The so-called enconchados or paintings on wood or lienzos inlaid with pieces of mother of pearl, abalone, or other shells, were produced in Nueva España, present-day Mexico, circa 1650 to 1750. These dazzling compositions were highly desired objects for religious contemplation by both the Church and the elite classes. Scholars believe that approximately 250 enconchados are known to this date. One particular workshop, run by Tomás González and his sons Juan and Miguel, thrived from the production of such luxurious items. However, other masters such as Nicolás Correa, Agustín del Pino and Pedro López Calderón as well as others whose names remain unknown were their competitors.1
A fervent disciple of Jesus, Mary Magdalene, was an important figure in the life of Christ and is mentioned in the Gospels of Luke, Mark and Matthew. She held a pertinent position in Christ’s ministry as a devoted follower and firm believer but also financial supporter. Mary of Magdala, a town in Judea, accompanied the Virgin Mary and others to his Crucifixion and was the first person Christ appeared to after his Resurrection. She is often depicted, as in this enconchado, in the role of repentant sinner who like other saintly hermits has retreated to the solitude of the desert to atone for her transgressions. In this almost barren landscape, she kneels near a cave’s entrance as she contemplates on the frailty of life while holding a skull. A small wooden cross is nearby as well as the Eucharist, both symbols of Christ’s sacrifice and his promise of life everlasting for all those who believed in him. Goldfinches seem to fly off the stark and powerful composition into the frame which is also encrusted with mother-of-pearl and covered with flowers. The goldfinch, which has a fondness for thistles and thorns, is a symbol of Christ’s Passion. The incrustation of the iridescent shell material as well as the lustrous finish of the varnish, endowed these works with the power to transform the devotional practice into a transcendental experience as it was displayed amidst the flickering candlelight.
M.J. Aguilar, Ph.D.

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1 G. Tovar de Teresa, “Documentos sobre ‘enconchados’ y la familia mexicana de los Gonzalez,” Cuadernos de Arte Colonial, Num. 1 (1986): 101.