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The Intersection of Culture,
Religion, and Technology in Reinterpreting Marian Iconography within Nigerian Cultural Identity
Religion, and Technology in Reinterpreting Marian Iconography within Nigerian Cultural Identity
MaryLucy Okwuowulu
Introduction
Marian iconography has historically been an essential aspect of Christian artistic expression. The representation of the Virgin Mary has gone through significant transformations since the early Christian church, shaped by theological developments. Western art has dominated the depiction of Mary, often representing her through a Eurocentric standard that emphasizes traits opposite to non- Western identities. For instance, Michelangelo's works highlight Mary as a figure of resplendent celestial purity; her features often reflect an idealized beauty that is originally Western. Such portrayals create a cultural disconnect for communities that are non-Western, particularly Nigerian Catholics, who may see the Marian icon as foreign and not representative of their experiences or cultural realities.
Regional adaptations like the Virgin of Guadalupe in Latin America. This iconic representation blends European and Indigenous elements, portraying Mary with mestiza features that symbolize the amalgamation of different religions, cultures, or schools of thought- interfaith dialogue. The artist employed the techniques and styles developed during the Renaissance with cultural motifs such as the crescent moon and floral designs, creating a unifying figure for colonial Mexico.
Inspired by such adaptations, this study aims to reinterpret Marian iconography through a Nigerian lens— not as a hybrid but as a fully localized representation. Firstly by depicting Mary as a typical Nigerian woman, integrating her into the three major ethnic groups (Igbo, Hausa, Yoruba), incorporating traditional material textiles (e.g., Aso-oke, Adire, George), hairstyles, and beads.
Artistic process
