In her thought-provoking painting “Annunciation," Japanese artist Chihiro Taki metaphorically presents herself as Mary, confronting the semi-divine figure of Gabriel portrayed as a wolf. Taki challenges traditional iconography and narrative logic from the Gospel of Luke, offering her unique perspective on female nature and identity within contemporary cultural codes. Throughout her journey to womanhood, Taki underscores the importance of free choice as a vital condition for embracing self-discovery and empowerment, rejecting submission to patriarchal societal expectations, envisioning a future that embraces liberation and change to nurture her creativity as an individual.

  The Annunciation has been a subject of artistic exploration across centuries, typically executed by male artists. From Giotto's fresco in 1305 to Leonardo da Vinci's late 15th-century painting, each depiction of Mary's encounter with Gabriel shows diverse interpretations of her reaction, ranging from acceptance and delight to sadness and even repulsion―reflecting the competing societal requirements for devout women in different historical contexts (1).

  In Taki's reinterpretation, a young girl replaces the Virgin Mary, seated on a large chair. Before her, the angel Gabriel, depicted as a messenger with a wolf’s head, genuflects with a candy in hand, adding an ironic twist to traditional religious symbolism. The messenger announces to Taki an assignment and future role as wife and mother, considered the "ideal" of feminine virtue. However, the girl's deliberately serene expression, devoid of fear or emotion, conveys that she is unimpressed. She refuses to submit to the metaphorical temptation sweetened by the candy, denying any pleasure in fulfilling her mission. The girl's serene expression, sharply contrasting with the wolf's intense gaze, creates a palpable sense of tension in the scene.

  The narrative is enriched with symbolic imagery. Paralleling traditional representations of the dove, which symbolizes purity, submission, and the presence of the Holy Spirit, Taki includes crows―known for their independent nature and perceived wisdom―alongside doves.. This combination signifies a shift towards intelligence, complexity, and rebellion, reflecting modern values of female empowerment. This evolution of symbolism underscores changing societal attitudes towards female identity, highlighting the dynamic interplay between historical and modern interpretations.

  Saying “no” to Gabriel in Taki's Annunciation signifies the artist's special alterity and radical identification with the role of a “painter” as a “creator.” Her reinterpretation captures the desire for a life of creativity and agency, emphasizing physical and emotional strength and autonomy over societal dictates. The work reflects evolving narratives about female virtue and ongoing debates surrounding femininity, resonating with the contested figure of the feminine as portrayed in the Renaissance.

 

(1) Giotto's portrayal (1305) celebrated Mary's acceptance and submission, while Simone Martini's depiction (1333) emphasized Mary's discomfort and recoil. Fra Angelico (1433-34) presented Mary's serene acceptance, and Piero della Francesca (1452-57) portrayed her disquiet and questioning response. Sandro Botticelli (1489-90) captured Mary's emotional reaction with swooning and closed eyes, symbolizing the inevitable acceptance of divine fate. Leonardo da Vinci's Annunciation painting from the late 1470s reflects on a woman as the 'sensible transcendental'—the medium to return divinity to the earthly realm.