VOL.215 MAY 2026
[SPRING SPECIAL ISSUE] ENJOYING JAPAN’S SPRING BY LOCAL TRAINS [Discovering Japan Through the Eyes of Japanese Influencers] Ikebana Into the Future

OZONO Saihou is a Contemporary Ikebana Artist. In this issue, he speaks about the relationship between ikebana (or kado) and art, as well as about his activities outside of Japan.

In the March 2026 issue of HIGHLIGHTING Japan (See “Contemporary Ikebana: An Evolved Form of Ikebana,” HIGHLIGHTING Japan, March 2026 issue) and the April 2026 issue (See “The Japanese Spirit Within Ikebana,” HIGHLIGHTING Japan, April 2026 issue), I explored the fundamentals of ikebana, as an expression of Japanese culture, the Japanese spirituality inherent in this art, and my forward-looking vision as a Contemporary Ikebana Artist. In this article, I introduce the future possibilities of ikebana, particularly its relationship with contemporary art and my activities abroad.

First, I believe that ikebana, particularly the Sogetsu School—one of the three major ikebana schools¹—resonates deeply with contemporary art.

As I noted in the previous issue, ikebana places greater emphasis on conveying a message or theme than on decorative beauty. Similarly, contemporary art does not necessarily pursue beauty. Rather, it is often driven by a powerful message that arises from the artist’s inner vision. Of course, many other elements also contribute to its creation.

Imagine an unusual or seemingly obscure work hanging in an art gallery. A visitor might superficially glance at it and walk past it with a faint smile, unable to understand its meaning. Yet the message embedded within the work can only begin to be understood through careful engagement－by reading the accompanying caption and listening to the audio guidance.

As one practices ikebana more deeply, one comes to realize that it is not simply a matter of placing a bouquet casually into a glass vase. Rather, one learns to select floral materials and arrange them in ways that embody seasonality and individuality to convey the message one wishes to express in that moment. For example, I favor an ikebana technique called hanadome, which refers to a complex structure of holders that secure flowers at multiple points along the stem. Disposable chopsticks, forks, or even cardboard can serve as a hanadome holder inserted between the vessel and the floral material to hold the steams upright. This creates a sense of spaciousness and enables the entire work, including the hanadome itself, to express the message behind the arrangement.

Moreover, as a facet of Japanese culture and contemporary art, ikebana is attracting attention beyond Japan.

I regularly have opportunities to create ikebana works and give lectures overseas, and I am always struck by the depth of enthusiasm and understanding shown by audiences. Ikebana arrangements cannot be transported in their finished form and are essentially created from scratch at the place where they are displayed. This is particularly true overseas. I bring nothing from Japan except my tools, creating each piece with locally sourced flowers and materials—an experience that continually inspires me. I take pride in believing that the ever-evolving art of ikebana is one of Japan’s cultural traditions that resonates across the world, and that it rivals any entertainment thriving in today’s society. It is only when I create numerous works across Japan and around the world, touching hearts and having a positive influence on as many people as possible, that my work as a Contemporary Ikebana Artist begins to have meaning. In a contemporary society marked by excessive consumption, bringing something new into the world requires considerable effort, yet I believe it to be a profoundly noble act.

I will continue to devote my life to creating works that contribute as much as possible to society.

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 three major schools of ikebana are Sogetsuryu, Ikenobo, and Ohararyu.

By OZONO Saihou
Photo: OZONO Saihou; YAMASHIRO Masatoshi