Cursive · sōsho 草書 · VC6B
Cursive or sōsho (草書) styles are the most simplified styles and Master Takase's favorite. While very beautiful, these styles are often difficult to read even by specialists.
白露を こぼさぬ萩の うねりかな shiratsuyu o kobosanu hagi no uneri kana Not spilling the glistening dew, the bush clover, undulating
The white dew it does not spill, the swaying of the bush clover.
by Master Eri Takase
Born and raised in Osaka, Japan, Eri Takase received the rank of Shihan, master, from two calligraphy societies, the Bokuteki-kai and Bunka-shodō, and won best-of-category awards in all-Japan national competitions. She has created calligraphy for people around the world for more than thirty years, and with your order she will be creating calligraphy for you.
In a ritual as old as calligraphy itself, Master Takase prepares the ink, meditatively rubbing the ink stick against the stone until it reaches the perfect consistency for the paper. Then, properly loading the brush with ink, she brushes your scroll. And only when the scroll is just right and meets her approval, she signs it and affixes her seal, completing your original scroll.
12 1/4" × 43" (31 × 109 cm) Japanese Scrolls
The scrolls have woven damask borders and special layered Japanese paper (washi), designed to last generations by a scroll maker in Gifu, Japan, with whom we have worked for over two decades.
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Explanation
Not spilling the glistening dew,
the bush clover,
undulating
|
shiratsuyu o kobosanu hagi no uneri kana |
白露を こぼさぬ萩の うねりかな |
| bashō | 芭蕉 |
白露をこぼさぬ萩のうねりかな (shiratsuyu o kobosanu hagi no uneri kana): the white dew it does not spill, the swaying of the bush clover. 萩, hagi, is bush clover, one of the seven grasses of autumn, its long stems bending in wind; 白露 is the white dew of the same season; うねり is the long undulation of a bough; かな closes on the swaying. The poem turns on one restraint: the clover moves, and the dew still does not fall. Two early books of the verse differ by one particle. The first collection after Matsuo Bashō's death, in 1696, reads 白露も, even the dew. A disciple's book of 1698 reads 白露を, the text the scroll brushes. In 1948 Ebara Taizō, the twentieth century's leading Bashō scholar, argued that を was the poet's own revision. Shiki praised the verse in 1893 as a perfect rendering of the clover's bearing, quoting it with も. Some of the designs write 白露 or 萩 in kana. The English is Timothy L. Jackowski's, made for Takase Studios.
Bashō inscribed the verse on a painting of his own, by the earliest dating in the autumn of 1693 at 杉風's garden retreat 採茶庵 in Fukagawa, though a biography of 1762 sets such an inscription in Iga in 1694.
Learn More About This Haiku
We want you to be as happy with the meaning as you are with Master Takase's art. To learn more, visit Philology of 白露をこぼさぬ萩のうねりかな.
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