Ikebana artist Thu Phuong: “Borrowing flowers to prune the heart”

Hello Thu Phuong, among the many distinctive Ikebana schools, what drew you to Mishoryu in particular?

My introduction to Ikebana was serendipitous. A tea ceremony teacher who happened to be a close friend of the Mishoryu master made the connection. I was drawn in by the headmaster’s floral works and, eventually, ended up studying under him for eight years. In terms of aesthetics, I felt a deep affinity for the Mishoryu style. Its emotional precision, its subtle strength: they aligned perfectly with my teacher’s approach to arrangement. It all came to me naturally. There was no grand decision. It was fate, and it was what I loved.

With some 3,000 Ikebana schools training tens of millions of students in Japan, why did you choose to follow Master Keiho Hihara so closely, even to the level of teacher training? What stands out most about him?

Whether you study within a school or with an individual, it’s a matter of form. The school or sect itself isn’t what matters most, nor is the title or certification. What’s essential is the guide who leads you into the world of flowers, the one who helps you truly connect with them. I was fortunate that my teacher also happens to be the head of his sect. The knowledge he shares is distilled, authentic, and comes from the source. His personality and teaching style resonate with me deeply. He’s had a profound influence on my journey in the art of Ikebana.

Until now, I’ve come to understand that the way of flowers is a path that borrows the art of arrangement, one that borrows flowers as a means of self-cultivation. It is also a journey of elevation through blossoms, of dialogue with them, of sensing their beauty. And through this, one finds stillness in the heart. The practice of arranging flowers allows us to grow each day. It stretches on without end: there is only a beginning, no final destination. For this, I feel fortunate to have had the chance to learn directly from the headmaster.

Read more: Cao Hoang Long: an ‘illogical’ approach to bringing Vietnamese art to the world

Reaching the pedagogical level is simply a marker along the way. Much like a scientist earning successive degrees before embarking on a research career, or an artist moving from formal training into performance or composition, it is part of a continuum. For me, everything I have learned along the way has served a purpose. Each lesson has deepened my connection with flowers, allowing me to discover their essential beauty.

Ikebana means “giving life to flowers”. What does the name of your flower arrangement and instruction centre (Ikaiki Ikebana) seek to express?

“Ikaiki” is an abbreviation of the phrase One flower, one spirit. When we interact with flowers, we begin to sense that each blossom is a singular being in this universe. Even among flowers of the same type, on the same branch, each one possesses its own temperament. Every floral artist also carries within them a unique flow of spirit. When that individual essence meets the distinct spirit of a flower, a new creation is born that breathes with life and merges both energies.

To practise Ikebana is not simply to shape flowers in pleasing forms. It is to listen deeply to their spirit. It sharpens the eye, trains the heart, and teaches us to notice when and how our own affections come into being.

Each arrangement speaks to the bond between people and the natural world, a reflection of the original harmony that once existed. The smallest stirrings within the soul, which arise in moments spent with flowers, are clues to the shifts in our inner state. These are at the heart of the Ikebana teaching. Naming the centre One flower, one spirit is also a quiet way of honouring and giving thanks to nature for its countless blossoms.

My journey with flower arranging began long ago, and it’s a process I cherish deeply. It brings beauty to my life, and I hold immense gratitude to my teacher for leading me to this path. Somewhere in Vietnam, I believe, there are kindred spirits who have not yet crossed paths with this art. That thought led me to establish Ikaiki Ikebana, to begin sharing the most treasured knowledge and experiences that flowers have offered me. In doing so, I continue to learn and grow.

Ikebana offers a chance to tap into the vibrant, life-giving energy of the universe. Through it, the arranger trains their aesthetic sensibility and learns to quiet the mind in order to fully savour life. While the process is active and deliberate, the arranger also follows the natural rhythm of each bloom—respecting its form, noting the direction in which it grows, and responding to the subtle gestures of every stem and petal. From there, the composition emerges, shaped by intuition and care.

Each time we work with flowers, we release the mind. Their presence cleanses us, gently pruning our thoughts. And in that moment of creation, we are the ones who truly receive.

Japanese Noh theatre has a saying: “Flowers are beautiful because they will fade.” Is the life and impermanence of all things in nature the core of Ikebana?

Flowers are not merely objects; they embody a sacred state filled with vitality. When their moment comes, they bloom with colour and fragrance, driven by an innate will to live fully, to sustain and continue the lineage of their species. Their beauty is fleeting, a brilliance captured in an instant. As people often say, heaven and earth created flowers simply to be beautiful. That is the very essence of their existence: to bloom and to shine.

Our human lives, in comparison, are equally finite. We have only a brief time to do the things we desire. If we don’t, or if we run out of time, the cycle of birth, ageing, illness and death continues all the same. Those who follow the path of Ikebana look to flowers as teachers. They borrow their spirit, applying that essence to daily life. Perhaps this is at the heart of the Ikebana philosophy.

Originating from the flower offering ritual to Buddha many centuries ago in Japan, Ikebana contains a very profound philosophy of life and the universe. Along with tea ceremony, flower arrangement requires high discipline and ritual. How do you practise it in your daily life?

Ikebana has its own set of principles. When arranging flowers, especially in the classical style, one must respect its traditional rules. It’s not unlike classical music or painting.

There are days I spend more than 10 hours arranging flowers, sometimes even through the night. During those times, I’m completely absorbed in the dialogue with the flowers. Everything else fades. I don’t feel tired, nor do I feel as though I’m forcing myself to follow a rulebook. It becomes an experience of pure pleasure. The body may be fatigued, but the mind is at ease. For me, arranging flowers is as natural as spending time with a dear friend, free of pressure.

How do you express your adaptability to the new era and your indigenousness in your personal practice and in your teaching at Ikaiki Ikebana?

Grasping the essence of flower art, especially how to genuinely interact with flowers, frees us from rigid notions and the exclusive use of Japanese blooms. Once we understand this, we begin to sense the spirit within each flower, specific to its region and environment. When this spirit engages with our own, arrangements with a native quality arise organically.

This also applies to time. Each floral creation exists in a distinct space, shaped by its context, its setting, its materials. Allowing these elements to flow naturally gives rise to unique works, each one a quiet reflection of the time in which it was born.

With the wonderful benefits of Ikebana in terms of perception, creativity, aesthetics, and rituals, does your training programme consider targeting young people to train them?

In Vietnam, Ikebana classes have been quietly contributing to the cultural landscape for some time, spreading appreciation for the beauty of floral art. I still personally arrange flowers and share what I’ve learned with my peers. That, I believe, is the most natural way for Ikebana to grow.

Teaching children is a long-term aspiration I continue to hold. Ikebana does more than teach floral techniques. It nurtures perception, sharpens aesthetic judgement, inspires creativity, and more deeply, it teaches us how to live, how to see.

Read more: Photographer Alexandre Garel and his journey to preserve disappearing Vietnamese structures

Your thoughts on living space.

To me, living space is everything that interacts with us in life, every person we speak to, work with, and every object we encounter daily, such as tables, chairs, clothes, teacups. It encompasses every view we have through the windows, every painting, vase, scent, and taste we experience throughout the day. From the most intuitive level to the deepest, everything that engages with us impacts our energy, directly influencing our state of life.

In addition, the way we interact with our surroundings, bringing our spirit into daily life and nurturing our living spaces, helps maintain a constant flow of energy within them. Lifestyle holds no rigid right or wrong standards, but it is vital that each person understands themselves, knowing what they need, what they lack, and what they desire. Gradually, as we care for and perfect our surroundings, the space evolves. It’s much like a child growing and developing. In this way, the living space becomes an independent entity, with its own energy flow. As the inhabitants of this space, we (along with our loved ones) are the ones who ultimately bask in this positive energy.

In your personal art practice, when do you know a piece is enough to stop?

Flower arranging is a process that cycles through: observing flowers, feeling them, conversing with them, and then engaging more deeply through arrangement techniques such as cutting, adjusting, looking, and feeling once again. This process continues in a revolving pattern, naturally steering us towards perfection. Theoretically, when standing before a finished arrangement, it is as if our breath merges with the work. In that moment, everything feels harmonious, and it might be time to stop. But, more often than not, once we step away and return later, we find ourselves wanting to tweak and refine the piece. So, the concept of “enough” is, in fact, relative.

Deep vibrations are the precious state that people wish to attain. How have you received and nurtured them?

Deep vibrations are a constant when I interact with flowers. However, I believe that this is not a state one should strive for; it arises naturally when we engage with flowers wholeheartedly. Through the act of arranging, the mind is clarified, tidied, and freed from excess thoughts. At this point, the mind becomes clear and luminous, shedding the usual clutter that clouds our perception.

And in this moment, we face the flower with our most sincere heart, allowing the vibration to emerge naturally. Perhaps when Truth reveals itself, Goodness and Beauty follow. But the key is sincerity: approaching the flower with no ulterior motive, simply giving ourselves fully to the moment.

Thank you very much, Thu Phuong!

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