Ikebana and Western-style Flower Arrangement
Just as Japanese homes, historically speaking, differ from dwellings in the West, so too does ikebana vary from Western-style floral art. While a large number of elements make kado distinct and internationally popular as floral art, the following points are probably most noticeable. Kado's origins lie in Buddhism, have a spiritual basis, and are thus not purely decorative in scope. As previously noted, in the sixth century, large floral arrangements began to appear on both sides of the altars in Japanese Buddhist temples; this trend continued through subsequent centuries. Voluminous rikka arrangements stood tall and rigid from elaborate bronze containers, religious artifacts brought to Japan from Buddhist temples in China. Both tree and flowering grass material were combined to create a religious offering. Intricate and elaborate rikka arrangements gradually softened in appearance over time through the addition of greater width and the suggestion of movement through flowing lines within the arrangement. Rikka arrangements were the dominant form of arrangement in both temples and palaces down through the establishment of the Kamakura government in the twelfth century.

Not only does the tall rikka design originate in the desire to suggest Shumisen, the sacred mountain and symbol of the universe in Buddhist culture; rikka was also known as "a little garden within a house" since its form captures the idea of a miniature landscape. The original rikka material typically utilized pine branches at the top of the arrangement symbolizing lofty peaks followed by other tree and flowering grass material representing lower hills, waterfalls, lowlands, and the movement of rivers to the sea. Each of the branches and leaves in early forms of rikka often represented individual prayers or requests to Shinto gods. (We'd like to note here, for those not overly familiar with Japanese religion, that Shintoism and Buddhism merged early on in Japanese religious life. It was, and still is, common for Japanese to embrace both doctrines.)

Modern rikka and other forms of Japanese flower arrangements continue today to incorporate Buddhist values, although in a very generic and nonsectarian way. Most of the classical forms or arrangements, such as rikka or shoka, use an odd number of branches or elements symbolizing the Buddhist belief that we are on a path towards perfection, or in a state of "becoming." Whereas attainment of this perfection would be suggested if there were an even number of elements. As you study kado, you'll probably be profoundly impressed, like many others before you, with the spiritual depth of its theory. And at the dawn of a new millennium, as you pause to reflect on what this ancient theory means to Western people, you'll have a chance to see the world in numerous new and significant ways.

Another important concept is the idea of the oneness, or the unity of opposites known in Japanese as in and yo, and more widely known in Western culture through the Chinese terms yin and yang. Classical arrangements are often divided on the left and right sides with designations as to whether they are the in or yo sides, with in representing the darker element and yo representing the lighter element. The merger of these opposite elements, or forces, as a miniature physical and spiritual Universe is best depicted in shoka arrangements, where the main stem representing human beings is standing between two subordinate stems symbolizing heaven and earth and all opposite forces. In a way, kado suggests that each of us is linked to, and suspended between, heaven and earth . . . more than mere animals but less than gods. Kado's rich symbolism holds a great appeal for many Westerners, and as they arrange flowers, it prompts them to consider their place in the Universe.