Silence of Ecstasy: Mary Magdalene Reimagined

“Mary Magdalene in Ecstasy,” a 17th-century painting by Caravaggio—once lost and rediscovered in 2014 in a private collection—was exhibited at the Italian Embassy Museum in Delhi from April 11th to 15th. Mary Magdalene, a proclaimed saint of the Catholic Church, is equally revered by the Orthodox Churches. 

The New Testament mentions at least six women named Mary, among whom the most prominent—after Mary, the mother of Jesus—is Mary Magdalene.

Description of the painting

The figure of Mary Magdalene in this painting is unlike typical depictions of saints adorned with halos and angelic symbols that emphasize divinity. Instead, Caravaggio presents a deeply human and sublime version of Mary Magdalene, rich with emotion and passion. Her inner turmoil is made visible through clasped hands, intense eyes, and trembling lips—transcending the human experience.

According to tradition, after the ascension of Jesus, Mary Magdalene is said to have lived in hiding in Italy for 30 years and was believed to have been transported to heaven by angels seven times a day. To the viewer, the painting’s stillness powerfully echoes her internal suffering. 

Caravaggio’s technique and symbolism

In his Baroque masterpiece, Michelangelo Merisi da Caravaggio uses colour, chiaroscuro, and emotional movements to create a strong impact. Chiaroscuro, characterized by dramatic contrasts of light and shade, is used to highlight features such as her nose, neck, ear, and hair—emphasizing her inner anguish.

Her earthy garment and vibrant red cloak give the figure theatrical dynamism. The composition, set against a pitch-dark background devoid of distraction, includes a skull resting under her arms—a classic symbol of mortality.

The red cloak bears a striking resemblance to the red robes often seen in paintings of Jesus, symbolizing the blood of Christ and martyrdom. And the diagonal position of the image transports one to the Renaissance period of Art In Europe. 

Mina Gregori, an Italian art historian, authenticated the painting, noting that although many copies existed, the original had long been lost. She said, “The Magdalene is an exciting and thrilling discovery because the quality seen in the copies can now be appreciated in its pure form.” Here, Caravaggio focuses on flesh, blood, and earthly emotions, portraying a figure on the cusp of transcendence.

Caravaggio’s painting, Mary Magdalene in Ecstasy, is significant—he was the first artist to use light as a central expressive tool. While replicas of this work abounded, the original was missing, likely because he was in exile and unable to transport his works. Over time, the painting as a form of personal expression faded.

Biblical and devotional context

Mary Magdalene is traditionally believed to have been cleansed of seven demons by Jesus. From that point onward, she became one of his most devoted followers, accompanying him during his ministry and witnessing his crucifixion, burial, and resurrection. She is also thought to be the woman who anointed Jesus’s feet with an extremely costly perfume—more valuable than precious metals.

A devotional Malayalam song references this moment: “Like Magdalena Mariam, will you anoint the feet of the King of Love (Jesus) with a jar of perfume?” When Judas Iscariot objected to the “waste” of perfume, suggesting it could have been sold for the poor, Jesus replied that the poor would always be with them, but the Son of Man would soon leave—hinting that she was preparing him for burial.

After Jesus’s burial, it was Mary Magdalene, Mary the mother of James, and Salome who went early in the morning to anoint his body at the tomb provided by Joseph of Arimathea. On arrival, they found the tomb empty, and angels informed them of the resurrection, instructing them to share the news with the disciples.

In one account, Mary Magdalene, overwhelmed and distressed, mistook the risen Jesus for a gardener—realizing his identity only when he addressed her. This encounter is the subject of a beloved Easter hymn: “O Mariyame njan thottakaran thanne.”

‘O Mary! I am the Gardner

I am the one who established Paradise

O Mary! I am the life of all living things.

I am the rising up and resurrection.

I was murdered

I was in a tomb

Do not touch me,

for I have not yet ascended to My Father.

“With glory He has risen from the tomb”,

Go and tell this good news to My disciple’

Disciples love for Jesus

The deep love the disciples had for Jesus is evident throughout the Bible. Peter and John—the eldest and youngest of the disciples—expressed this in unique ways. Peter, when Jesus began to wash his feet, refused at first. But when Jesus explained that without it, Peter would have no part with him, Peter asked him to wash not just his feet but his head too. Later, Peter is said to have requested to be crucified upside down—feeling unworthy to die in the same manner as Jesus, desiring instead to die kissing Jesus’s feet.

John, describing himself in the Bible as “the disciple whom Jesus loved,” is depicted at the Last Supper reclining next to Jesus. The image of John with his Lord resembles the diagonal, reclining figure of Mary Magdalene in Caravaggio’s painting. The disciples’ love for Jesus transcended earthly bounds, reaching a state of spiritual ecstasy after his ascension.

Mary Magdalene’s role and spiritual meaning

Ecstasy, in this context of Mary Magdalene, is the transcendence of the self through spiritual contemplation and realization. A wedding hymn from the Indian Orthodox Church describes a bride seeking her bridegroom—symbolizing the Church’s longing for Christ. It begins with the creation of Eden, flows through the crucifixion and resurrection, and continues to the Second Coming. On the surface, the hymn speaks of the intense trust, passion, and love between a husband and wife. On a deeper level, it narrates the Church’s devotion in seeking the divine bridegroom—Jesus—across time and existence.

‘Thou, planter of Paradise

Thou art mine own youthful groom

From thy garden for my sake

Send thy breeze, cool, refreshing’

The relationship between the devotee and God transcends the human definition of love. Through the painting, Caravaggio makes the viewer feel the yearning experienced by Mary Magdalene. The turmoil visible in the external features of the image mirrors the inner turmoil of a person—like a calm sea that is, in reality, tumultuous beneath the surface.

Cultural/historical ties with India and the painting’s travels

Caravaggio’s work changed the course of Western art history. Showcasing it here strengthens the cultural ties between India and Rome, which date back to ancient times.

After a showing of Mary Magdalene in Ecstasy in Beijing, the painting was displayed at the Italian Embassy Museum in Delhi from April 11th to 15th. And from April 18th onwards, it will be showcased at the Kiran Nadar Museum.