to a Muslim mosque) (source for this and the three above: Reiling / Swellengrebel)
Aguaruna: “the house for talking to God” (source for this and above: M. Larson / B. Moore in Notes on Translation February 1970, p. 1-125.)
Guhu-Samane: “festival longhouse of God” (“The biiri, ‘festival longhouse’, being the religious and social center of the community, is a possible term for ‘temple’. It is not the ‘poro house’ as such. That would be too closely identified with the cult of poro. The physical features of the building, huge and sub-divided, lend it further favor for this consideration. By qualifying it as ‘God’s biiri’ the term has become meaningful and appropriate in the context of the Scriptures.”) (Source: Ernest Richert in The Bible Translator, 1965, p. 81ff. )
Enga: “God’s restricted access house” (source: Adam Boyd on his blog )
Another distinction that tends to be overlooked in translations is that between hieron (“temple” in English) and sunagógé (“synagogue” in English). Euan Fry (in The Bible Translator 1987, p. 213ff. ) reports on this:
“Many older translations have simply used transliterations of ‘temple’ and ‘synagogue’ rather than trying to find equivalent terms or meaningful expressions in their own languages. This approach does keep the two terms separate; but it makes the readers depend on explanations given by pastors or teachers for their understanding of the text.
“Translators who have tried to find meaningful equivalents, for the two terms ‘temple’ and ‘synagogue’ have usually made a distinction between them in one of two ways (which focus on the contrasting components of meaning). One way takes the size and importance of the Temple to make a contrast, so that expressions such as ‘sacred meeting/ worship house of the Jews’ and ‘big sacred meeting/worship house of the Jews’ are used. The other way focuses on the different nature of the religious activity at each of the places, so that expressions such as ‘meeting/worship house of the Jews’ and ‘sacrifice/ceremony place of the Jews’ are used.
“It is not my purpose in this article to discuss how to arrive at the most precise equivalent to cover all the components of meaning of ‘temple’. That is something that each translator really has to work through for himself in the light of the present usage and possibilities in his own language. My chief concern here is that the basic term or terms chosen for ‘temple’ should give the reader of a translation a clear and correct picture of the location referred to in each passage. And I am afraid that in many cases where an equivalent like ‘house of God’ or ‘worship house’ has been chosen, the readers have quite the wrong picture of what going to the Temple or being in the Temple means. (This may be the case for the word ‘temple’ in English too, for many readers.)”
Here are some examples:
Bambara: “house of God” (or: “big house of worship”) vs. “worship house” (or: “small houses of worship”)
Toraja-Sa’dan: “house where-the-belly-gets-swollen” (see above) vs. “meeting house for discussing matters concerning religious customs” (and “church” is “house where one meets on Sunday”)
Navajo (Dinė): “house in which worship is carried out” vs. “house of gathering” (source for all above: Bratcher / Nida)
Click or tap here to see a short video clip about Herod’s temple (source: Bible Lands 2012)Click or tap here to see a short video clip showing synagogues in New Testament times (source: Bible Lands 2012)
Following is a 1973 painting of the JESUS MAFA project, a response to New Testament readings from the Lectionary by a Christian community in Cameroon, Africa. Each of the readings was selected and adapted to dramatic interpretation by the community members. Photographs of their interpretations were made, and these were then transcribed to paintings:
From Art in the Christian Tradition, a project of the Vanderbilt Divinity Library, Nashville, TN. Image retrieved March 23, 2026. Original source: librairie-emmanuel.fr.
In the Yatzachi Zapotec translation of the Gospel of John, any reference to the evangelist and presumed narrator is done in the first person.
The translator Inez Butler explains (in: Notes on Translation, September 1967, pp. 10ff.):
“In revising the Gospel of John in Yatzachi Zapotec we realized from the start that the third person references of Jesus to himself as Son of Man had to be converted into first person references, but only more recently have we decided that similar change is necessary in John’s references to himself as ‘the disciple whom Jesus loved.’ As I worked on those changes and questioned the informant about his understanding of other passages in the Gospel, I discovered that the reader misses the whole focus of the book as an eyewitness account unless every reference to the disciples indicates the writer’s membership in the group. In view of that we went back through the entire book looking for ways to cue in the reader to the fact that John was an eyewitness and a participant in a many of the events, as well as the historian.
“When the disciples were participants in events along with Jesus, it was necessary to make explicit the fact that they accompanied him, although in the source language that is left implicit, since otherwise our rendering would imply that they were not present.”
In this verse, the Yatzachi Zapotec says: “Jesus spoke loudly calling to us . . . And we answered saying to him . . .”
Following are a number of back-translations of John 2:15:
Uma: “Yesus made a hitting-thing from rope, and he chased/shooed them all from the yard of the House of God, with their sheep and cows. He turned over the table of the money changers, with the result that their money spilled all over.” (Source: Uma Back Translation)
Yakan: “When Isa saw them there, he took rope, made it into a whip and drove them all out of the temple including their sheep and their cattle. He also overturned the tables of the money changers and scattered their money.” (Source: Yakan Back Translation)
Western Bukidnon Manobo: “And he made a whip of rope, and he drove outside of the House of God the cows and sheep, and he tipped over the tables of those who exchanged money. And their money, he poured it out.” (Source: Western Bukidnon Manobo Back Translation)
Kankanaey: “He immediately-made a rope whip and drove-them -out along-with the sheep and cows. He also scattered the money of the changers and tipped-over their tables.” (Source: Kankanaey Back Translation)
Tagbanwa: “What Jesus did was, he got rope and made a whip. He expelled those traders and drove out to the outside the sheep and cows. He poured out the money and overturned the tables of those changers.” (Source: Tagbanwa Back Translation)
Tenango Otomi: “Having seen what was going on, Jesus swung a short rope and drove away all those who were selling outside the church. With them went the cows and the cheep. He knocked down the money of those who sold money and he turned over their tables.” (Source: Tenango Otomi Back Translation)
The Greek Iēsous is “only” a proper name but one with great importance. The following quote by John Ellington (in The Bible Translator1993, p. 401ff. ) illustrates this:
“In Matthew’s account of the birth of Jesus Christ, Joseph is told that when Mary gives birth to a son ‘you will name him Jesus, because he will save his people from their sins’ (1:21). This name is a Greek transliteration of the Hebrew name [Yeshua (יֵשׁוּעַ) which is a short form of a name meaning] ‘the Lord [Yahweh] saves.’ The name is very significant and is in itself especially dear to Christians around the world. (…) Unquestionably great importance is attached to the name of Jesus by Christians of all persuasions and backgrounds.”
While Iēsous (pronounced: /i.ɛː.suːs/) is transliterated as “Jesus” (pronounced /ˈdʒiːzəs/) in English (but was translated as “Hælend” [the “healing one”] in Old English — see Swain 2019) it is transliterated and pronounced in a large variety of other ways as well, following the different rules of different languages’ orthographies, writing systems and rules of pronunciation. The following is a (partial) list of forms of Jesus in Latin characters: aYeso, Azezi, Boiyesuq, Cecoc, Chesús, Chi̍i̍sū, Chisɔsi, Ciisahs, Ciise, Ciisusu, Djesu, Ɛisa, Ƹisa, Eyesu, Gesù, Gesû, Gesü, Ġesù, Ghjesù, Giêsu, ꞌGiê‑ꞌsu, Giê-xu, Gyisɛse, Hesu, Hesús, Hisus, Hisuw, Ià-sŭ, Iesen, Ié:sos, Iesu, Iesui, Iesusɨn, Iesusiva, Ié:sos, Ihu, Īhu, Iisus, Iisussa, Ijeesu, iJisọsị, Iji̍sɔ̄ɔsi, Iosa, Íosa, Ìosa, İsa, I’sa, Isiso, Isõs, Ísu, Isus, Isusa, Iisussa, Isuthi, Itota, Îtu, Isuva, Izesu, Izesuq, Jasus, Jeeju, Jeesus, Jeesuse, Jeezas, Jehu, Jeisu, Jeju, Jejus, Jesesi, Jeshu, Jeso, Jesoe, Jesosa, Jesoshi, Jesosi, Jesosy, Jesu, Jesû, Jesua, Jesuh, Jesuhs, Jesuo, Jesús, Jésus, Jesúsu, Jethu, Jezed, Jezi, Jézi, Ježiš, Jezu, Jezus, Jézus, Jėzus, Jēzus, Jezusi, Jėzus, Jezuz, Jiijajju, Jíísas, Jiisusi, Jiizas, Jíìzọ̀s, Jisas, Jisase, Jisasi, Jisasɨ, Jisaso, Jisesi, Jisɛ̀, Jisos, Jisọs, Jisɔs, Jisu, Jiszs, Jizọs, Jizɔs, Jizọsi, Jizọsu, Jòso, Jusu, Jweesus, Ketsutsi, Njises, ọYẹsọ, Sesi, Sisa, Sísa, Sisas, Sises, Sīsū, Sizi, Txesusu, uJesu, Ujísɔ̄si, ŵaYesu, Xesosi, ´Xesús, Xesús, Yasu, Ya:su, yasuɛ, Yasuuⓐ, Ɣaysa, Yecu, Yeeb Sub, Yeeh Suh, Yeesey, Yeeso, Yeesso, Yēēsu, Yehsu, Yëësu, Yeiqsul, Yeisu, Yeisuw, Yeshu, Yē shú, Yeso, Yéso, Yesò, Yëso, Yɛso, ye-su, Yésu, Yêsu, Yẹ́sụ̃, Yěsù, Yésʉs, Yeswa, Yet Sut, Yetut, Yexus, Yezo, Yezu, Yiesu, Yiisa, Yiisu, Yiitju, Yis, Yisɔs, Yisufa, Yitati, Yusu, ‑Yusu, :Yusu’, Zeezi, Zezi, Zezì, Zezuz, Zezwii, Ziizɛ, Zisas, Zîsɛ, Zjezus, Zozi, Zozii, and this (much more incomplete) list with other writings systems: ᔩᓱᓯ, ᒋᓴᔅ, Հիսուս, ᏥᏌ, ኢየሱስ, ያሱስ, ܝܫܘܥ, Ісус, Їисъ, 耶稣, იესო, ईसा, イエス, イイスス, イエスス, 예수, येशू, येशो, ਈਸਾ, ພຣະເຢຊູ, ජේසුස්, যীশু, ଯୀଶୁ, ཡེ་ཤུ་, ‘ঈছা, இயேசு, ಯೇಸು, ພຣະເຢຊູ, ယေရှု, ઇસુ, जेजू, येसु, เยซู, យេស៊ូ, ᱡᱤᱥᱩ, ယေသှု, యేసు, ᤕᤧᤛᤢ᤺ᤴ, އީސާގެފާނު, ਯਿਸੂ, ꕉꖷ ꔤꕢ ꕞ, ⵏ⵿ⵗⵢⵙⴰ, ଜୀସୁ, يَسُوعَ,ㄧㄝㄙㄨ, YE-SU, ꓬꓰ꓿ꓢꓴ, 𖽃𖽡𖾐𖼺𖽹𖾏𖼽𖽔𖾏, ꑳꌠ, ᠶᠡᠰᠦᠰ (note that some of these might not display correctly if your device does not have the correct fonts installed).
Click or tap here to read more.
In some languages the different confessions have selected different transliterations, such as in Belarusian with Isus (Ісус) by the Orthodox and Protestant churches and Yezus (Езус) by the Catholic church, Bulgarian with Iisus (Иисус) by the Orthodox and Isus (Исус) by the Protestant church, Japanese with Iesu (イエス) (Protestant and Catholic) and Iisusu (イイスス) (Orthodox), or Lingala with Yesu (Protestant) or Yezu (Catholic). These differences have come to the forefront especially during the work on interconfessional translations such as one in Lingala where “many hours were spent on a single letter difference” (source: Ellington, p. 401).
In Literary and Mandarin Chinese where transliterations of proper names between the Catholic and Protestant versions typically differ vastly, the Chinese name of Jesus (Yēsū 耶稣) remarkably was never brought into question between and by those two confessions, likely due to its ingenious choice. (Click or tap here to see more).
The proper name of God in the Old Testament, Yahweh (YHWH), is rendered in most Chinese Bible translations as Yēhéhuá 耶和華 — Jehovah. According to Chinese naming conventions, Yēhéhuá could be interpreted as Yē Héhuá, in which Yē would be the family name and Héhuá — “harmonic and radiant” — the given name. In the same manner, Yē 耶 would be the family name of Jesus and Sū 稣 would be his given name. Because in China the children inherit the family name from the father, the sonship of Jesus to God the Father, Jehovah, would be illustrated through this. Though this line of argumentation sounds theologically unsound, it is indeed used effectively in the Chinese church (see Wright 1953, p. 298).
Moreover, the “given name” of Sū 稣 carries the meaning ‘to revive, to rise again’ and seems to point to the resurrected Jesus. (Source: J. Zetzsche in Malek 2002, p. 141ff., see also tetragrammaton (YHWH))
There are different ways that Bible translators have chosen historically and today in how to translate the name of Jesus in predominantly Muslim areas: with a form of the Arabic Isa (عيسى) (which is used for “Jesus” in the Qur’an), the Greek Iēsous, or, like major 20th century Bible translations into Standard Arabic, the Aramaic Yēšūaʿ: Yasua (يَسُوعَ). (Click or tap here to see more.)
Following are languages and language groups that use a form of Isa include the following (note that this list is not complete):
In Indonesian, while most Bible translations had already used Yesus Kristus rather than Isa al Masih, three public holidays used to be described using the term Isa Al Masih. From 2024 on the government is using Yesus Kristus in those holiday names instead (see this article in Christianity Today ).
Some languages have additional “TAZI” editions (TAZI stands for “Tawrat, Anbiya, Zabur, and Injil” the “Torah, Prophets, Psalms and Gospel”) of the New Testament that are geared towards Muslim readers where there is also a translation in the same language for non-Muslims. In those editions, Isa is typically used as well (for example, the Khmer TAZI edition uses Isa (អ៊ីសា) rather than the commonly used Yesaou (យេស៊ូ), the Thai edition uses Isa (อีซา) rather than Yesu (เยซู), the Chinese edition uses Ěrsā (尔撒) vs. Yēsū (耶稣), and the English edition also has Isa rather than Jesus.)
In German the name Jesus (pronounced: /ˈjeːzʊs/) is distinguished by its grammatical forms. Into the 20th century the grammatical rules prescribed a unique Greek-Latin declination: Jesus (nominative), Jesu (genitive, dative, vocative), Jesum (accusative), from which today only the genitive case “Jesu” is still in active use. Likewise, in Seediq (Taroko), the morphological treatment of “Jesus” also occupies a special category by not falling under the normal rule of experiencing a vowel reduction when the object-specific suffix an is added “since it was felt that the readers might resent that the name has been changed that drastically.” (Compare Msian for “Moses” (Mosi) as an object, but Yisuan for “Jesus” (Yisu).) (Source: Covell 1998. p. 249)
In Lamba the name ŵaYesu consists of a transliteration Yesu and the prefix ŵa, a plural form for “proper names when addressing and referring to persons in any position of seniority or honor.” While this was avoided in early translations to avoid possible misunderstandings of more than one Jesus, once the church was established it was felt that it was both “safe” and respectful to use the honorific (pl.) prefix. (Source C. M. Doke in The Bible Translator 1958, p. 57ff. )
In virtually all sign languages, “Jesus” is signed with the middle finger of each hand pointing to the palm (or wrist) of the other in succession (signing the nails of the cross). In the context of Bible translation this has been pointed out as theologically problematic since the “semantic connections of the original name Jesus do point towards ‘salvation,’ they do not naturally lead to crucifixion.” (Source: Phil King in Journal of Translation 1 (2020), p. 33ff.)
Following is the oldest remaining Ethiopian Orthodox icon of Jesus from the 14th or possibly 13th century (found in the Church of the Saviour of the World in Gurji, Ethiopia). As in many Orthodox icons, Jesus’ right hand forms the Greek letters I-C-X-C for IHCOYCXPICTOC or “Jesus Christ.” Another interpretation of the right hand is that it shows three fingers pointing to the Trinity, while the two other fingers point to Jesus’ two natures.
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 following is the so-called “Wales Window for Alabama.” It is a stained-glass window by the artist John Petts from Carmarthenshire, Wales, created in response to the 16th Street Baptist Church bombing which took place in 1963:
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 )
The style of the following drawing of Jesus by Annie Vallotton is described by the artist as this: “By using few lines the readers fill in the outlines with their imagination and freedom. That is when the drawings begin to communicate.” (see here ; see also We All are One in Christ)
Illustration by Annie Vallotton, copyright by Donald and Patricia Griggs of Griggs Educational Service.
