In Japan, many masons were keen to sell stones and lost their skills. It is truly sad.

But we are different. We can produce traditional stone objects (such as lanterns, garden furniture, Buddha statues, stone towers etc) with old technology we have acquired over many years.

Certainly it will take time and money. However, it is only one in the world.
We ( and you will ) have it.

Tradisional Culture, Stone-Art in Japan.

Processing of stone has made a dramatic development by the arrival of Buddhism (around AD 538). Masonry art prospered in the Kamakura period (1192 - 1334).
Sen no Rikyu (Japanese tea ceremony) began to place stone objects in the garden of tea ceremony, and Japanese aesthetic sense / world view was expressed.
After that, in making gardens in Japan, stone products such as stone-lanterns and stalwarts became indispensable.

The stone products direct the Japanese garden, which expresses the heart of hospitality of Japan, the spirit of honor (for today's encounter is today's meeting, the next encounter is not the same encounter).
Stone objects show different expressions depending on the year, month, and the weather at that time, and enjoy the transition.

Masakazu Tanimoto's View

There's only one thing I'm thinking after entering the masonry world at 19. That means that I want to make a work that someone thinks is even a little beautiful.
I don't want to lose to the predecessor. I don't want to lose to anyone. That's why I continue to make works, refine techniques and aesthetic sense, and evolve. The same thing is never born again, it is fun to make that one chance.

"Stone" is wonderful. It was the blessing of the earth, which was spontaneously taken over time. Express the material of that grace in my skills, soft and warm. Stones will remain for many years. Things made by handwork increase in appeal over time. I want you to feel the goodness of what Japanese craftsmen make.

It takes decades to develop skills. Then, walking with my own feet, seeing the real thing, feeling the air of the place, I will incorporate it to myself. It requires a spirit that can not be said by words, and basic body making can not be missed to not blunt eyes and arms.

I want to leave tradition. The number of Japanese stonemasons is getting very low, and it is getting harder to pass on skills. I am hoping that young people will explore the way of masonry that hope can have in the future. For that purpose, we must improve the position of stonemasons. I have also learned various things to many siblings and I am here now. Furthermore, I would like to connect them to the next generation, including what I have walked, seen, felt, experienced.

Masakazu Tanimoto's Profile - Awards

I was born in Yamazoe village of Yamato Plateau in the east of Japanese ancient capital "Nara" in 1976.
I left my parents when graduated from high school, and trained in Okazaki city, Aichi prefecture.
By that time, I've taken good grades in the competitions such as "The 35th National Skill Competition." (1st place 3 times, 2nd place 3 times)
In order to pass on the skills that our predecessor has cultivated even a little, I'm particular about creating old-fashioned hand-made works.
By 2014 I was awarded by Japan the "Outstanding Skill Award" (contemporary masterpiece) at the age of 38, the youngest in the industry.
Even now that I became the fifth president and representative director and president of Tanimoto Stone Material founded in 1899, I am constantly challenging.

  • 1976 Born in Nara
  • 1997 35th Japan National Skill Competition Olympics : Champion
  • 2001 50th Japan National Youth Championship Art Section : Champion
  • 2007 2nd Japan National Stone Championship : Champion
  • 2009 25th Japan Skill Grand Prix : 2nd
  • 2011 26th Japan Skill Grand Prix : 2nd
  • 2012 2nd Japan Stony Tower Exhibition : Excellence Award
  • 2013 27th Japan Skill Grand Prix : 2nd
  • 2013 64th Mie prefectural exhibition sculpture department [MUGEN] : winner
  • 2014 Japan Outstanding skill Award (contemporary masterpieces) recognition
  • 2015 28th Japan National Skill Grand Prix : Champion
  • 2016 67th Mie Prefectural Exhibition Sculpture Division "Purification"  : Mie Prefecture Chouson Chairperson Award
  • 2017 68th Mie Prefectural Exhibition Sculpture Division "Loneliness" : Excellence Award



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