VOL.214 APRIL 2026
THE APPEAL OF YOSHOKU: JAPANESE-STYLE WESTERN CUISINE (PART 2) [Discovering Japan Through the Eyes of Japanese Influencers] The Japanese Spirit Within Ikebana

OZONO Saihou is a Contemporary Ikebana Artist. In this issue, he speaks  about the differences between the art of flower arrangement in the West and in Japan and the Japanese spirituality inherent in ikebana or kado.

In the March 2026 issue, I explored the fundamentals and history of ikebana and outlined the three principles that define contemporary ikebana. (See “Contemporary Ikebana: An Evolved Form of Ikebana,” HIGHLIGHTING Japan, March 2026 issue) I also noted the importance of moving beyond a purely Japanese cultural framework, highlighting the need to incorporate Western cultural elements as an essential component of contemporary ikebana. In this article, I introduce the differences between Western and Japanese cultures, which should be respected mutually, along with the Japanese spirituality inherent in ikebana.

Western flower arrangement has developed over time as a culture of flowers for gift-giving and decoration, and it focuses on aesthetic beauty and attractiveness. The fundamental aesthetic is rooted in a “culture of tangible form,” in which space is gradually filled by adding an abundance of flowers to conceal the water-absorbing foam embedded within the arrangement, allowing the work to take shape through its outer silhouette.

Ikebana, on the other hand, places greater emphasis on conveying a message or theme than on decorative beauty. While flowers are beautiful in themselves, once shaped by human hands into ikebana, each work acquires its own distinct individuality. As a result, some ikebana works cannot be characterized as beautiful. Of course, it is possible to intentionally create a lovely ikebana arrangement. However, when beauty is not the primary pursuit, an ikebana arrangement places greater importance on the “message” embodied within the work.

Moreover, leaving space is another important aspect of ikebana: using fewer floral materials and incorporating generous empty space to expand the sense of spatial depth. This approach can be thought of as the pursuit of an “intangible form,” unconfined by a work’s literal outer contours. The real charm of ikebana lies in the moment when viewers intuitively sense the infinite world that unfolds beyond the small composition, even though its physical form is not fully expressed. I am also skilled at creating massive works that measure several meters. Yet if the message embodied in a piece encompasses something as vast as the earth’s mountains and oceans, even a work that seems immense to us is, in comparison, infinitesimal.

This sensibility is, I think, similar to Japanese haiku. An entire season or a memory that would take hundreds or thousands of words to describe is expressed with just 17 syllables—5-7-5. Rearranging just one word can completely transform the impression of the poem. This is very much like ikebana, which is able to convey grand perspectives and messages through small works of art.

While there are many differences between Western and Japanese culture, I think each culture has its strengths and its weaknesses, and both cultures deserve respect. For example, if a traditional ikebana arrangement from long ago were placed in a commercial facility, would it truly satisfy viewers? Would it be understood by everyone? To bring harmony to such imbalance, it is necessary to create ikebana in a contemporary style, incorporating Western elements into a work fundamentally rooted in Japanese culture. This philosophy is embodied in contemporary ikebana.

Ikebana also embodies many aspects of Japanese spirituality—the shuhari,¹ a framework that guides the development of cultural practice; the attentive observation of a plant’s inner qualities (the surface, underside, curves of the branches, fractal structures²); attention paid to shadow, and more. The appeal of ikebana is too deep to fully convey in a short article, so I hope you will visit a nearby ikebana classroom or school to learn more by experiencing it firsthand.

OZONO Saihou
First-class master of the Sogetsu school, one of the three major schools of ikebana, and Contemporary Ikebana Artist. Born in Tokyo in 1987. As a Contemporary Ikebana Artist, OZONO designs and arranges contemporary ikebana works brimming with originality. His works of art are defined by their innovative nature. Striving to create pieces that incorporate materials other than flowers, OZONO infuses contemporary and stylish expression with a meaningful message. He is the winner of numerous awards, including the 103rd Sogetsu Newcomer Award (2022), the 1st Sogetsu Excellence Award (2024), and the Ikebana Grand Prix 2019 Special Jury Award. OZONO’s work has been presented internationally, including in countries such as China and Italy, and has been featured in numerous media.

• 1. The term shuhari describes the Japanese approach toward learning a discipline and the process and stages of growth. The three steps are shu, mastering the basics; ha, adopting the good and improving on it; and ri, transcending form to create one’s own individual style.
• 2. A structure characterized by the repeated appearance of similar patterns. Fractal structures are commonly observed in trees, cumulonimbus clouds, snowflakes, and other elements of nature.

By OZONO Saihou
Photo: ISSIKI Takumaru; OZONO Saihou; NISHIMURA Daiki