Shoso Shimbo identifies the essence of Japanese Ikebana in the interior process of meditation.

Difficulty in Teaching Ikebana

Why is it so hard to teach Ikebana in Australia?

This is the question I have been thinking about for decades. I hope to present some answers in this essay. My investigation is of course based on my limited teaching experience.

Some of my students love unconventional and eccentric designs. Their creations, while visually striking and occasionally met with admiration, often miss the mark in embodying the essence of Ikebana. I can almost hear their voice saying “Look what I did to nature. Isn’t this design cool?” Yes, it may be pretty. However, I wonder how I can make them realise that their work misses something subtle but important and as a result, it is very shallow as an Ikebana work. It is not easy to teach what Ikebana is in Australia.

I began to ponder whether the challenges I’m facing stem from the inherent difficulties many non-Japanese encounter in fully embracing the principles of Japanese art, as I teach it to others.

Of course, I am aware that so many authors about Japanese culture emphasise the uniqueness of Japanese culture and many of their arguments are criticised as cultural nationalism. I am also aware that some people with a Western cultural background can master Ikebana. Nevertheless, I remain convinced that numerous challenges persist for non-Japanese learners of Ikebana. Chief among these hurdles appears to be the distinctive approach to nature that Ikebana embodies.

French, English & Japanese Gardens

To highlight the characteristics of the Japanese attitude to nature, I would like to first briefly summarise an argument on gardens by Carlson, a Canadian environmental philosopher (Carlson, 2002). Carlson aptly juxtaposes French, English, and Japanese gardens, employing the nature-art dichotomy as a lens for analysis.

Carlson describes French-style gardens as “harmonious relationships are achieved by art serving as a model for nature”. The following image shows that nature (plants) is controlled or designed according to art or man-made geometrical designs.

He then describes English-style nature gardens as “harmonious relationships are achieved by nature serving as a model for art.” We can see almost a natural field of plants in the garden (art).

His argument about gardens using the nature-art dichotomy is easy to follow. Nature is the object to manipulate or to observe and imitate. Probably both of them are very familiar attitudes to nature for us. However, do you recognise that in those attitudes there is a gap between nature and ourselves? This is the point I will discuss in more detail later.

Now, let’s see how Carlson explains Japanese gardens using the nature-art dichotomy. He recognises harmonious relationships in the Japanese gardens as he does in French and English gardens. But he states that the Japanese gardens achieve it “by following the lead of nature in the sense of making the artificial subservient to the natural.” This is an excellent analysis. Note that he uses the term, “the natural” rather than “nature.” While “nature” is something visible, “the natural” may imply something invisible, such as the flow of energy. He appears to recognise that something beyond nature is expressed in Japanese gardens. Nature is not an object to manipulate or imitate: its invisible quality is present in Japanese gardens.

He further clarifies his point about a Japanese garden saying that “it employs the artificial in the creation of an idealised version of nature that emphasises the essential” (p.171). We need to think about the “idealised version of nature” to comprehend Japanese gardens. In other words, our discourse has to be a metaphysical one. Only such philosophical examination makes it possible to comprehend the true nature of Japanese gardens. Indeed, Japanese gardens transcend mere imitation or manipulation of nature; they encapsulate an idealized rendition that underscores the essential. This metaphysical dimension invites philosophical contemplation, unravelling the enigmatic allure of Japanese gardens.

In the following chapter, I will explore how this nuanced attitude to nature permeates Ikebana. My paper about the difference between Ikebana and Western flower arrangement is also related to this metaphysical aspect of Japanese aesthetics (Shimbo, 2021).

Focus on the Process of Making Ikebana

One of the essential tenets of Ikebana’s instruction is the notion of becoming one with nature. Note there is no gap between nature and ourselves. In other words, meditate on your flowers, follow what they say and make your arrangement.

This is a very easy teaching for some. While this may seem straightforward to some, for others—particularly those outside of Japanese culture—grasping this concept proves to be a daunting task. “What do you mean by meditation?” “On what and how do I meditate?” These are very difficult questions to answer, but they are asking about the essence of Ikebana. I should try to answer as precisely as possible.

I am going to quote a long passage from a book by Suido Yamane (1967). After reviewing much literature on Ikebana (Shimbo, 2014), I think that this is the best introduction to Ikebana philosophy in the modern era. I was so impressed with the book that I contacted Ms Yumi Yamane, the Headmaster of Shinsei School and a ground daughter of the author, Suido Yamane (1893-1966) asking permission to translate the book. She happily accepted my proposal and she also joined our online project, Hanadayori, a part of the Melbourne Ikebana Festival. The first chapter of the book, “The Way of Ikebana” will be available shortly for free in the International Journal of Ikebana Studies (Shimbo, 2024). Here is an excerpt:

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Suppose you close your eyes to the expressions of flowers and the wishes of the floral materials and stubbornly arrange them in opposition to the will of nature. In that case, the resulting ikebana will convey the discontent and sadness of the flowers, lacking vitality. The essence of ikebana lies in being fresh, lively, clear, and elegant. Unhealthy ikebana is not true “ikebana,” but dead flowers.

While it is said that “emptying oneself and adhering to one’s heavenly destiny” is a way to reach one’s calling, by pursuing the spirit of ikebana, which entails abandoning the self and following the will of nature, ikebana can travel the path of natural harmony and enable us to naturally comprehend the true path that every human should follow.

However, in our current ikebana, there is no religious scent whatsoever in the shapes of the flowers and their arrangements. Concerning the form and shape of the flowers, we adhere to the true path of art and focus on aesthetic beauty only.

Religion is related to the inner world of ikebana. In modern “ikebana,” it is imperative to sense the eternal life and limitless light within the plants of nature, and to harmonize and assimilate them, resulting in the creation of truly living artworks.

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There are two pivotal points here for mastering the meditative aspect of Ikebana.

1. Abandon the self when you face flowers. Often, we perceive nature as an external entity, subject to manipulation or imitation—a perspective exemplified by the typical French or English gardens. If we learn this new attitude, however, we empty our minds in the face of our flowers and we look for the will of nature, just like a Japanese gardener. If you have a design or a pattern to follow and you manipulate the flowers to create it, your attitude is not that of Ikebana. In some flower shows, you may see such work as flower animals and flower furniture. They may be flower arrangements but they are not Ikebana. Ikebana students are more likely to say, “Look what I found in nature” rather than “Look what I did to nature.”
2. Sense the eternal life and harmonise with it. Through proper meditation on flowers, one may glimpse the metaphysical: the eternal life or the will of nature. If you can harmonise with the will of nature, you can create truly living Ikebana. Meditating properly may sound difficult, but mindfulness meditation has become very popular and has proven its effectiveness in many fields. In principle, mindfulness meditation is a Western version of Zen meditation. If you can practice mindfulness meditation, you can easily apply it to Ikebana.

I hope my discussion helps you understand the characteristics of Japanese attitudes to nature. Please note that the above two points are all about the creative process, not about the product of Ikebana creation. In essence, these points underscore that Ikebana’s essence lies not solely in the final product but in the meditative creative process behind the work itself. Ikebana, in essence, has a traditional meditative creative process at its core. If you focus only on the design (the product) and don’t pay much attention to the process, you will never master this art.

However, to fully address my initial query—why teaching Ikebana proves challenging in Australia—a historical perspective must be acknowledged as yet another layer of complexity.

Causes of Confusion about Modern Ikebana Outside Japan

The Freestyle Ikebana Movement (FIM), emerging in the 1920s, was profoundly influenced by the Modern Art Movement. At its core, FIM sought to transform what it deemed as unartistic, stereotyped, and excessively stylized Ikebana into a form aligned with the artistic principles of Modern Western art. Promoting freestyle Ikebana, FIM gained significant traction, particularly in the post-World War II era.

If we look at the FIM closely, however, we notice that there is a significant division among the leaders in the FIM. While Suido Yamane promoted Freestyle Ikebana valuing the traditional values and philosophies of Ikebana, Mirei Shigemori (1896-1975) took a different stance. Shigemori criticized the Japanese tendency to harmonize with nature, advocating instead for viewing nature as objective material.

Shigemori later became a well-known garden designer and seemed to diverge from his stance on Ikebana in designing his gardens. I think his gardens align more closely with traditional Japanese garden philosophy.

Anyway, interesting and confusing things happened in Ikebana after the war. While Yamane’s endeavours garnered relatively modest attention, proponents of Shigemori’s theories experienced unprecedented popularity. Schools following Shigemori’s teachings such as the Sogetsu and Ohara Schools attracted millions of students not just in Japan but also outside Japan, sparking a social phenomenon known as the Ikebana Boom after the war. At Shigemori’s funeral the headmasters from Sogetsu and Ohara, two of the major Ikebana schools, had the honour of offering flowers.

Generally, their message was that ikebana is an art form, allowing for self-expression using floral materials in any manner desired.  Traditional approaches were often criticised, with the implication that flower materials were merely raw materials, thus permitting unconventional usage or even the incorporation of non-botanical elements.

Nevertheless, it’s worth noting that many Ikebana schools have continuously evolved and updated their teachings over time. As such, the distinct characteristics observed during the heyday of the Ikebana Boom may not be as pronounced in contemporary practice.

Inconsistency between Word and Deed

The tension between embracing nature as a resource, a hallmark of modern capitalism, and maintaining the traditional reverence for nature in Ikebana, the Japanese art of flower arranging, is a complex issue. Have Ikebana artists given up the traditional attitude to nature completely?

In my view, no. Although it is hard to verify, it seems to me that while some Ikebana artists have deviated from tradition in their approach, many return to its core values, creating masterpieces that reflect a profound unity with nature. Despite occasional departures from convention—such as breaking down botanical materials or experimenting with unconventional elements—these artists’ works often resonate with the timeless essence of life, as emphasized by Suido, a fundamental aspect of Ikebana.

Although some artists may promote their methods as revolutionary in their speeches or writings, they frequently remain anchored in traditional principles. It may be that some Japanese artists are not able to objectify nature like some Western artists. For these artists, Suido’s depicted attitudes are not just a means of creativity but the essence of Ikebana itself.

Occasionally, Ikebana masters may publicly advocate for modern art theories to be applied to Ikebana while quietly adhering to traditional methods. This dichotomy between rhetoric and practice may be perceived by some, particularly those from non-Japanese cultural backgrounds, as a disconnect between words and actions.

However, within Japanese culture, such contradictions are often viewed with a degree of tolerance. We accept such comments as just a bit extreme. That’s all. These discrepancies are seen as mere nuances rather than fundamental flaws. The Japanese appreciation of Ikebana is deeply ingrained, and the collective understanding of its traditional values serves as a yardstick for judging its quality.

Yet, for Ikebana students studying outside Japan, navigating this nuanced landscape can be challenging. If they unquestioningly follow their masters’ words, they risk overlooking the importance of meditation and spiritual connection in the creative process of Ikebana. Simply analyzing Ikebana works intellectually may lead to a superficial understanding, neglecting its deeper essence.

When someone claims success in Ikebana solely by adhering to a master’s teachings, it can sow confusion. The true essence of Ikebana lies not just in technique or produced designs but in the intimate relationship with nature and the meditative journey it entails. Recognizing this subtlety is essential for those seeking to truly grasp the art of Ikebana.

Conclusion

In conclusion, I have tried to shed light on the challenges faced by many students of Ikebana outside Japan, particularly in Australia in this essay. These challenges stem from a lack of exposure to the rich tradition and history of Japanese art, specifically Ikebana.

1. Many students outside Japan don’t have the opportunity to learn about the tradition and history of Japanese art, in particular, Ikebana.
2. A large number of students learn under the Ikebana schools that developed during the Freestyle Ikebana Movement. Learning that Ikebana is self-expression, they don’t feel that they need to change their perception of nature: nature is just material. They can control it as they like. They may expect Ikebana to be a Japanese art form but soon realise that it has the same philosophy as Western art. Ikebana is nothing special! However, they may be missing the essence of Ikebana.
3. Consequently, many students fail to recognize the fundamental differences between Ikebana and Western flower arrangements, viewing them as variations within the same category. It’s crucial for readers to understand that Ikebana transcends mere floral decoration; it is a practice deeply rooted in Japanese culture, prioritizing the process over the end product.
4. To address this misunderstanding, it is imperative to categorize Ikebana differently from Western flower arrangements. While the latter may belong in the art and craft section, Ikebana rightfully deserves its place in the meditation section. The essence of Ikebana lies in the meditative process of creation, where design principles serve as guides to deepen one’s contemplation.
5. Ultimately, learning Ikebana entails more than acquiring design skills; it is about cultivating the ability to meditate deeply and connect with nature. By recognizing and embracing this essence, students can truly appreciate the beauty and significance of Ikebana beyond its superficial appearances.

References

Carlson, A. (2002). Aesthetics and the environment. London & NY: Routledge.

Shimbo, S. (2024). “The Way of Ikebana”, translation of “Hana ni Ikiru Hitotachi e,” Suido Yamane (1967), Chuo Koron Bijutsu Shuppan, International Journal of Ikebana Studies, 10. 

Shimbo, S. (2021). “Ikebana: A flower arrangement in search of poetry”, Garland Magazine.

Shimbo, S. (2014). Ikebana in English: Bibliographical Essay, International Journal of Ikebana Studies (IJIS), 2, pp.99-107.

About Shoso Shimbo

Shoso Shimbo PhD is a certified Ikebana teacher with 30+ years of experience. Recognized by Belle magazine among Australia’s top floral designers, he’s garnered awards like the Gold at the Melbourne International Flower & Garden Show. His sculptural works grace major art exhibitions, earning him the Arnold Bloch Leiber Prize. Shoso has authored numerous publications, notably on Ikebana and contemporary art. As part of the Melbourne Ikebana Festival, he will present a live Ikebana performance accompanied by Slava Grigoryan (guitar) on 7 September 2024 at the Melbourne Recital Centre.

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flowers | G35 | Japan