This post turned out to be a really fascinating research opportunity for me, and sorry if it feels intrusive to springboard on it like this, but I really want to share my findings and questions while I still have all my research tabs open.
The first question occurring to me on this read was "Was it possible for Nasu, as a Japanese monolingual, to know that there are restrictions on the depiction of Wandjinas?".
I understand it's probably not a relevant question to most, but my background is that I'm a born, raised, and currently residing Brazilian with a degree in Japanese language and literature. I specialize in translation, so "there is a need for information to available in every language, and monolingual people can't be presumed to know things inaccessible to them" is a belief I stake my self-worth on. I perfectly understand people with different priorities saying the answer to this doesn't matter, especially considering Morise Ryou is a professional English translator and part of Type-Moon's Servant research team, but please understand my side too.
Another big disclaimer on this one is that the question "Was it possible to know?", not "Did Nasu know?". The event story does more than enough to answer whether or not Nasu knew about the restrictions. The event's narrative demanded the use of an ancient god that had their cult pre-historically extinct, and the god Nasu found for this role was Wandjina. Nowhere in the event script there is any commentary about this view diverging from known history, which leaves it quite clear that Nasu wasn't and probably still isn't aware that the Mowanjum religion is still living.
Without further ado, the answer to this one is most likely no. I searched with several keywords on both regular Google and Google Scholar, testing multiple katakana spellings for Wandjina and Vesna Tenodi, and no results to present.
Japanese Wikipedia's page for Wandjina also makes no mention of it, but that doesn't count as a source because Wandjina's FGO debut is 2 hours and 44 minutes older than the Japanese Wikipedia page. FGO communities that are big on Servant research (Twitter, Wicurio, Hitotsume Noa's mythology streams) also show no sign of knowing as of now.
Going one step further to reach directly what Nasu's mistake was (assuming the Mowanjum were extinct), there are no peer-review sources mentioning their survival, but travel blogs show the community's culture is preserved through tourism. However, none of the 5 travel blog posts about the Mowanjum mention the cult of Wandjina to still be a thing. This book could have it, but I can't find it digitally.
There is one comically close example from Osaka University's National Museum of Ethnology's report on their aboriginal art exhibit. The English abstract of the paper says it's more accurate to call aboriginal art "contemporary art" rather than primitive but the Japanese version has no equivalent sentence to that in their paragraph.
(Context: Wandjina art should be called contemporary because the Mowanjum community regularly renews the images.)
About Wandjina's design, FGO's Wandjina visibly having a mouth is a major research failure on her designer's part (who is it? looks like Simosi, but she hasn't officially posted about it) and one that was much easier to avoid because multiple sources both translated and natively written in Japanese explain why Wandjina can't have a mouth.
This pretty much kills good faith in the rest of the design ideas, but just for the argument's sake, it's possible that her blue skin is meant to reference the use of the color in body paint.
And the giant boomerang could be because the boomerang originates specifically in Kimberley and one known Wandjina story (that has been translated into Japanese) depicts one Wandjina killing another with a boomerang. But again, good faith was already out of the window when the Wandjina was drawn with a mouth.
This last part is about questions that have been puzzling throughout the research process and I ultimately failed to find an answer for. I'd love to hear of someone else knows this, especially someone directly from the community. There are multiple parts to what I'm not understanding, but if I had to boil it down to one thing, it'd be "What exactly is the part that isn't allowed about portrayals of Wandjina?".
Most people explain it's bad because you're not supposed to look at them without the proper rites. You need to say your name, state your business, and have the body paint of the appropriate color for the Wandjina of your tribe. But today, I've looked at many Wandjina images, many displayed in pro-Mowanjum articles. Are the articles practicing what they are condemning or is it perfectly fine to look at Wandjina images through a screen?
Every article about the image rights dispute mentions only the Wandjina graffiti in inappropriate places and the case of Vesna Tenodi, who makes physical Wandjina art (not to mention claims to have greater spiritual authority over them than the traditional keepers of the legacy, which must be a far bigger cause of animosity). Most articles I read consistently word the prohibition as "you can't paint the Wandjina (of a tribe you don't belong to)", so it's easy to be a bit skeptical about the relevancy of digital images on the cultural law.
My biggest lead in this department is the 1966 sci-fi show Wandjina!. Through Mowanjum response to the TV show, I wanted to find my answer about non-paint depictions of Wandjina. Unfortunately, I found no relevant commentary about the TV show. Apparently, there was no large-scale controversy about its content. This could be because their portrayal was accepted, but it's mostly likely because the show aired in the 60s. I'm not confident enough to say I gained any answer from the show.
That's pretty much all I had to add after looking into the parts that made me curious and talking to some people about it. It's almost amusingly serendipitous that what caused this miscommunication was an event about two caring and benevolent forces trying to help each and causing major problems for everyone because of cultural misunderstandings derived from the language barrier. I can certainly say my experience with the story is deeply affected by OP making me live its themes right now, although I'm still not sure if negatively or positively.
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