The Greek that is transliterated as “Herod (Antipas)” in English is translated in Spanish Sign Language with the sign for king and and a sign depicting cutting off the head (of John the Baptist), referring to Matthew 14:10 et al. (Source: Steve Parkhurst)
The Greek in the referenced verses that is translated as “pray” or “prayer” in English is translated in the German translation by Fridolin Stier (1989) as “(offer) supplications” (Flehrufe (abhalten) / flehen).
In Aekyom, years are counted as “turtles” (ambum).
Norm Mundhenk tells this story:
“Recently I was checking some New Testament material in the Aekyom language of western Papua New Guinea. It seemed relatively clear until suddenly we came to a passage that started, ‘When Jesus had 12 turtles, …’ Surely I had misunderstood what they said.
“‘Did you say that Jesus had 12 turtles?’
“‘Let us explain! Around here there is a certain time every year when river turtles come up on the banks and lay their eggs. Because this is so regular, it can be used as a way of counting years. Someone’s age is said to be how many turtles that person has. So when we say that Jesus had 12 turtles, we mean that Jesus was 12 years old.’
“It was of course the familiar story of Jesus’ trip with his parents to Jerusalem. And certainly, as we all know, Jesus did indeed have 12 turtles at that time!”
In Tok Pisin, krismas (derived from “christmas”) is taken as the fixed annual marker, so Jesus had 12 “christmases” (Jisas i gat 12-pela krismas pinis) or Abram (in Gen. 12:4) had 75 (Abram i gat 75 krismas) (source: Norm Mundhenk). In Noongar it is biroka kadak or “summers had” (source: Warda-Kwabba Luke-Ang).
The Hebrew and Greek that is translated as “widow” in English is translated in West Kewa as ona wasa or “woman shadow” (source: Karl J. Franklin in Notes on Translation 70/1978, pp. 13ff.) and in Newari as “husband already died ones” or “ones who have no husband” (source: Newari Back Translation).
The etymological meaning of the Hebrewalmanah (אַלְמָנָה) is likely “pain, ache,” the Greekchéra (χήρα) is likely “to leave behind,” “abandon,” and the Englishwidow (as well as related terms in languages such as Dutch, German, Sanskrit, Welsh, or Persian) is “to separate,” “divide” (source: Wiktionary).
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 are a number of back-translations of Luke 2:37:
Uma: “At the time of the arrival of Yusuf and Maria in the House of God, there was also there a female prophet who was very old. Her name was Hana, the child of Fanuel, from the family of Asyer. At that time, her age was eighty-four years. She had been married only seven years. From there, she was a widow, and she did not marry again. She stayed continually in the House of God, day and night continually praying and she fasted worshipping the Lord God.” (Source: Uma Back Translation)
Yakan: “then she had been a widow until now she was eighty four years old. She was always in the temple including fasting, praying and worshiping not only at daytime but also at night.” (Source: Yakan Back Translation)
Western Bukidnon Manobo: “And she had been a widow now for eighty-four years. She always was in the church because day and night she worshipped God, and there was a time that she did not eat so that her prayer to God might be drawn tight.” (Source: Western Bukidnon Manobo Back Translation)
Kankanaey: “then was widowed until now at the age of eighty-four years. Daily and even at night she was in the Temple praising God and praying while at the same time she fasted (lit. endured her hunger).” (Source: Kankanaey Back Translation)
Tagbanwa: “Well, at that time, the age of that widow was now eighty four years. She was always/often at the Templo, for day and night she worshipped, fasted and prayed to God.” (Source: Tagbanwa Back Translation)
The name that is transliterated as “Jerusalem” in English is signed in French Sign Language with a sign that depicts worshiping at the Western Wall in Jerusalem:
While a similar sign is also used in British Sign Language, another, more neutral sign that combines the sign “J” and the signs for “place” is used as well. (Source: Anna Smith)
“Jerusalem” in British Sign Language (source: Christian BSL, used with permission)
This is a contemporary tempera/gouache on leather painting by an unknown Ethiopian artist. Source: Sacred Art Pilgrim website .
Following is a painting by Chen Yuandu 陳緣督 (1902–1967):
Housed in the Société des Auxiliaires des Missions Collection – Whitworth University.
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 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 )
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