In Ikebana, flowers become you: Experiencing Sogetsu-style Ikebana

Ikebana is a traditional Japanese art form that uses natural flowers, plants, and branches as materials, arranging them in a vessel to create a composed work. It is said to have been established between the fourteenth and sixteenth centuries and has continued to this day, evolving and adapting over time.

Today, there are more than three hundred schools of ikebana. One of the major styles is Sogetsu-ryu (Sogetsu School), which is highly popular even outside Japan for its emphasis on art shaped by the individual. Rather than being bound by overly strict rules, it leaves room for practitioners to think freely and express themselves in ways that are uniquely their own.

The founder of Sogetsu-ryu, the late Teshigahara Sofu, once said:

“Flowers, when set in ikebana, cease to be just flowers. Flowers become human in ikebana.”

This statement expresses the philosophy that an ikebana work reflects the very person who arranged it.

What, then, does it truly mean for ikebana to serve as a projection of the arranger themselves? Deeply intrigued by this idea, Team MUSUBI decided to explore the world of Sogetsu-ryu ikebana by experiencing a beginner-level workshop.

"Anytime, anywhere, by anyone, using any material. This is Sogetsu ikebana."

Teshigahara Sofu often expressed this philosophy. Born in 1900 to a father who was a master of traditional flower arrangement, Teshigahara began rigorous training under his father’s guidance at the age of five, steadily refining his technical skills. Over time, however, he grew increasingly drawn to more individualistic forms of expression.

Questioning the conventions embodied by traditional ikebana, the practice his father represented, Sofu asked himself: “Why does ikebana look the same no matter who arranges it? Why is only form valued above individuality, leaving no room for the arranger’s personality?” In response to these questions, Sofu founded Sogetsu-ryu in 1927.

While Sogetsu-ryu ikebana places great value on freedom and personal expression, what might be called “one’s own ikebana,” it nonetheless shares with other schools a foundational techniques known as kakei (literally “flower forms”): fundamental principles for creating harmonious and beautiful arrangements.

These kakei provide a foundational framework, enabling even beginners to beautifully arrange kazai (materials such as flowers and branches). The structures are simple and systematic, comprising several established patterns.

Those who enter the world of Sogetsu-ryu first learn this foundation thoroughly. Only then do they begin the deeper exploration of how to express their individuality in the form of ikebana.

Importantly, in Sogetsu School, mastering kakei is regarded not as a goal itself, but as a means to an end. According to the school’s style, it is a refined and reliable technique that ultimately allows arrangers to freely express their own visions and intentions. 

Furthermore, by mastering kakei, one not only acquires the technical skills for arranging flowers but also comes to grasp the unique "beauty" inherent to ikebana, cultivating the various sensibilities necessary to shape that beauty. This is the Sogetsu perspective.

For the workshop, we at Team MUSUBI visited the headquarters of the Sogetsu School, Sogetsu Kaikan (Sogetsu Hall), located in the Akasaka district at the heart of Tokyo. Reflecting the sense of newness associated with a school founded in the twentieth century, the building stands prominently along a major avenue, its glass façade marking it as a striking piece of contemporary architecture.

There, we were guided to a spacious Nihon-ma (Japanese-style room) on the fifth floor. Soft classical guitar music played gently in the background. Upon entering, we were greeted by the sight of a large ikebana work displayed on tatami mats. To the right lay a tea room, and beside it, a serene karesansui (dry landscape) garden of white sand. In front of these traditional elements was a black-tiled area furnished with chairs and tables. The entire right-hand wall consisted of glass windows, offering a view of the city sky above and lush greenery below.

In this space, where Japanese and Western elements coexist harmoniously, we were warmly welcomed by Kasuya Seika. She began studying Sogetsu-ryu ikebana in 1987 and has served as an instructor at Sogetsu Kaikan since 2014.

As part of her introduction, she shared the following memory: “When I was four or five years old, my aunt once made me a bouquet using sweet pea flowers from her garden. Feeling her affection through this gift, I remember joyfully arranging them in my favourite vase, purely by intuition. Looking back, that experience may well have been the starting point of my journey as an ikebana artist.”

The first demonstration featured Kihon Risshin-kei, the most fundamental form from which all kakei originate. This minimalist arrangement is constructed using three essential branches called shushi (main branches). Among them, the longest branch, called shin, extends upward, forming the central axis of the composition.

Breakdown of the Three Shushi (Main Branches):
・Shin: the longest branch, serving as the structural backbone
・Soe: the second-longest branch, supporting shin while adding character
・Hikae: the shortest branch, essential for unifying the overall composition

Kasuya-sensei selected white plum branches for shin and soe, and a scarlet rose for hikae. White plum’s adorable blossoms bloom in early spring in Japan. At first, the pairing of delicate white plum with gorgeous red roses felt unexpected. However, in Sogetsu-ryu ikebana, the arranger’s intention takes precedence over conventional rules.

In fact, the combination of white and red is traditionally associated with festive occasions in Japan. Keeping this symbolism in mind, Kasuya-sensei explained that the materials were also chosen to evoke the auspicious atmosphere of the New Year. In addition, she incorporated rose branches with leaves and mimosa acacia as jushi (secondary branches). Jushi are arranged alongside the main branches to add color accents and volume.

The vessel used was a flat, round, wide-mouthed water basin. I was once again surprised to learn that it was made of plastic, having assumed that an ikebana vase was always ceramic. Indeed, Sogetsu-ryu is a school that proposes ways of engaging with plants that respond to changing lifestyles and contemporary contexts. As such, the use of casual and modern plastic vessels is considered perfectly acceptable.

Interestingly, however, while there is great freedom in the selection of flowers and vessels, the kakei themselves are governed by strict rules. These include the length of each main branch, the angles at which they are fixed, their relative positions, and their balance with the vessel. These principles are illustrated in diagrams known as kakei-zu, which arrangers are expected to consult while working.

During the demonstration, Kasuya-sensei explained many aspects of the essence of Sogetsu-ryu ikebana. Among them, the following three points left the strongest impression.

Although the Kihon Risshin-kei, the basic form, prioritises visual balance when viewed from the front, ikebana is not a two-dimensional art. It is a three-dimensional form that creates space through height, width, and depth. Consideration must therefore also be given to the space behind the arrangement, even though it may not be immediately visible from the front.

Excess branches and leaves are removed from the three main branches, ensuring sufficient space between them. Care is also taken not to overcrowd the composition with secondary branches. It is this intentional use of empty space that allows the most expressive qualities of each branch to stand out.

The beauty generated through such space is described by the current head of the Sogetsu School, Teshigahara Akane, as the “aesthetics of subtraction” in her writings. This appreciation of negative space is a foundational concept shared across traditional Japanese arts and cultural practices, including Japanese gardens and cuisine.

Through this kakei-based demonstration, I was able to learn the fundamentals of Sogetsu-ryu ikebana while also sensing how deeply its philosophy is rooted in Japanese tradition.

For the second demonstration, Kasuya-sensei presented jiyubana (literally “free flower”), a more open and creative style of ikebana that moves beyond the constraints of the basic kakei.

The vase she used was a Kutani ware piece from MUSUBI KILN. Its slender, 7.5-inch (19.1-cm)-tall body is primarily deep blue, with a gradation of green, yellow, and purple glazes.

In Sogetsu-ryu, the flowers are not necessarily always the main focus of a piece; the vase itself is considered an integral part of the composition. Sometimes, therefore, the vase is chosen first, and the flowers are selected afterward to harmonise with it. According to Kasuya-sensei, there are no rules governing the material, size, shape, or design of a vase used for jiyubana; one may simply choose a container that appeals to them instinctively. She explains: “You don't have to limit yourself to a proper flower vase—you can even use your favorite teacup or coffee mug. Choosing a container you personally love will foster a deeper attachment to your work and lead to an expression that is uniquely your own.” Selecting a vessel in this way is one of the keys to allowing ikebana to “become you.”

She adds, however, that care must be taken so that the floral materials do not stress or damage the vessel. For example, the mouth of this Kutani ware vase is extremely thin, making it unsuitable for flowers with stiff stems, branches, or heavy blossoms.

For this demonstration, Kasuya-sensei selected two types of floral materials: Oncidium orchids and Asparagus sprengeri, both of which are lightweight and have soft stems.

She explained: “The yellow flowers of the Oncidium complement the blue of the vase. They are arranged as the main material extending to the left to create volume. On the opposite side, the yellow-green Asparagus sprengeri stretches outward to produce a clean, slender impression. This creates asymmetry.”

One particularly striking part of her process was how she treated the Asparagus sprengeri: to reinforce the sense of clarity and lightness on the right-hand side, she removed all the dense leaves, leaving only the stems.

“This time, I wanted to highlight the unique form of the Asparagus fern stems, creating a composition that resembles a delicate collection of fine lines. But you can, of course, keep the leaves intact. As they begin to wilt over time, you can then remove them and enjoy the new expression of the bare stems. You can also let them dry completely and reuse the stems as material for another arrangement.”

Observing the demonstration of jiyubana, a form evolved from kakei, gave me a concrete insight into the true spirit of Sogetsu-ryu ikebana, which respects individuality.

At last, the time had come for me to attempt my very first ikebana arrangement. As a beginner, I followed the same kakei of Kihon Risshin-kei that Kasuya-sensei had demonstrated earlier, arranging the flowers under her guidance using the following materials and vase.

Shushi (Main branches):
・Shin and Soe: Forsythia (yellow flowers which bloom from mid-March to mid-April, with unique branching)
・Hikae: Gerbera (long, pointed orange petals radiating outwards)

Jushi (Secondary branches):
・Gerbera (same as hikae)
・Mimosa acacia with unopened flower buds

I used the same type of round, plastic water basin as Kasuya-sensei. While she used a black basin, I chose a white one that harmonised with the colors of my floral materials and felt more spring-like.

First, I cut the three main branches to the specified lengths and began arranging them from the longest to the shortest. This process, however, proved far more difficult than I had imagined when watching the demonstration. I had insufficient understanding of measuring, cutting with the scissors, holding the materials, inserting them into the kenzan (spiked metal flower holder), and handling the scissors, and every motion felt awkward.

What troubled me most was the process of trimming branches, stems, and leaves with scissors. Out of fear of making mistakes, I kept asking Kasuya-sensei, "Is this okay?" Her response was simple and encouraging: "Decide for yourself and let’s try it." While kakei has more rules than free-form ikebana, there is still room for the arranger to think creatively, make choices, and express themselves.

After I had managed to complete my arrangement, Kasuya-sensei offered three points of advice for improvement:

This creates ample negative space, highlighting the presence of the three main branches. It also resolves any overcrowding from the subordinate branches, resulting in a clean, airy impression.

This adjustment tightens the appearance from the front, which is the most important aspect of the Kihon Risshin-kei.

Tilted securely as a secondary branch, the forsythia enhances the depth and spatial expansion at the back of the arrangement.

In Kasuya-sensei’s words: “Ikebana begins with closely observing the plants, as if we were having a conversation with them, and thinking about how to bring out their full charm. At the same time, it is important to consider what kind of arrangement suits the space and what experience we want viewers to have when they see it. By creatively adding our intentions to the plants, we can make the flowers reflect the arranger. Perhaps this, too, is what it means for flowers to ‘become you.’”