This essay discusses the research carried out during the restoration of the easel painting known as Rey de burlas (The Mocking of Christ), that belongs to the municipality of Tenancingo, Estado de Mexico (Mexico). The study departs from the subject of the painting, which links it to the reference sources for its creation, which have their origin in La coronacion de espinas (The Crowning with Thorns) by Van Dyck. Later, the paper analyzes both the pictorial model and its relationship with other paintings produced in Mexico. finally, all of the above information is articulated into a system for a comprehensive understanding of the Rey de burlas that became the framework for its restoration, which aimed to reinsert this cultural heritage into its present context.