How does Christ in the House of Martha and Mary combine a kitchen scene with a religious subject?

In his early career, Diego Velázquez popularized a style of painting known as the bodegón, which typically featured a kitchen scene with prominent still life elements.1

In the painting Christ in the House of Martha and Mary (c. 1618), Velázquez combines this genre of daily life with a religious subject by placing the biblical scene in the background. While the foreground focuses on the kitchen setting and its realistic still life, the religious narrative serves as a secondary element within the composition. This approach reflects the artist's early naturalistic style, which often integrated religious themes into scenes of everyday life.1