SKU: 51461681460

Mizuno Tanrenjo / Minamoto Akitada Honyaki DX Aogami #2 Ripple 300mm Takohiki

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Description

Mizuno Tanrenjo / Minamoto Akitada Honyaki DX Aogami #2 Ripple 300mm TakohikiThe Akitada Honyaki DX is the top of the line premium takohiki from Mizuno Tanrenjo. Honyaki forged with pure Aogami #2 steel by top blacksmith Jun Mizuno, and hand sharpened by Tsutomu Minamiura, this knife has an exquisite honyaki ripple hamon line that is both unique and aesthetically amazing. The beautiful thin grind and thinness behind edge supported by Aogami #2 make this blade a winner of cutting performance. Paired with a premium custom triple

The Akitada Honyaki DX is the top of the line premium takohiki from Mizuno Tanrenjo. Honyaki forged with pure Aogami #2 steel by top blacksmith Jun Mizuno, and hand sharpened by Tsutomu Minamiura, this knife has an exquisite honyaki ripple hamon line that is both unique and aesthetically amazing. The beautiful thin grind and thinness behind-edge supported by Aogami #2 make this blade a winner of cutting performance. Paired with a premium custom triple ginmaki marble buffalo horn rosewood wa-handle.

Spec:

  • Origin (Made in): Sakai, Osaka Prefecture, Japan
  • Brand: Minamoto Akitada 源昭忠
  • Workshop: Mizuno Tanrenjo 
  • Craftsman: Jun Mizuno 水野 淳
  • Sharpener: Tsutomu Minamiura 南浦 力
  • Knife Type: Takohiki
  • Blade
    • Construction: Mizu Honyaki
    • Grind: Single Bevel (Right-handed)
    • Steel Type: Aogami #2 (Blue #2)
    • Hardness: 64-65 HRC
    • Hand-forged, hand-grinded, hand-sharpened
  • Blade Finishes: Ripple (“Kawazukochoji” 蛙子丁子)
  • Blade Length: 300mm (11.8")
  • Blade Height (at heel): 25mm
  • Spine Thickness
    • Above heel: 3.4mm
    • Middle: 2.6mm
  • Handle
    • Premium Luxury Custom Handle
    • Shape: Hachikaku (Octagonal)
    • Material: Rosewood (Dalbergia Odorifera)
    • Kuchiwa / Tsukajiri: Marble Buffalo Horn
    • Divider: Rosewood (Dalbergia Odorifera)
    • Ginmaki: Nickel Copper (x3)
    • Length: 145mm
  • Overall Length: 455mm
  • Weight: 192g (6.77oz)
  • Engraved Mark: In Japanese Kanji "Gratefully seen by Royalty Trademark Minamoto Akitada" (賜台覧 登録商標 源昭忠)

About Mizuno Tanrenjo 水野鍛錬所 / Minamoto Akitada 源昭忠

Established in 1872, the Mizuno Tanrenjo workshop is one of the most prestigious blacksmith workshops in Japan. Five generations of Mizuno blacksmiths have worked on projects of cultural significance and won accolades for their craftsmanship. The works of 2nd generation blacksmith Masanori Mizuno still hangs on top of the pagoda at Japan's first UNESCO site, and the 3rd generation Akiharu Mizuno - a portage of Japan's national treasure blacksmith Teiichi Tsukiyama - has won a prestigious award for his honyaki yanagiba. The Mizuno family workshop has received two royal visits by Prince Mikasa of Japan, who is personally a fan of their craftsmanship. Today Mizuno Tanrenjo is led by 5th generation master blacksmith - Jun Mizuno (a.k.a. Noritada Mizuno) whose superior craftsmanship and extraordinary honyaki works have been recognized by two of Japan’s top Ichinomiyas (shrines) which have commissioned his katanas to become the shrines’ permanent collections.

About Mizu-Honyaki 水本焼

Mizu-Honyaki is the highest level of Japanese knife making, involving a differential heat treatment achieved by applying clay mud on spine and hira of the blade before heating and water quenching. Very few blacksmiths have the skills of making quality mizu-honyaki, and the failure rate is very high as any tiny crack during the heat treatment forfeits the entire blade. A fine mizu-honyaki is always costly due to the scarcity of blacksmiths and high failure rate.

Care:

Aogami #2 (Blue #2) steel is a premium Japanese high carbon steel for knife making. Despite some corrosion resistant quality (for a carbon steel), it is not stainless, therefore you should wipe your knife dry after each use. Patina will develop over time. Rust may develop if left in prolonged contact with water or acidic food. Use a rust eraser to clean if rusts develop. Avoid cutting into bones, frozen foods, hard fruit pits.

Cutting Surface:

Recommended cutting surface: wood, rubberized boards and high-end composites, and quality plastics such as polyethene make acceptable cutting surfaces, and will help protect and prolong knife’s edge. AVOID glass, metal, countertops, and other rigid, non-forgiving surfaces.

Sharpening:

We recommend sharpening all quality Japanese knives on whetstones, as we believe they yield the best results for your knives. 

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SKU: 51461681460

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4.2 ★★★★★
Based on 20 reviews
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pepe
New York, US
★★★★★ 5
interesting analysis of what 'being creative' really means
This easy-to-read absorbing book is based on lengthy interviews with 91 creative individuals ranging from Nobel prize winners to artists to CEOs. Csikszentmihalyi starts by debunking the myth of 'the lone genius having a brilliant idea as if by magic' and defines three necessary ingredients for creativity ('with a capital "C"') - domain, field, and individual. Creativity must take place within a recognised domain (such as physics, painting and so forth); be recognised by experts in that domain (the field, although this may not happen in the individual's lifetime, eg, Van Gogh); and of course come from an individual, although he also adds the painstaking work that precedes and insight, the reality that all creativity builds on what has gone before, and the social elements of the creative process. The book also offers supporting evidence from the lives of the 91 interviewed, which also provides interesting insights into their lives. In many ways, this book is a biography of the creative individual. Also contains a chapter with quite practical guidance on how to live more creatively. Prescient advice for a book published in 1996 given the increasing profile creativity is getting in business and public life. HIghly recommended, one of the most interesting learning experiences i have had in a long while!
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on February 5, 2013
C
Verified Purchase
Charles H. Hooker Jr.
Grantham, US
★★★★★ 5
Very enlightening for those who truly appreciate creativity more than cleverness!
Format: Paperback
I love how the author almost redefines creativity .and sheds new light (for me, at least!)on what what real-for-true creativity is and how it benefits individuals and society. It's far more than simply brightening up a room with new wallpaper and curtains -- it describes how genuine creativity requires a thorough working knowledge of the fundamentals of any given field before one can truly create something new or better, and it reveals how those of us who aren't capable of creating something ourselves can yet be part of the process by demonstrating appreciation and support for those who create, whether as sponsors, patrons, or even just ardent fans!
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on July 4, 2023
D
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Donald Walker
Lexington, US
★★★★★ 3
instructive but limited
The testimonies of creative people that give this book its flesh and blood provide fascinating examples of creative people at work. That said, if a journalist had written the book, it would be more readable, and I don't think any less of an intellectual contribution. Moreover, the definition of creativity is elitist and stunts the topic (as observed by other reviewers): "Creativity is any act, idea, or product that changes an existing domain, or that transforms an existing domain into a new one. And the definition of a creative person is: someone whose thoughts or actions change a domain, or establish a new domain. It is important to remember, however, that a domain cannot be changed without the explicit or implicit consent of a field responsible for it." Given the people interviewed, much more needs to be said about the function of social institutions in promoting creativity. Many of the accomplishments lauded in this book would never have happened without grant-making agencies (e.g., NSF, NIH, HHMI) or non-profit employers like research universities and hospitals. To offer just one obvious example of the difference made by one's institutional context, the author had advanced students to help him do his research for this book. The elitism of the definition is even clearer in the role that marketplace plays as a judge of creativity. None of us buys books from amazon.com because some official group validated amazon.com as a good idea. We didn't wait for computer programers to affirm and certify it. Amazon.com is not deemed successful because it impressed its peers. It is successful because millions of us purchase goods through it. Similarly, auto-executives did not make the minivan a successful idea, millions of shoppers did. (Obviously I don't think the marketplace fits into the author's definition of creativity. If 300 million American consumers comprise a domain with 300 million judges, then the word no longer has any useful meaning.) The definition also precludes that countless ephemeral acts of creativity that take place daily. I think instantly of two women I have worked with who were great at holidays. Their clever costumes or decorations brightened my day, adding a little element of surprise and delight. Their acts of creativity don't meet the definitions of this book. The way that creativity is defined in this book is simply a filtering mechanism by which the author selected the people he would interview. It is not a definition of creativity. It is only a description of a subsection of creativity, the kind where institutions provide paychecks to highly practiced individuals to work hard at what they love. I also found little new to take away and apply to my own social existence inside the organization where I work. Perhaps I can summarize my dissatisfaction by observing that the subtitle sets out an agenda for the psychology of creativity, but the definitional filter is intrinsically social. This disconnection sets the book up to fail. So, count this as a negative review, yes, but I did enjoy reading the testimonies of the people interviewed, and the author adds some value in the generalizations he draws. Still, much, much more could have been said.
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Reviewed in the United States on April 30, 2012
J
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Judith R. Hert
Draper, US
★★★★★ 5
Wise and Complete
Format: Paperback
I've read a lot of books, too many, on creativity, and this is by far the best, the most complete, the most interesting. The idea that creativity comes out of immersion in a domain or field seems absolutely right and the idea missed by so many other writers. I'm a writer and a painter and I've learned that I'm not going to be any better than the work I've come to know and love, that I have to live in that work. If you want to be a better string player, play with a better ensemble. In many ways a creative person is someone who is in a conversation with what has come before, with work that excites her, teaches her, challenges her. This book makes that plain. But he has other insights as well, especially about the creative personality, the interesting dichotomies. Just read the book.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on February 22, 2015
C
Verified Purchase
Common Arts Farm
Waukegan, US
★★★★★ 4
Creativity which has the power to change the world
A few caveats to those who are generally interested in creativity studies: Csikszentmihalyi's analysis and discussion of creativity does not directly relate to those who are personally creative. People who enjoy engaging in creative activities are not demoted, in his terms, but are simply not a part of the study. It is unfortunate that his language makes it seem this way; he distinguishes between the two by saying that Creativity has the power to shape a domain or the world, while creativity applies to those who enjoy coming up with new recipes, who are engaged in research that may not change a domain, but may "tweak" it, etc. What he is trying to discover are the underlying principles and traits of creativity in those whose work has made a significant change. Think Albert Einstein, Eleanor Roosevelt, Mark Strand: people who are either widely known for their influence, or who have been influential within their area or domain. This book provides an interesting view into the minds and work habits of Creative individuals, and concludes by offering general advice to those who wish to make their own lives and work more creative. It is a useful book, but one which requires a great deal of supplemental reading, in order to truly engage in creativity studies.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on January 29, 2003

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