



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.
Were my father here
At dawn we would gaze
Over the green fields[1]
chichi arite
akebono mitashi
aotabara
父ありて
あけぼのみたし
青田原
issa
一茶
Were my father here, I would want to see the dawn over the green fields.
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
In our reading, Kobayashi Issa's verse is grief at its plainest. A son names the one thing he wants, and then says nothing more.
In the Japanese, 父ありて is my father being here, and the wish that follows, written of a father already dead, makes it read if my father were here. 青田原 is the plain of green rice fields in summer, when the seedlings have grown and stand green. Some designs write あけぼの with the kanji 明, and one writes 見たし with the kanji 見. The words are the same.
Calligraphy Notes:
1) From a visual perspective this poem is great as it is mostly kana with the last line all in kanji. This gives an interesting balance to the design.
2) Other sources write the haiku 父ありて明ぼの見たし青田原 with the reading chichi arite akebono mitashi aotahara. Using "aotahara" rather than "aotabara" or "aodabara".
Translation Notes:
1) 父 (chichi) meaning "father".
2) ありて (arite) meaning "exist; be present". This is from the verb ある (aru) meaning "to be; to exist; to live".
3) あけぼの (akebono) meaning "dawn." This is also commonly written with the kanji 曙.
4) みたし (mitashi) meaning "to watch; to see". From the verb 見る (miru) with the same meaning. The ending tashi indicates "wanting to watch; wanting to see".
5) 青田原 (aotabara though several sources use the reading aodabara). This is composed of 青田 (aota) meaning "green (rice) paddy" and 原 (hara) meaning "field".
References:
[1] Translation by R. H. Blyth, A History of Haiku, vol. 1 (Hokuseido Press, 1963), p. 410.
The verse closes the diary Issa kept of his father's last illness and death in the fifth month of 1801, a manuscript he left untitled and is thought to have finished in 1807 or 1808; the verse stands at the seventh-day memorial, where word came that the father's will would be kept.
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 父ありてあけぼのみたし青田原.




