"2. There's nothing "new" about the NKJV logo. It is a "666" symbol of the pagan trinity which was used in the ancient Egyptian mysteries. It was also used by satanist Aleister Crowley around the turn of this century. The symbol can be seen on the New King James Bible, on certain rock albums (like Led Zepplin's), or you can see it on the cover of such New Age books as The Aquarian Conspiracy. (See Riplinger's tract on the NKJV.)
I have seen these false accusations that bear false witness before. You are being misinformed, and you jump to wrong conclusions. A KJV edition, a Family and Library Reference Edition published by Good News Publishers (with a 1968 copyright date by Royal Publishers) has a page of historic Christian symbols that are also used on its border designs and other special pages. These symbols include a symbol for the Trinity. Did the publisher of the 1982 NKJV possibly or likely get the idea of using a symbol for the Trinity from an earlier edition of the KJV? You and other KJV-only advocates also ignore and avoid the truth that the publishers of the NKJV stated how they used the symbol for the Trinity.
Just because a symbol may have been used by others with a different meaning is not actually proof that is its meaning as used by the NKJV’s publisher Thomas Nelson. Can knowledge of the publisher’s own actual meaning for its symbol be gained? In its 1991 KJV-NKJV Parallel Bible, Thomas Nelson identified its logo on the NKJV’s title page as “an ancient symbol for the Trinity.” The publisher maintained that its triquetra “comprises three interwoven arcs, distinct yet equal and inseparable, symbolizing that the Father, Son, and Holy Spirit are three distinct yet equal Persons and indivisibly one God.” Therefore, this publisher has clearly stated and identified its authentic meaning determined for its use of this symbol. Gary Zeolla maintained that “the triquetra is not an ‘image’ of God that people create to worship” and that “it is a symbol used to illustrate a very difficult theological concept” (Differences Between Bible Versions, p. 192). Dean Moe wrote: “The triquetra is a three-pointed trinangular figure portraying the ‘three-in-one’ of the Trinity” (Christian Symbols Handbook, p. 32). In KJV-only seeming attempts to smear the NKJV by use of a guilt-by-association argument, do KJV-only advocates ignore the possibility that the same symbol can be used with different meanings just as the same word can be used with different meanings? How does this symbol have any bearing on the accuracy or inaccuracy of the translating in the NKJV? For example, should the symbol or token of a rainbow (Gen. 9:13) be considered to have the same meaning for believers as it may have for many unbelievers or pagans?
Would KJV defenders use the same measures and condemn the KJV if a publisher included any symbol or symbols for God? Did the first 1611 edition of the KJV have any symbols or images to depict God the Father, the Lord Jesus Christ, the Holy Spirit, or the Trinity? Laurence Vance acknowledged that “the engraved title page depicts the Trinity in the upper panel in the form of the Divine Name, a dove, and a lamb” (King James, His Bible, p. 55). Gordon Campbell maintained that “the godhead is represented by symbols rather than pictorial representation” (Bible, p. 100). Concerning the engraved 1611 title page, Alister McGrath maintained that “the upper panel depicts the Trinity in a conventional style” (In the Beginning, p. 207). McGrath noted that “the ‘lamb and flag’ is generally interpreted as a symbol of the resurrection of the crucified Christ” (p. 209). Benson Bobrick affirmed that the 1611 title page depicted “the Holy Spirit in the form of a dove” (Wide as the Waters, p. 252). At the bottom of the title page of the 1611 KJV, Geddes MacGregor observed that it has “a traditional symbol of the redeeming work of Christ, especially in the Eucharist--a pelican ‘vulning’ herself, that is, wounding herself with her beak to feed her young with her own blood” (Literary History, p. 205). Concerning the 1611 title page, Derek Wilson asserted that “an interesting feature is the inclusion of Catholic imagery” (People’s Bible, p. 123). Gordon Campbell claimed: “The figure of Peter is strikingly Catholic: not only is he the sole possessor of the keys (whereas on the Coverdale cover all apostles have been issued with keys), but he is paired with Paul on either side of the godhead, which is the normal arrangement in Catholic altarpieces” (Bible, pp. 100-101). Derek Wilson noted: “The apostles are shown with the traditional symbols of their martyrdom and, at the foot of the page, there is a drawing of a pelican in her piety (a heraldic device depicting a pelican feeding her young with her own blood), which Catholic convention employed to represent the sacrifice of Christ in the mass” (People’s Bible, p. 123). Steve Halla wrote: “Boel’s choice of iconography reflects King James’s desire for Christian unity by combining both traditional ‘Catholic’ iconography, such as Peter and Paul and the Pelican feeding its young, with iconography distinctly reflective of Protestant iconoclastic sensibilities” (Neste, KJV400, p. 119). Alister McGrath observed: “There is a curious irony to this symbol. In the Middle Ages, the image of a pelican came to be linked with the Lord’s Supper or Mass, especially with the medieval ecclesiastical feast of Corpus Christi” (In the Beginning, p. 210). Benson Bobrick maintained that the 1611 title page has “a pelican (symbol of Christ) shown feeding her young with blood from her own breast” (Wide as the Waters, p. 252).