We will host online Ikebana courses soon.Learn Ikebana anywhere, anytime

Thursday, 9 February 2017

Monday, 6 February 2017

Ikebana Today 55

Isn’t it more convenient to present Ikebana as a unique Japanese way of meditation or spiritual training rather than trying to understand it in the context of Western art and design?

Before I start to talk about that option, it is important to emphasise again the close relationship between Ikebana and Western art. The influence of western culture on Ikebana is significant. After the Meiji Restoration, firstly, certain styles of western flower arrangements were incorporated into Ikebana. Then, some ideas of Modern art inspired several artists to develop a free style Ikebana. The number of Ikebana practitioners increased significantly after the war, under the slogan, “Ikebana is art”.

However, there is a big difference in terms of the definition of art between Ikebana artists in Japan and contemporary western artists. Although this is an interesting topic to consider, we will think about it some other time.

Is it easy for Western people to understand that Ikebana is a spiritual training? The training in Ikebana largely consists of acquiring skills. However, remember that I mentioned that in Western art, skills are not always appreciated highly. Beautiful paintings by highly skilful painters are not always appreciated as highly valued art. Being simply beautiful is not necessarily artistic. Ikebana may be perceived as a beautiful popular folk craft rather than art, lacking sculptural qualities or concepts.

But in Japan Ikebana is more than a craft. It is recognised as a way of the flower, a spiritual training through acquiring skills. However, an important question is how acquiring skills is related to spiritual enhancement. While the former is something that can be measured, the latter is something more metaphysical. We will think about this difficult question in forthcoming issues.

The Ikebana work of this month is one I created for a clinical reception. Our service includes weekly flowers for offices etc.

In February my course, Ikebana to Contemporary art at RMIT Short Courses will start again and in March I will conduct an Ikebana introduction workshop at a Fitzroy library. If you want to try Ikebana near the city, consider these options. Learning Ikebana is a great way to meet new people.


Sunday, 5 February 2017

A short course at RMIT starting soon

Shoso teaches "Japanese Aesthetics: From Ikebana to Contemporary Art" at RMIT University Short Courses. It will be available for anyone (not just for RMIT students). This class will take participants on a journey to explore the theory of Japanese aesthetics through practical exercises. Next term will start from 15/2/2017. Please book early.

Students are required to read "A brief history of Ikebana" prior to the first lesson.


Saturday, 4 February 2017

Download Shoso's Ikebana Essays

Now you can read or download some of Shoso's published essays on Ikebana.
Downloadable files: https://independent.academia.edu/ShosoShimbo

2015 Ikebana to Contemporary Art: Rosalie Gascoigne, The IAFOR Academic   
         Review, Vol.1, Issue 2, pp.16-20. 
2015  Ikebana in English: Bibliographical Essay, International Journal of Ikebana   
         Studies (IJIS), Vol.2, pp.99-107.
2013 Hiroshi Teshigahara in the Expanded Field of Ikebana, The  
         International Journal of Ikebana Studies (IJIS), Vol.1, p.31-52.


Thursday, 2 February 2017

Thursday, 19 January 2017

Sunday, 15 January 2017

Daily Meditation: Ikebana in RMIT Short Courses

Shoso teaches "Japanese Aesthetics: From Ikebana to Contemporary Art" at RMIT University Short Courses. It will be available for anyone (not just for RMIT students). This class will take participants on a journey to explore the theory of Japanese aesthetics through practical exercises. Next term will start from 15/2/2017. Please book early.


Tuesday, 10 January 2017

Sunday, 8 January 2017

Thursday, 5 January 2017

Ikebana Today 54

In a collection of his works, Shunmyo Masuno, a garden designer and zen monk, states that creating gardens is a zen training. The important thing is to devote oneself to daily training. Great works can never be created by chance. Here is a philosophy of art in Japan. If you devote yourself to one thing and accomplish it, you can also accomplish your own life. Way or DO is unification of devotion and accomplished art. Art training is also regarded as a spiritual training. There is a belief that only virtuous persons can create great work of art.

Actually the belief of DO is everywhere in Japan, not just in art training such as Ikebana, but also in cooking, sports, management, academic work, manufacturing, cleaning etc. This is a very familiar notion for the Japanese.

In the previous issues, I tried to position Ikebana in the context of the Western art and questioned whether it is art or design. But I could not do it so easily. If I state that Ikebana is a spiritual training just like meditation or zen training, however, there would be little ambiguity. This may be a great way to introduce Ikebana to people outside Japan. Indeed, that’s exactly how Daisetsu Suzuki, a well known zen master, introduced Japanese culture to the West after the war.

During his visit to Melbourne last November, it appeared to me that Dr Inoue, associate professor at Kyoto University of Art and Design and the vice president of International Society of Ikebana Studies, also sees Ikebana in a similar way. I look forward to his future work, the philosophy of Ikebana after his publication of The Thought of Ikebana this year. His work would follow a great succession of well-known members of the Kyoto School of Philosophy including Shinichi Hisamatsu who wrote the book “The Philosophy of Tea”

I do agree that Ikebana is a form of DO. However, I don’t think that Ikebana can be explained completely in zen philosophy. Although I don’t intend to undermine the great works done by Daisetsu Suzuki and the Kyoto School of Philosophy, I will discuss my own views of Ikebana from the next issues.

This is a New Year’s arrangement I made for Koko restaurant in the Crown Hotel last year. I make new work every year. If you have a chance, please visit the restaurant to see it.



Tuesday, 3 January 2017

Friday, 23 December 2016

Thursday, 22 December 2016

Monday, 5 December 2016

Ikebana Today 53

As I mentioned last time, the difference between Ikebana and contemporary art is similar to that between haiku and a novel. The former resonates mainly in the senses, while the latter resonates mainly in the intellect. Realising such differences is not a conclusion, but a starting point in investigating what Ikebana is. We have to face more and often more complicated questions.

Ikebana values more than anything how it appears in the work’s internal contexts such as materials and their composition. Isn’t that a characteristic of design rather than art?

It is generally agreed that Western floristry belongs to design rather than art. It has to be first of all a commercial product, which is a realistic necessity. Of course some of the Western floral works can be really artistic. For instance, look at some of the works included in “International Floral Art” by Stichting Kunstboek, Belgium. On viewing the many fascinating works including my own, one might realise that the boundary between design and art is rather ambiguous even in Western floristry.

Then, what about Ikebana? Is it design or art? In this series, I have been criticising again and again the statement that “Ikebana is art”. It is too simplistic. In some aspects Ikebana is like design, in other aspects it is like art. To answer this question, we probably need to look at Ikebana from a different perspective. What is that perspective? I’ll keep writing about it next year.

This is a work I made for a graduation ceremony of a girls’ college in Melbourne. The person in charge had seen my large work at the Lorne Sculpture 2016 and my small table arrangements for their grandparents day, and decided to commission me again for this event . As you can imagine, it was very well received. It may be rather rare to have flower arrangements of this scale at a school event in Australia. However, I hope that large flower arrangements will soon be highly recommended in any important event, not just in schools, but also in other organizations. In Japan it is a common sense to have a flower arrangement on important occasions. Maybe it should be a mission of Ikebana artists in Australia to promote such a notion about the function and power of flowers.


Sunday, 4 December 2016

Thursday, 1 December 2016