{"id":388,"date":"2015-10-18T14:13:57","date_gmt":"2015-10-18T11:13:57","guid":{"rendered":"http:\/\/freygish.com\/saara\/wordpress\/?page_id=388"},"modified":"2026-03-11T18:59:09","modified_gmt":"2026-03-11T16:59:09","slug":"stabat-mater","status":"publish","type":"page","link":"https:\/\/liipetti.net\/saaramesterton_en\/?page_id=388","title":{"rendered":"Stabat Mater"},"content":{"rendered":"

Back to gallery<\/a><\/span>
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In the work STABAT MATER<\/strong>, the profound anguish of humanity is approached through the figure of Jesus\u2019 mother, Mary. The medieval text Stabat Mater Dolorosa<\/em>, dating from the 13th century and of uncertain authorship, is connected to passion plays known as Marienklagen<\/em> (\u201cMary\u2019s laments\u201d), which depict Mary\u2019s grief at the foot of the cross.<\/p>\n\n\n\n

In Finnish, Stabat Mater<\/em> appeared in 1852 in the newspaper Suometar<\/strong> under the title Marian murhe<\/em> (\u201cMary\u2019s Grief\u201d), translated by A.D.:”Murehella haikialla\/ seisoi \u00c4iti ristin alla\/ johon poika naulitaan.\/ Syd\u00e4n sykki surkeasti\/ kyyneleit\u00e4 katkerasti\/ silm\u00e4 vuosi tulvanaan…”\/
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Stabat Mater 2003, oil on canvas 3 x 95 x 42 cm, 3 x 95 x 95 cm and
Ceramics pot 90 x 40 cm<\/figcaption><\/figure><\/div>\n\n\n\n
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Stabat Mater 2003 part of the work, Ceremics pot stoneware clay 90 x 40 cm<\/figcaption><\/figure><\/div>\n\n\n\n
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Stabat Mater 2003,detail<\/figcaption><\/figure><\/div>\n\n\n\n
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Stabat Mater 2003,detail<\/figcaption><\/figure><\/div>\n\n\n\n
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Stabat Mater 2003, part of the work<\/figcaption><\/figure><\/div>\n\n\n\n
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Stabat Mater 2003, part of the wor<\/figcaption><\/figure><\/div>\n\n\n\n

Personal reflections on the work\u00a0Stabat Mater<\/em><\/p>\n\n\n\n

In 2002, I attended a performance of Stabat Mater<\/em> by Gioachino Rossini<\/strong> at the Finnish National Opera. The experience made a deep impression on me and led me to realize that I wanted to create my own Stabat Mater<\/em>. As I worked on the project, the composition gradually expanded far beyond my initial vision.<\/p>\n\n\n\n

Alongside the paintings stands a large ceramic vessel. It emerged from the thought that sorrow needs both those who share it and those who receive it, as Mary did. Clay also alludes to the human body, which ultimately returns to clay.<\/p>\n\n\n\n

In the third painting, I used a well-known historical photograph of a Jewish woman being taken to a concentration camp. The image is fragmented, with one half in the upper part of the painting and the other in the lower. The blue iris in the upper right corner refers to Vincent van Gogh\u2019s<\/strong> painting Irises<\/em>, created while he was in hospital.<\/p>\n\n\n\n

The fourth painting relates to weeping. A white lily\u2014symbolizing Mary\u2019s innocence\u2014falls away, suggesting how grief shatters innocence.<\/p>\n\n\n\n

The sixth painting refers to Simeon\u2019s prophecy<\/strong> to Mary: \u201cand a sword will pierce through your own soul also\u201d (Luke 2:35). The prophecy anticipates Mary\u2019s future suffering and gives form to her sorrow.<\/p>\n\n\n\n

The seventh painting functions as a concluding coda. The colours of the series return, and the work opens a passage from the world of the artwork back to ordinary life.<\/p>\n\n\n\n

Back to gallery<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Back to gallery In the work STABAT MATER, the profound anguish of humanity is approached through the figure of Jesus\u2019 mother, Mary. The medieval text Stabat Mater Dolorosa, dating from the 13th century and of uncertain authorship, is connected to passion plays known as Marienklagen (\u201cMary\u2019s laments\u201d), which depict Mary\u2019s grief at the foot of the cross. In Finnish, Stabat […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-388","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/liipetti.net\/saaramesterton_en\/index.php?rest_route=\/wp\/v2\/pages\/388","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/liipetti.net\/saaramesterton_en\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/liipetti.net\/saaramesterton_en\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/liipetti.net\/saaramesterton_en\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/liipetti.net\/saaramesterton_en\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=388"}],"version-history":[{"count":37,"href":"https:\/\/liipetti.net\/saaramesterton_en\/index.php?rest_route=\/wp\/v2\/pages\/388\/revisions"}],"predecessor-version":[{"id":1882,"href":"https:\/\/liipetti.net\/saaramesterton_en\/index.php?rest_route=\/wp\/v2\/pages\/388\/revisions\/1882"}],"wp:attachment":[{"href":"https:\/\/liipetti.net\/saaramesterton_en\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=388"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}