In two years, the Sogetsu school will celebrate its hundredth anniversary. In the grand timeline of Ikebana history, this is still relatively young, but Sofu Teshigahara, the founder of the Sogetsu School, brought a revolution and a fresh wind into the world of Ikebana.
At the end of the 19th and the beginning of the 20th century, form and tradition were paramount in Ikebana, leaving little room for freedom or new influences. Sofu, however, declared that Ikebana is an art form, and art is a way to express yourself and the time you live in. While respect and inspiration from the past are essential, he encouraged artists to develop their own style and voice to reflect the present.
Sofu declared that Ikebana is an art form. He encouraged artists to develop their own style and voice to reflect the present.
In the Sogetsu school, we all learn the same basic principles and styles. But over time, we are encouraged to develop our own artistic voice. This approach allows Ikebana to evolve continuously, giving it countless interpretations shaped by an artist's background, origin, heritage, and surroundings.
Ikebana, which began as a Buddhist offertory practice, took root in Japan where it became an art form inseparable from Japanese culture. Today, it is enjoyed by people all over the world. For many, like me, Ikebana is a way to express creativity, tell stories, and connect with nature.
As I reflected on this journey of creativity, I became more curious about the significant transformations in the Ikebana world between the 1930s and 1980s. During the Sogetsu curriculum, we learn bits and pieces about Ikebana's history and the school’s development, but it’s impossible to gain a full understanding without deeper study.
Not everything is yet translated into English or other languages, and I am no historian. However, this curiosity led me to begin my own research, which I shared with my teacher-student groups. The topics I explored this year, and will continue into the next, often reflect this research and aim to connect historical insights to modern practice.
One of the terms I discovered was 'Object Ikebana.' While Sofu did not invent this term—‘object’ in this context comes from 'objet d'art'—he used it to describe works that were neither sculpture, installation, nor traditional Ikebana. Sofu created hundreds of these three-dimensional pieces, many of which still exist today and are scattered across the world. These works were often made of wood, carved into unusual shapes, and covered partially or entirely with lead or brass plates, creating striking contrasts in texture and form.
While learning about Sofu’s object Ikebana, I was teaching a workshop on texture—focusing on both actual and abstract textures. Texture is a fundamental element of art and an exciting one to explore. The plant world offers endless examples: some textures are visible from afar, while others invite touch.
In art, texture can be expressed in different ways: actual, implied, invented, or abstract. In Ikebana, we primarily work with the actual textures of botanical materials. Some plants have bold, outspoken textures that can emphasize certain feelings or moods. However, studying and teaching Sogetsu reminds us to look at all materials—botanical and humanmade—with fresh eyes to create original and unique arrangements.
For me, Sofu’s Object Ikebana embodies abstract texture, where wood takes on the appearance of metal, both in structure and feel. Inspired by this idea, I encouraged my students to explore further. I asked them to collect interesting pieces of wood and metal—from cans, candles, coffee cups, and beyond—and to experiment. They applied metal to wood, creating objects that could stand alone or be integrated into an Ikebana arrangement.
These exercises were not meant to copy Sofu—which is impossible—but to open minds, inspire experimentation, and demonstrate that the possibilities for using materials in new and original ways are endless. Ikebana, after all, is about giving life and bringing life, whether through botanical or manmade materials.
Ikebana, after all, is about giving life and bringing life, whether through botanical or manmade materials.
Learning more about Sofu, the origins of the Sogetsu school, and the avant-garde movement of his time has been deeply inspiring. Sofu and his like-minded contemporaries—such as Shigemori Mirei, Bunpo Nakayama, and Houn Ohara—were extraordinary visionaries whose influences remain relevant today.
Their work continues to inspire us to push boundaries, embrace change, and find our own voice within the art of Ikebana.
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