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 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.)

“Jesus” in German Sign Language (source )

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 IHCOYC XPICTOC 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.

Other visual representation of Jesus in TIPs include several non-Western styles of art: traditional Korean art, traditional Chinese art, modern Chinese abstract art, northern and central Thailand’s popular art, Indian Hamzanama style, traditional Vietnamese art, or Japanese prints.