Excerpt about Ninja and Sake from the book Ninjutsu Hiden by Heishichirō Okuse (page 172-174)
奥瀬 平七郎 Heishichirō Okuse (1911-1997)
I heard this from Master Fujita Seiko, but apparently, to be a ninja, you also need to be quite good at handling sake. There’s not a single mention of sake in the manuals, so there doesn’t seem to be any “special way of drinking,” but given the nature of their profession, ninja had to study every method of winning people over. It’s hard to believe they wouldn’t have used something as convenient as sake for that purpose. However, sake is a tricky thing—if you only encourage others to drink without drinking yourself, it can seem too obvious. In some cases, it might even backfire:
“What’s this? You keep pushing me to drink but don’t touch a drop yourself… What, you’re a teetotaler? Tch, what a boring guy!”
Instead of winning someone over, you might end up being pushed away. This leads me to agree with Fujita’s theory—though it’s not written in the manuals, a ninja must have been a considerable drinker, which seems entirely reasonable.
Now, regarding the drinking capacity of ninja: in the past, among ninja circles, someone who couldn’t drink much was said to be at the 嗅ぐ級 Kagu-kyū (sniffing level). Those who could handle a bit more were at the 嘗める級 Nameru-kyū (licking level). Beyond that, they’d enter the 飲む級 Nomu-kyū (drinking level). You might think the “sniffing” level meant just two or three cups, or at most a bottle (tōkuri (~180 mL to 360 mL), but that would be a huge misconception.
Standard Sake bottle is 1 Shō (1.8 Litre).
At the “sniffing” level, the minimum qualification was about one shō (roughly 1.8 liters, standard bottle size) of sake. To reach the “licking” level, you had to be able to drink at least five shō (about 9 liters), or you wouldn’t qualify. To be considered at the “drinking” level, you’d need to handle over one to (about 18 liters). And to be called “a good drinker,” you’d have to drink more than three to (54 liters) on your own—otherwise, you’d be labeled a liar.
In 1951 (Shōwa 26), Ueno City held a “Children’s Exposition,” and I was tasked with planning it. During that time, I came up with the idea for a “Ninjutsu Pavilion,” which marked the beginning of my connection with Fujita-sensei. I hope for good relations in the future, but back then, I had the chance to drink with Fujita about once every three days. However, I’m the kind of man who’s “not even fit to stand upwind of a ninja”—after just two or three cups, my face turns bright red. Master Seiko, being a proper ninja, would never get drunk on just one or two shō. When I asked the tactless question, “Sensei, how much can you drink?” he replied with a serious expression,
“Oh, I’m not much of a drinker. Just at the licking level, I suppose.”
After accompanying him four or five times, I realized that Fujita’s drinking capacity perfectly matched the “ninjutsu standard.” Truly, a gentleman knows himself—his capacity was five or six shō.
At five or six shō, he’d never get drunk. I remember thinking,
Fujita Seiko
“Well, at this level, there’s absolutely no worry of being killed by sake,” and I was oddly impressed.
In the past, even the least capable drinkers among ninja likely trained to at least reach the “sniffing” level. If you could drink one shō, you could pretend to be drunk while keeping your wits about you, taking advantage of your opponent’s inebriation to subtly probe their intentions or quickly build rapport by slapping shoulders together—something a ninja could do with ease.
Since hearing that you can’t become a ninja without reaching at least the “sniffing” level of drinking, I’ve completely given up on becoming one. For one, there’s the saying “you need to be alive to enjoy life,” and secondly, as a salaried worker, the “training fees” for such drinking would be a considerable burden.
For these reasons, I’ve limited myself to merely studying ninjutsu.
Excerpt above about Ninja and Sake from the book Ninjutsu Hiden by Heishichirō Okuse (page 172-174)
Heishichirō Okuse (奥瀬 平七郎, おくせ へいしちろう) was a Japanese novelist, researcher, and politician born on November 13, 1911, in Ueno, Japan. He passed away on April 10, 1997.
Okuse graduated from Waseda University and studied under the renowned author Masuji Ibuse. He developed a particular interest in ninjutsu (the art of stealth and espionage), contributing to its study and preservation. Professionally, he worked for the Manchurian Telephone & Telegraph Company.
In addition to his literary and research endeavors, Okuse served as the mayor of Ueno from 1969 to 1977. His multifaceted career reflects a deep engagement with both traditional Japanese martial arts and public service.
Ninjutsu Hiden 350 pages was published Showa 34 (1959) by Bonbonsha
Fujita Seiko ninjutsu history about Fujita Seiko (藤田西湖) The Last Ninja, ninjutsu history, the 14th master of Koga-ryu (甲賀流) ninjutsu, is celebrated as Japan’s last true ninja. His autobiography, Doronron: The Last Ninja, offers a vivid account of his life, intertwining Fujita Seiko ninjutsu history with Japan’s evolving cultural and military landscape. This summary traces Seiko’s journey chronologically, from a fiery childhood to his role in wartime espionage and his post-war efforts to preserve ninjutsu.
A Rebellious Childhood and Early Influences (1899–1908)
藤田西湖Fujita Seiko “The Last Ninja”
Fujita Seiko ninjutsu history began on August 13, 1899, in Tokyo’s Asakusa district. Born Fujita Isamu, he was the second son of Morinosuke Hayata, a police detective renowned for capturing criminals like the infamous tailor Ginji. Seiko’s family had deep ties to the Tokugawa shogunate, serving as onmitsu (covert agents) for 300 years. This legacy set the stage for Seiko’s lifelong connection to ninjutsu, as his ancestors’ roles under Tokugawa Ieyasu relied heavily on espionage to maintain the shogunate’s stability.
Seiko’s childhood was marked by a fiery temperament. At six, he sought revenge for his brother’s bullying, attacking eleven older children with his father’s saber. “よし、おれが仇討ちに行つてやる” (Yoshi, ore ga adauchi ni itte yaru, “I’ll go take revenge!”), he declared, showcasing his boldness. This incident led to his temporary exile to Daiji Temple in Itsukaichi, where his rebellious streak continued. Seiko desecrated sacred statues in the temple’s Enma Hall, earning both punishment and a reputation as a troublemaker.
His early life was also shaped by tragedy. In 1905, Seiko nearly died from diphtheria, a near-death experience that left a lasting impact. His mother, Tori, revived him through sheer determination, forcing chopsticks wrapped in cotton down his throat to clear his airway. However, in 1908, on his ninth birthday, Tori succumbed to intestinal catarrh. “私は幼なごころにも悲しくて、毎日、裏山をみてはボンヤリ暮した” (Watashi wa osanagokoro ni mo kanashikute, mainichi, urayama o mite wa bonyari kurashita, “Even as a child, I was sad, spending each day staring blankly at the back mountain”), Seiko wrote, reflecting on his grief. This loss deepened his yearning for purpose, setting the stage for his immersion into ninjutsu.
Training in the Mountains and Koga-ryu Initiation (1908–1915)
足の甲で歩き不具者を装うFeigning disability by walking on the tops of the feet
After his mother’s death, Fujita Seiko ninjutsu history took a spiritual turn. At seven, Seiko followed a group of yamabushi (mountain ascetics) into the mountains, seeking solace and adventure. For over 100 days, he lived among them, learning survival techniques like cooking rice in a buried cloth and enduring harsh conditions. This experience, though not formal ninjutsu training, honed his resilience, a trait crucial to his later mastery of Koga-ryu.
At nine, Seiko returned home, where his grandfather, Shintazaemon—the 13th Koga-ryu master—began his formal ninjutsu training. “お前は見どころがあるから、これから忍術の稽古をつけてやろうと思うが、どうだ、やる気があるか” (Omae wa midokoro ga aru kara, korekara ninjutsu no keiko o tsukete yarō to omou ga, dō da, yaruki ga aru ka, “You have potential, so I’ll train you in ninjutsu—do you have the will to do it?”), Shintazaemon asked. Seiko eagerly agreed, sealing their bond with a ceremonial 金打 kanau (clash their swords’ tsuba (guards) together to make a vow).
Seiko’s training was grueling. He practiced breathing techniques to remain undetected, attaching cotton to his lips to ensure silent respiration. He mastered tsumasaki aruki (tiptoe walking) to enhance stealth, enduring pain as he balanced on his toes for hours. He also strengthened his hands by thrusting them into sand, gravel, and clay, a practice that left his fingers bleeding but built formidable strength. These exercises were foundational to Fujita Seiko ninjutsu history, preparing him for the physical and mental demands of Koga-ryu.
A Ninja in a Modernizing Japan (1915–1930)
The author dressed up as a Ninja
As Japan entered the Taishō era, Fujita Seiko ninjutsu history adapted to a changing world. In his teens, Seiko studied at universities like Waseda and Meiji but was expelled for his rebellious behavior. He eventually graduated from Nihon University’s religious studies program in 1919, balancing his education with journalism and martial arts instruction. These roles exposed him to modern ideas while keeping him rooted in ninjutsu traditions.
Seiko’s expertise in ninjutsu drew attention from military circles. He began teaching at institutions like the Army Toyama School, blending ancient ninja techniques with modern warfare. His skills in stealth, espionage, and survival made him a valuable asset, as Japan’s military ambitions grew. Seiko also explored esoteric practices, later documented in works like Shinshin no Maki – Jō, reflecting the spiritual depth of Fujita Seiko ninjutsu history.
During this period, Seiko inherited the title of 14th Koga-ryu master from his grandfather, a role that came with immense responsibility. He was one of the last keepers of a tradition that once boasted 53 Koga-ryu houses, a decline he attributed to the art’s secretive nature and rigorous demands. “忍術は、よほど克己心の強い者でなければ修業できない” (Ninjutsu wa, yohodo kokkishin no tsuyoi mono de nakereba shugyō dekinai, “Ninjutsu cannot be mastered without strong self-discipline”), he noted, highlighting why the art faded as Japan modernized.
Wartime Contributions and Disillusionment (1930–1945)
March 1932, at Torasan. From left: Miura Makoto, Kamura Ryūjirō, the author
The Shōwa era brought Fujita Seiko ninjutsu history into the realm of warfare. During the Second Sino-Japanese War, Seiko traveled to occupied territories, using his skills to open safes and decipher codes. His ninjutsu expertise made him a key operative, often flying to China on urgent missions. As World War II escalated, he taught at Nakano School, training special forces in guerrilla tactics and psychological warfare.
Seiko’s wartime contributions extended beyond combat. He inspired troops with demonstrations like rope-escaping, symbolizing resilience. “日本は今、敵のためにガンジガラメになっているけれども、技術の鍛練と精神力によっては、この通り継も抜けられる” (Nihon wa ima, teki no tame ni ganjigarame ni natte iru keredomo, gijutsu no tanren to seishinryoku ni yotte wa, kono tōri nawa mo nukerareru, “Japan is now bound by the enemy, but with technical training and mental strength, you can escape ropes like this”), he told soldiers, boosting morale amid dire circumstances.
He also developed innovations like netsuryōgan (heat-retaining pills) for soldiers and Neo-Aochin, a stimulant later misused as Hiropon. However, Seiko grew disillusioned with military leaders’ self-interest, refusing honors to maintain his independence. “私は中将の前に出れば中将と友達づきあいに話したし、大将の前に出れば大将と同格に話した” (Watashi wa chūjō no mae ni dereba chūjō to tomodachi zukiai ni hanashita shi, taishō no mae ni dereba taishō to dōkaku ni hanashita, “I spoke to a lieutenant general as a friend, and to a general as an equal”), he wrote, emphasizing his refusal to bow to hierarchy.
Post-War Preservation and Legacy (1945–1958)
The author setting a world record of 500 tatami needles inserted to his body.
After Japan’s defeat in 1945, Fujita Seiko ninjutsu history faced new challenges. The GHQ banned martial arts, viewing them as militaristic, but Seiko used this time to preserve Japan’s traditions. He founded the Japan Martial Arts Research Institute, compiling Bujutsu Ryūmeiroku, which documented 4,420 martial arts styles, including 71 ninjutsu schools. His work ensured that Koga-ryu’s legacy would endure, even as he remained its last practitioner.
Seiko criticized the sensationalized depictions of ninjutsu in media, advocating for its scientific and spiritual depth. “忍術ほど科学的で進歩的なものはなく、しかも武芸百般を総合し、精神と肉体の練磨において、このくらい厳しいものはない” (Ninjutsu hodo kagakuteki de shinpoteki na mono wa naku, shikamo bugei hyappan o sōgō shi, seishin to nikutai no renma ni oite, kono kurai kibishii mono wa nai, “Nothing is as scientific and progressive as ninjutsu, encompassing all martial arts, with such strict mental and physical training”), he asserted, emphasizing its true nature.
In 1958, Seiko published Doronron, reflecting on his 50-year journey as a ninja. He feared ninjutsu’s extinction, noting, “わが国の正しい忍術の道統は、私を最後として絶えるものとみなければならない” (Waga kuni no tadashii ninjutsu no dōtō wa, watashi o saigo to shite taeru mono to minakereba naranai, “Our country’s true ninjutsu tradition must be seen as ending with me”). Without a successor, he aimed to leave a record for future scholars, ensuring Fujita Seiko ninjutsu history would inspire generations.
The Enduring Impact of Fujita Seiko Ninjutsu History
Fujita Seiko ninjutsu history is a bridge between Japan’s past and present. From a rebellious child to a wartime operative and post-war scholar, Seiko’s life reflects the resilience of Koga-ryu ninjutsu. His contributions—whether training soldiers, preserving martial arts, or challenging stereotypes—highlight the depth of this ancient art. Through Doronron, Seiko’s legacy endures, offering a profound glimpse into the world of Japan’s last ninja and the enduring relevance of Fujita Seiko ninjutsu history.
This above was a summarisation translated from Japanese to English from the book…
『どろんろん (Doronron)』 by 藤田西湖 Fujita Seikō
First published in September 1958 (Shōwa 33), this autobiographical work spans over 370 pages and provides a vivid and personal look into the life of Fujita Seikō, the 14th head of the Kōga-ryū school of ninjutsu. Through stories, historical accounts, and training descriptions, it captures the vanishing traditions of the shinobi, combining rigorous martial instruction with folklore and philosophical insight.
About the Author
Fujita Seikō (real name: Isamu Fujita) was born in 1898 and raised as the heir to the Kōga-ryū ninjutsu tradition. Known as the “Last Ninja,” he received his early training from his grandfather and continued his path through ascetic mountain practice and secret missions during wartime. In addition to his martial prowess, he became a widely known expert in yoga, mysticism, and traditional Japanese martial arts. He was famous for feats such as walking on the tops of his feet to impersonate the disabled, and for enduring extreme physical training. His works provide rare insights into practical ninjutsu and its survival into the modern era. He passed away in 1966.
Seven Scabbard Cord Techniques. The scabbard cord (sageo) is a flat, woven strap attached to a protrusion called the chestnut shape (kurigata), located seven or eight sun (21–24 cm) from the scabbard’s mouth, on the outer side when the sword is worn. Typically, the sageo secures the scabbard to the waistband to prevent it from slipping, with a standard length of six shaku (about 1.8 m). However, ninja swords use longer cords, ranging from eight to twelve shaku (2.4–3.6 m), designed for versatile applications.
1. 座探しの術 ZAGASHI NO JUTSU (Technique of Searching While Seated)
As noted in the Art of Probing the Seat, the sageo is held taut in the mouth to keep the sword secure while probing in darkness, making it one of the seven sageo techniques.
2. 止血・縛技の術 SHUKKETSU / SHIBARI-WAZA NO JUTSU (Technique for Hemostasis and Restraint)
During combat, if the waistband or belt is cut, or when rising abruptly at night and unable to find the belt, use the sageo as a substitute. For wounds, cut the sageo to an appropriate length and tightly bind above the injury (closer to the heart for limbs) to temporarily stop bleeding. To restrain a captured enemy, use the eight-to-twelve-shaku sageo as a quick-binding rope. The “Finger-Lock Rope” or “Six-Inch Rope” method involves crossing the enemy’s hands behind their back, overlapping the fingers, and tying the thumbs’ joints in a cross pattern—six inches of cord suffice. A twelve-shaku sageo can bind six or seven enemies in a chain-like formation.
As detailed later in the six articles on caution ropes, use the sageo as a low tripwire (set at knee height) stretched horizontally across a bedroom entrance. An enemy stepping in trips over the rope and falls, allowing the ninja, half-risen from the room’s center, to strike with a surprise slash (see illustratio
4. 釣刀の法 TSURIGATANA NO HŌ (Sword-Hoisting Method)
When scaling a wall, plant the ninja sword’s scabbard tip into the ground, using the sword and scabbard as a step. Place a foot on the guard to leap upward, grabbing the wall’s top. Hold one end of the sageo in the mouth while climbing, then pull the sword up by the sageo from atop the wall. This is called the Sword-Pulling Method.
5. 幕張りの術 MAKUHARI NO JUTSU (Curtain-Pitching Technique)
During wilderness camping, ninja tie four standing poles with sageo, drape oiled paper over them to form a tent, and shelter from rain, dew, or snow. For snow camping, gather dozens of fist-sized stones, arrange them in a layer, and build a fire atop them. After extinguishing the fire, lay dry grass on the warm stones, warm yourself with a dual-purpose matchlock tube (described later) tucked inside your clothing, and sleep.
6. 旅枕の法 TABIMAKURA NO HŌ (Travel Pillow Method)
For sleeping while traveling, tie the sageo of the long and short swords together, lay the taut sageo under your body, place the two swords upright, and lie atop them. The sageo runs horizontally under your back, with the long sword on the left and the short sword on the right, your body between them. Sleep hugging the long sword with your left arm. If a thief or enemy tries to steal the swords during deep sleep, the sageo’s movement under your back wakes you. Instantly, while still lying, fling the scabbard toward your feet, draw the blade toward your head, and thrust at the enemy. Ninja draw their swords by throwing the scabbard in the opposite direction, halving the time needed to unsheathe compared to standard methods. When pursuing an enemy or fleeing in haste without time to retie the waistband, tie the swords’ sageo together, loop it around your neck, let the swords dangle in front, and run while retying the waistband to secure them at the waist.
7. 鑓止めの術 YARIU-DOME NO JUTSU (Spear-Stopping Technique)
This sword technique immobilizes an enemy wielding a long weapon like a spear or long sword, rendering it useless, and allows a thrusting strike. Draw the ninja sword with its scabbard from the waist, quickly tie one end of the sageo to the hilt, and unsheathe the blade, holding it in the left hand with the scabbard’s mouth facing you. Extend the scabbard in the right hand toward the enemy at eye level, raise the blade in the left hand to an upper stance, with the sageo taut vertically along your right side. Wait calmly in this stance. If the enemy’s spear thrusts low toward your abdomen, cross the blade and scabbard to catch it, press it to the ground, kick the shaft to pin it, and thrust the blade to fell the enemy. If aimed high at your face, cross the blade and scabbard upward to parry the shaft, ready the blade forward, and thrust to kill. If the spear aims at your chest and passes to the right of the sageo, step slightly left-diagonal forward, parry the spear tip rightward, raise your right elbow to clamp the shaft under your right arm, swiftly swap the blade and scabbard between hands, and open your arms to wrap the sageo around the shaft, binding it. Restrict the spear’s thrusting or pulling, step in at the right moment, and thrust the flat blade into the enemy’s chest to kill. If the spear passes to the sageo’s left, step right-diagonal forward, parry the spear leftward, clamp the shaft under your left armpit, swap blade and scabbard, wrap the sageo around the shaft to immobilize it, and thrust as before to kill.
These are the Seven Scabbard Cord Techniques, fully utilizing the sageo’s potential.
This above was just one section translated from Japanese to English from the book…
忍術の研究 Ninjutsu no Kenkyū by 名和弓推 Yumio Nawa
First published on November 1, 1972. It contains approximately 85,000 words across 377 pages, including around 50 pages of illustrations and index. The work explores historical ninjutsu, martial strategies, and their relevance to contemporary life.
About the Author Yumio Nawa (real name: Sadatoshi Nawa) was born in 1912 (Meiji 45) into a samurai family of the Ogaki-Toda domain. He was the Sōke (headmaster) of Masaki-ryū Manrikigusari-jutsu and Edo Machikata Jitte-jutsu. His other works include A History of Torture and Punishment, Studies of Jitte and Hojō, and Weapons of the Shinobi, among others. He served as an executive director of the Society for the Research and Preservation of Japanese Armor and Arms, and a standing director of the Japan Writers Club. At the time of publication, he resided in Asagaya-Minami, Suginami Ward, Tokyo.
Ninja Running Techniques, the importance of running for ninja is evident from the escape story of Nikuruma Inosuke, as mentioned earlier. Terms like “swift-footed” or “fast-footed group” are entirely fitting for ninja.
横走り Yoko-bashiri (Side Running)
A distinctive ninja running technique is side running. With their back against a wall, holding a sword facing forward toward an enemy, ninja run sideways. This method is ideal for navigating narrow spaces, such as those only chest-width wide. The legs cross deeply in a zigzag pattern, then spread wide to the right or left in a large X-shape, repeating to move sideways, either running or hopping. In side running, even cutting through the wind, the mouth avoids air resistance, and there’s no worry of dust entering the eyes. One can eat, shout to communicate with allies, or even urinate while running. Once mastered, side running is said to be far more convenient than normal running.
斜め走り Naname-bashiri (Diagonal Running)
When ascending steep slopes, running straight up is less efficient than running diagonally. Zigzagging by running diagonally right, then diagonally left, is easier and helps evade enemy gunfire or arrows. Slightly lowering the face during diagonal running reduces air resistance at the mouth. Arm movement is crucial: crossing both arms broadly in front of the chest and swinging them wide imparts momentum, propelling the legs diagonally as if leaping, increasing speed and reducing fatigue.
後ろ走り Ushiro-bashiro (Backward Running)
While backward walking is possible, backward running is slow, and the terrain ahead is hard to see, making it frightening and impractical. I believe backward running is a ninja trick. Experiments in dim light show most people fail to notice this ruse, supporting my hypothesis. Backward running is used when pursued and at risk of being cut down from behind. The ninja turns to face the approaching enemy, holding the sword in a seigan (eye-level) stance or spewing fire and smoke from the mouth, then flees backward at high speed while maintaining this posture (see frontispiece illustration). During infiltration, ninja carry a demon or tengu mask preloaded with fireworks in their chest. When pursued closely, they ignite the firework’s fuse, place the mask on the back of their head, and, while holding the sword backward, run forward. To the enemy, it appears the ninja is retreating backward while facing them with a sword. As noted in the attire section, sandals must have heel-stop fittings.
暗闇を疾走する法 Kurayami o Shissō suru Hō (The Method of Running Swiftly Through Darkness)
The infamous “Sermon Bandit” from Taisho-era crime history, who broke into homes, assaulted women, stole valuables, and stayed from midnight to dawn, offers a relevant example. He preached to households, advising them to brighten the outside and darken the inside for safety or to keep dogs, biding time until just before the first train, then fleeing at high speed through the dark, breaking through police cordons before they tightened, escaping beyond their reach. His knack for sprinting through darkness kept him elusive. This ninja-like figure, Tsumaki Matsukichi, claimed to be from the mountains.
When captured and asked how he ran through darkness, Tsumaki Matsukichi’s response mirrored ninja techniques, prompting me to ponder the connection between mountain life and ninjutsu. He explained: Holding a bamboo sword or long bamboo staff straight ahead horizontally, he lowered his face (since the dark obscured vision) and ran. When hitting a wall or obstacle, he bent his arm to absorb the impact, changed direction, and continued running in the same posture. The bamboo acted as an antenna.
座さがしの術 Za Sagashi no Jutsu
Ninja used the same principle to sprint through dark paths, but instead of a bamboo sword or staff, they employed the Zasaguri no Jutsu (probing technique) from the seven sageo arts. Holding the sword and scabbard horizontally forward, with the sageo’s end in their mouth to suspend the sword, they lowered their face and ran. When the scabbard’s tip hit an obstacle, it snapped back onto the blade, cushioning the impact as the scabbard slid. Ninja swords had sturdy iron kojiri (end caps), a reinforcing band, a ring-shaped kurigata (cord loop), and a robust koguchi (scabbard mouth) fitting, making scabbard damage highly unlikely.
This above about Ninja Running techniques was just one section translated from Japanese to English from the book…
忍術の研究 Ninjutsu no Kenkyū by 名和弓推 Yumio Nawa
First published on November 1, 1972. It contains approximately 85,000 words across 377 pages, including around 50 pages of illustrations and index. The work explores historical ninjutsu, martial strategies, and their relevance to contemporary life.
About the Author Yumio Nawa (real name: Sadatoshi Nawa) was born in 1912 (Meiji 45) into a samurai family of the Ogaki-Toda domain. He was the Sōke (headmaster) of Masaki-ryū Manrikigusari-jutsu and Edo Machikata Jitte-jutsu. His other works include A History of Torture and Punishment, Studies of Jitte and Hojō, and Weapons of the Shinobi, among others. He served as an executive director of the Society for the Research and Preservation of Japanese Armor and Arms, and a standing director of the Japan Writers Club. At the time of publication, he resided in Asagaya-Minami, Suginami Ward, Tokyo.
Ninja Jumping often need to escape by leaping over obstacles or walls, grabbing onto house eaves, or dodging sideways in the blink of an eye to hide from enemies. They may also have to jump across rivers too wide for pursuers or leap from low to high places to evade capture. When infiltrating enemy castles or houses, the ability to fly like a bird would render defenses and ambushes nearly irrelevant.
Ninja techniques include the Six Jumping Methods, encompassing six types of jumps:
Forward Jump (Mae-tobi)
Backward Jump (Ushiro-tobi)
High Jump (Taka-tobi)
Long Jump (Haba-tobi)
Side Jump (Yoko-tobi)
Diagonal Jump (Naname-tobi)
The standards are a high jump of 9 shaku (2.7 m), a long jump of 18 shaku (5.4 m), and a downward jump of 50 shaku (15 m). These figures likely represent ideal targets for ninja training. Beyond these, jumps were performed in pairs or trios or with tools.
忍びの跳躍訓練 Shinobi no Chōyaku Kunren (Ninja Jump Training)
To leap effectively, one must be light. Ninja regularly used slimming medicines made from wild coix seeds, ate tofu as a staple to maintain nutrition without gaining fat, and underwent rigorous, balanced daily training. This reduced excess fat, tightened muscles, and developed a flexible, resilient, steel-like physique.
During intense physical training, ninja reportedly wore deer leather undergarments. Sweating from vigorous movement wetted the leather, causing it to cling and constrict the body. Enduring this discomfort during training gradually slimmed the body and reduced sweating, as body odor could betray a ninja’s presence.
Jump training involved sowing hemp seeds in a plot of land and waiting for germination. Hemp grows rapidly, stretching taller daily. Ninja practiced jumping over it—forward, backward, sideways, and diagonally. Initially easy, the task grew harder as the hemp grew. Such training for about three years was necessary to become a competent ninja.
二人組人馬興業停止令 Futarigumi Jinba Kōgyō Teishi Rei (Two-Person Horseback Technique)
The term “ninba” (human horse) refers to a mid-Edo period spectacle, akin to modern circus acts, but I believe it originated as a ninja technique for leaping over high walls. Historical records claim it was devised in the Genroku era (1688–1704) for performances, but I suspect it’s older.
In Kyoto, a performer named Numa from Kinbuya Tabee, during the Genroku era, went to Edo, joined the equestrian Sasaki Heima’s school, and allegedly created the ninba technique inspired by equestrian skills. However, equestrianism and ninba share no technical similarities.
The Rakushu Genbun Taiheiki, Volume 4, mentions Sasaki Heima’s fame and ninba’s ability to astonish audiences. On July 24, Genbun 5 (1740), ninba performances were banned again. Though presented as derived from equestrianism, I believe destitute ninja, no longer receiving stipends, used their trained ninba skills in performances. Records show ninba was banned three times.
The Seihōroku, in an entry for April, Hōei 4 (1707), notes: “Recently, various acrobatics called ninba have gathered crowds, leading to imitators and potential misconduct, so ninba and other acrobatic performances are henceforth prohibited.” Another ban was issued in Genbun 5 (1740), and on May 11, Kanpō 2 (1742), the Asakusa-ji Diary records the dismantling of an acrobatics booth at Asakusa Temple due to concerns that “undesirable people learning and using it could lead to trouble.” The bans were issued because ninba could be misused by thieves if publicly displayed.
Was ninba such a shocking technique to warrant such scrutiny?
二人組人馬の技法 Futarigumi Jinba no Gihō (Two-Person Ninba Technique)
Jumping over a 10-meter-high wall or obstacle without tools is difficult, but with the two-person ninba technique, ninja could soar like birds (see frontispiece illustration).
One person stands with another on their shoulders, facing a high wall. For stability, the upper person places their feet on the lower’s shoulders, firmly grips the lower’s head, and crouches to avoid falling, timing the takeoff. The lower person holds the upper’s legs for stability. Both synchronize their breathing, sprint toward the wall or obstacle at tremendous speed, and at the optimal distance, the upper person kicks off the shoulders to leap, while the lower throws the upper’s legs upward. With the momentum of the sprint and elastic body movement, the black shadow arcs through the air like a projectile, clearing the obstacle.
For house infiltration, once one ninja lands inside, they throw a climbing rope outside, easily pulling the other over the wall (see illustration).
三人組人馬の技法 Sanningumi Jinba no Gihō (Three-Person Ninba Technique)
For obstacles over 10 meters that a two-person ninba cannot clear, a three-person technique is used. One person sits on a stone 4–5 meters from the obstacle, facing away, knees aligned horizontally. A second person stands naturally on the seated person’s back. The jumper starts a sprint from as far as 10 meters away, steps onto the seated person’s knees as a launch platform, and leaps upward. Just before, the seated person supports the jumper’s soles or thighs, and the standing person grips the jumper’s torso, all synchronizing to hurl the jumper high over the obstacle (see frontispiece illustration).
These flight techniques are most dangerous during landing, and until mastered, they reportedly cause frequent fractures, sprains, and bruises. I once saw the Soviet Russian Ballet perform a Cossack dance where dancers leaped high from the stage’s back, soaring over others to land at the front, using a method nearly identical to the three-person ninba. This technique likely originated in mainland China, spread north to the Cossacks, and eastward to Japan with ninjutsu. The claim it was devised from equestrianism in the Genroku era is likely a ninja cover story or jest.
Hop, Step, Jump
With a four-person team, jumping onto a 3–4-meter wall is simpler. One person leans against the wall, hands on it, head lowered, standing naturally. A second person firmly grasps the first’s waist, braces their feet, tilts their head right or left, and flattens their back. A third person hugs the second’s legs, crouches low, and flattens their back. The jumper sprints, using a triple-jump approach, stepping on the first, second, and third person’s backs, then leaping from the third to grab the wall’s edge (see frontispiece illustration).
Tool-Assisted Methods
Using a sturdy long board and a stone, create a seesaw. The jumper stands on one end, and another person jumps from their shoulders onto the raised end, launching the jumper over the wall. Pole vaulting with a spear or pole, or swinging across with a climbing rope like a pendulum, were also used.
This above about Ninja Jumping techniques was just one section translated from Japanese to English from the book…
忍術の研究 Ninjutsu no Kenkyū by 名和弓推 Yumio Nawa
First published on November 1, 1972. It contains approximately 85,000 words across 377 pages, including around 50 pages of illustrations and index. The work explores historical ninjutsu, martial strategies, and their relevance to contemporary life.
About the Author Yumio Nawa (real name: Sadatoshi Nawa) was born in 1912 (Meiji 45) into a samurai family of the Ogaki-Toda domain. He was the Sōke (headmaster) of Masaki-ryū Manrikigusari-jutsu and Edo Machikata Jitte-jutsu. His other works include A History of Torture and Punishment, Studies of Jitte and Hojō, and Weapons of the Shinobi, among others. He served as an executive director of the Society for the Research and Preservation of Japanese Armor and Arms, and a standing director of the Japan Writers Club. At the time of publication, he resided in Asagaya-Minami, Suginami Ward, Tokyo.
Ninjutsu history begins with terms like 忍者 Ninja and 忍法 Ninpō, the most commonly accepted in modern times, which are newly coined words from the 昭和 Shōwa era (1926–1989). The term 忍術使い Ninjutsu Tsukai (Ninjutsu user) is a newly coined word from the 明治 Meiji (1868–1912) and 大正 Taishō (1912–1926) eras. In the 江戸 Edo period (1603–1868), the representative terms were 忍び Shinobi or 忍びの者 Shinobi no Mono (Shinobi person), and the techniques were called 忍術 Ninjutsu.
Using the term お庭番 Oniwaban (garden guard) in the same way as Shinobi no Mono is a mistake. Oniwaban is a job title in the shogunate, but since Shinobi were assigned to this role, the shogunate’s covert agents were called Oniwaban. However, it is strange for television or movies to feature Shinobi as the Oniwaban of the 上杉家 Uesugi family or the 伊達家 Date family. The names for Shinobi varied across different domains and regions.
In general, even in China, the homeland, the names for Shinobi varied across different regions with various designations.
遊子 Yūshi (In 大橋 Ōhashi, Shinobi are called Yūshi. Does this mean one who travels between enemy and ally, or one who takes the form of a playful figure?)
行人 Kōjin (In 陰経 Inkyō, Shinobi are called Kōjin. Like Yūshi, it likely means a person who goes back and forth between enemy and ally.)
遁形 Tongyō (In 五雑爼 Gozassho, they are called Tongyō. Shinobi are not combatants; their essence is to gather information and escape, meaning a person who masters the form of passing through.)
間 Kan (In the state of 具 Chu, they were called Kan. The meaning of Kan is as previously described, and from this, Japan created the term 間者 Kanja [spy].)
課 Saku (In the 春秋 Spring and Autumn period, they were exclusively called Saku. The literal meaning of Saku includes “to spy.” It refers to the role of spying on and probing the enemy’s situation.)
遊偵 Yūtei, 細作 Saisaku, 姦細 Kansei, 好細 Kōsei (After the Warring States period, in China, Shinobi were called Yūtei, Saisaku, Kansei, Kōsei, etc. This likely means traveling between enemy and ally in a playful form to spy on the enemy’s situation, probing the enemy’s situation in detail and reporting to the general, who then uses this to devise detailed strategies. Additionally, calling Shinobi 森細 Seisai or 妊細 Ninsei likely means a job that appears ordinary on the surface but involves deep, cunning schemes behind the scenes.)
Water Spider (Explained on page 78)
In ancient China, they were called as above, but after being introduced to Japan, from the Muromachi period (1336–1573) to the early Warring States period, they were called:
草 Kusa (Grass)
かまり Kamari (Spy)
水彼 Suppa (Water Other)
乱破 Rappa (Chaos Breaker)
突破 Toppa (Break Through)
出抜 Denuki (Exit Pull)
うかみ処 Ukami Dokoro (Spy Place)
武田玄 Takeda Shingen called Shinobi the 三つの者 Mittsu no Mono (Three Types of People). He divided them into three roles, and collectively referred to them as the 三つの者 Mittsu no Mono (Three Types of People).
… and so on.
—間見 Kanmi (observer),
見分 Mikewake (inspector), and
目付 Metsuke (overseer)
上杉謙倍 Uesugi Kenshin called Shinobi 猿 Nokizaru (roof monkeys).
織田長 Oda Nobunaga called Shinobi 製談 Kyōdan (conversers).
In the Tokugawa period, Shinobi themselves used the characters 獺盗 kawai nui (otter thief) to read as Shinobi, or, seemingly disliking the sound of the word Shinobi, they tried to avoid using the character 忍び Shinobi as much as possible. They used terms like:
早道の者 Hayamichi no Mono (fast path person)
早足組 Hayaashigumi (fast-footed group)
忍び目付 Shinobi Metsuke (Shinobi overseer)
物聞き Monokiki (listener)
黒はばき Kurohabaki (black leg guards)
小隼人組 Kohayato Gumi (津軽藩 Tsugaru Domain, a Shinobi group led by 中川小隼人 Nakagawa Kohayato, a 200-koku retainer)
鳥組 Tori Gumi (Sendai Domain, a guerrilla unit led by Shinobi 細谷十大夫 Hosoya Jūdayū)
These names make it hard to think of them as groups of Shinobi. Even in modern times, people from Shinobi lineages strongly dislike announcing that their family has Shinobi blood.
If a Shinobi is known to be a Shinobi, they can no longer fulfill their role. In other words, they become useless, and simply being a Shinobi led to discriminatory treatment by ordinary samurai, being shunned, and even having marriage proposals rejected—a dark past they carry. Why this happened will be explained later, but the essence of a Shinobi is inherently such, a matter of fate, and nothing can be done about it.
This above was just one section translated from Japanese to English from the book…
忍術の研究 Ninjutsu no Kenkyū by 名和弓推 Yumio Nawa
First published on November 1, 1972. It contains approximately 85,000 words across 377 pages, including around 50 pages of illustrations and index. The work explores historical ninjutsu, martial strategies, and their relevance to contemporary life.
About the Author Yumio Nawa (real name: Sadatoshi Nawa) was born in 1912 (Meiji 45) into a samurai family of the Ogaki-Toda domain. He was the Sōke (headmaster) of Masaki-ryū Manrikigusari-jutsu and Edo Machikata Jitte-jutsu. His other works include A History of Torture and Punishment, Studies of Jitte and Hojō, and Weapons of the Shinobi, among others. He served as an executive director of the Society for the Research and Preservation of Japanese Armor and Arms, and a standing director of the Japan Writers Club. At the time of publication, he resided in Asagaya-Minami, Suginami Ward, Tokyo.
Ninjutsu and Shugendo are two enigmatic Japanese traditions that blend martial skill with spiritual mysticism. Their roots trace back to the fall of 百済 Baekje in 663 AD, when refugees, including 姚玉虎 Chō Gyokko (Yao Yuhu), fled to Japan. Chō Gyokko, a historical figure, brought martial techniques and Taoist practices from 唐 Tō (Tang China), influencing early Ninjutsu schools like 玉虎流 Gyokko-ryu and 虎倒流 Koto-ryu. Around the same era, 役行者 En no Gyōja (En the Ascetic) established 修験道 Shugendo, a path of mountain asceticism. This article explores their shared origins and practices, featuring direct insights from 山田雄司 Yamada Yuji (Professor Yuji Yamada) and 長谷川智 Hasegawa Satoshi (Yamabushi Satoshi Hasegawa) in their original Japanese kanji.
The Baekje Influence on Ninjutsu and Shugendo
The collapse of Baekje spurred a wave of cultural exchange as exiles introduced combat skills and spiritual traditions to Japan. Figures like Chō Gyokko played a pivotal role in shaping Ninjutsu’s foundations. Meanwhile, Shugendo emerged as a unique spiritual discipline. Professor Yamada highlights a critical link between the two:
「九字護身法は元々中国の道教のもので、それが修験道で入山する時に自分の身を霊的に守護するための作法になりました。忍者も印を結んだり九字を切ったりしますが、これらは修験道由来です」 (Translation: “The nine-syllable kuji-in came from Chinese Taoist practices, adopted by Shugendo to spiritually protect oneself in the mountains, and later passed to Ninjutsu”).
This statement underscores how Baekje’s legacy influenced both traditions through shared esoteric practices.
Shared Practices: Kuji-in and Mountain Training
The 九字印 kuji-in hand seals represent a profound connection between Ninjutsu and Shugendo. In Ninjutsu, these gestures served both practical and mystical roles. Yamada explains:
「忍者が印を結ぶのは、命がけの任務に臨む際に神仏の加護を得て、自身のメンタルを安定させるという実用的な面も大きかった」 (Translation: “Ninjas used kuji-in to gain divine protection and mental stability before life-or-death missions”).
In Shugendo, the seals carried a deeper spiritual weight. Hasegawa elaborates:
「修験道は密教の影響が強いので、密教で重視される「三密（身・ロ・意）」の「身＝身体」で、ある種の形を作ることで精神的な影響を起します」 (Translation: “In Shugendo, influenced by esoteric Buddhism, the ‘three secrets’—body, speech, mind—are used, with the body forming seals to create spiritual effects”).
Mountains also played a central role in both disciplines. Yamada notes:
「忍者は山中で修行を積んで、肉体的な鍛錬と同時に「何があっても大丈夫だ」という精神性を身に付ける」 (Translation: “Ninjas trained in mountains to build endurance and a resilient mindset”).
Hasegawa complements this:
「山を歩くのは感性を磨くのに重要で、どんな此細な変化も見過ごさずに察する」 (Translation: “Walking in mountains sharpens the senses, teaching one to notice subtle changes”).
These quotes reveal how kuji-in and mountain training bridged the martial and mystical aspects of Ninjutsu and Shugendo.
A Lasting Connection
The contributions of Baekje exiles like Chō Gyokko shaped Ninjutsu, while En no Gyōja forged Shugendo’s path. Despite their differences, both traditions share rituals like kuji-in and a reverence for mountain training, as evidenced by the exact words of Yamada and Hasegawa. This fusion of martial and mystical elements highlights their intertwined heritage.
References
The full article 忍者と修験道 was published in Hiden Magazine June 2022.
長谷川智 Hasegawa Satoshi, a Yamabushi and Hitotsubashi University lecturer, has studied yoga, martial arts, and bodywork for 38 years. He leads Shugendō training, teaches at Asahi Culture Center, and serves as a senior “Hone Navi” director. His works focus on physical health, mountain asceticism, and traditional training methods.
山田雄司 Yamada Yuji, born in 1967, is a professor at Mie University specializing in medieval Japanese religious history and ninja studies. A martial arts enthusiast, he has authored books on ninjutsu and ninja history. He studied at Kyoto and Tsukuba Universities and previously worked in historical research and academia.
Bujinkan ranks shape more than just skill for me as a practitioner. They reflect a profound evolution, echoing the ninja’s circular wisdom of body, mind, and spirit. In our dojo, we distill this into three triads: 天地人 Ten-Chi-Jin, 守破離 Shu-Ha-Ri, and a mysterious third I call 禅空無 Zen-Ku-Mu. Together, these nine stages form a circle, with the final triad as zero—the ultimate enlightenment. Here’s how I see this progression shaping our ranks, starting anew at each milestone.
天地人 Ten-Chi-Jin: The Foundation of Movement, Technique, and Flow
The first triad, 天地人 Ten-Chi-Jin (Heaven-Earth-Man). Builds the ninja’s foundation from 9th Kyū to 5th Dan, culminating at the 師導士 Shidōshi (teacher) level.
天 Ten (Heaven) – Movement (9th Kyū to 1st Dan)
We begin with movement—learning to shift, roll, respond. It’s fluid, like the sky’s rhythm. These beginner *Bujinkan ranks* from 9th Kyū to 1st Dan should hone awareness and flow. A natural base to launch into Chi upon earning 1st Dan.
地 Chi (Earth) – Techniques (1st Dan to 4th Dan)
Once 1st Dan is received, we ground ourselves in techniques—strikes, locks, throws. Understanding the knack of why they work, like earth’s stability. From 1st to 4th Dan, these ranks should sharpen precision and adaptability, preparing us for Jin.
人 Jin (Man) – Integration (4th Dan to 5th Dan)
At 4th Dan, we dive into 人 Jin, blending movement and technique via the Jin Ryaku no Maki. An introduction to the 9 Ryūha’s selected *Waza*. It’s about grasping the flow, intuiting harmony. By 5th Dan, 士道師 Shidōshi embody this seamless unity.
天地人 Ten-Chi-Jin cycles from raw motion to refined flow, a loop we master as teachers.
守破離 Shu-Ha-Ri: The Evolution of Mastery
From 5th Dan to 大師範 Dai Shihan, 守破離 Shu-Ha-Ri (Protect-Break-Leave) spirals us through mastery, each stage igniting at a new rank.
守 Shu (Protect) – 5th Dan to 10th Dan
With 5th Dan earned, we enter 守 Shu, learning all 9 Ryūha techniques. Taijutsu, weapons like swords and staffs—exactly as intended to protect the art’s future. These ranks from 5th to 10th Dan test depth and fidelity, preserving our ninja legacy.
破 Ha (Break Up) – 10th Dan to 15th Dan
At 10th Dan, 破 Ha unlocks freedom—breaking and experimenting with all techniques to forge endless connections and possibilities. I’d love these ranks to showcase creativity, adapting Waza like a ninja’s cunning through to 15th Dan.
離 Ri (Leave) – 15th Dan to Dai Shihan
Reaching 15th Dan, 離 Ri transcends structure and ego. 大師範 Dai Shihan trust intuition for Kami Waza. Divine techniques—acting perfectly in the moment without thought, a departure into pure essence.
守破離 Shu-Ha-Ri refines us, a spiral beyond the dojo’s walls.
禅空無 Zen-Ku-Mu: The Circle of Zero
Beyond ranks lies my third triad: 禅空無 Zen-Ku-Mu (Absolute-Space-Void). Unbound by ranks—a circular mystery for the enlightened, where nine stages become zero.
禅 Zen (Absolute)
Unity of all.
“Root and sky entwine, Nothing holds the endless now, Circle turns to none.”
空 Ku (Space)
Boundless possibility.
“Wind carves the silence, Void dances in open fields, One step, none remain.”
無 Mu (Void)
Pre-action stillness.
“Shadow cloaks the flame, Space hums where no foot has stirred, Zero breathes alive.”
Conclusion: Bujinkan Ranks as Nine to Zero
I see Bujinkan ranks as a circle: 天地人 Ten-Chi-Jin (three) builds the base. 守破離 Shu-Ha-Ri (three) evolves it. And 禅空無 Zen-Ku-Mu (three) completes the nine, circling to zero. Kyū flows into Dans, Dans spiral through the 9 Ryūha and beyond, and the rare master returns to nothing—a living haiku with a smirk. Where are you on this path?
Ninja morning rituals are fascinating practices rooted in ancient Japanese traditions that combine physical discipline, spiritual focus, and esoteric techniques. These routines were designed to empower practitioners with clarity, strength, and divine protection, often invoking deities like 摩利支天 Marishiten, a guardian of light, prosperity, and invisibility.
Takamatsu Sensei’s Daily Discipline
In a 1966 article published in 武道春秋 (Budo Shunju Magazine) titled Shinden Shura Roppō, Takamatsu Sensei shared his daily morning ritual:
He went to bed by 9 PM every night.
At 6:30 AM, he performed a cold water massage , a practice he maintained for 40 years without fail. This contributed to his remarkable health and resilience, ensuring he never fell ill.
As a Dai-Ajari head priest in Kumano Shugendo, Takamatsu Sensei likely incorporated prayer or meditation into his routine. The title of Dai-Ajari is reserved for those who complete extreme endurance feats, such as the Ōmine Sennichikaihōgyō (one-thousand days of trekking on Mt. Ōmine) and the Shimugyō (nine days without food, water, sleep, or rest).
Hatsumi Sōke once mentioned receiving the same Mikkyō rank as Takamatsu Sensei during training at the Honbu Dojo. While unclear if he attained the title “Dai Ajari,” this highlights their shared commitment to spiritual and physical mastery.
For Shimugyō, preparation is key. Practitioners must follow precise dietary guidelines months in advance to survive the nine-day fast. Adherence to these instructions ensures survival despite the body’s typical limitations.
Kuji Goshin Hō: A Ninja Morning Rituals Routine from 1812
The 九字護身法 (Kuji Goshin Hō) , documented by Gyochi in 1812, outlines a morning ritual performed immediately after waking:
Wash your hands, face, and mouth with water to purify yourself.
Face north and exhale forcefully to expel 濁気 (Dakuki), or unclean spirit.
Turn to face east , open your mouth, and take three deep breaths to absorb fresh, clean energy.
Clack your teeth together 36 times , matching the rhythm of your relaxed pulse. This helps the spirit descend into your body and calms the mind.
Kuji Hiden: An Ancient Practice Linked to Marishiten
Another morning routine, described in 九字秘傳 (Kuji Hiden) by 宮井安泰 (Miyai Yasutai) in 1787, traces its origins back to 太公望 (Taikōbō) “Grand Duke Wang” (also known as 姜子牙 Jiang Ziya, 1128–1015 BCE), who taught the fundamentals of Kuji to his students. This practice involves facing the rising sun and performing specific hand gestures while chanting incantations:
Face the first rays of sunrise (or the eastern ridge-line in the mountains, or the horizon in flatlands).
Place your left palm on your chest and extend your right hand forward, palm down. Curl your fingers as if beckoning someone and chant RIN .
Place your right hand above your heart and extend your left hand forward. Lower your left hand, curl your fingers, and chant HYŌ .
Turn your palms forward at chest height and chant TŌ .
Move your palms to the left and right sides and chant SHA .
Close your hands into fists and press them to your chest while chanting KAI .
Touch both shoulders with your fingers and chant JIN .
Place both palms on your hips and chant RETSU .
Put both palms on your knees and chant ZAI .
Raise your palms to form 斗衝 (Dozu)—a triangle shape with your thumbs and index fingers—and chant ZEN .
The Role of Marishiten in Warrior Practices
摩利支天 (Marishiten) is a revered deity in Japanese warrior culture, symbolizing light, protection, and prosperity. Warriors practiced Marishiten-hō , invoking her/his power for:
Invisibility in battle : To evade enemies.
Victory and success : By illuminating their path and guiding them.
Wealth and good fortune : Beyond martial contexts.
Staring at the sunrise was a symbolic act of connecting with Marishiten’s radiant energy. This practice reflects the deep spiritual connection between warriors and celestial forces, emphasizing harmony with nature and divine empowerment.
Takagi Oriemon Shigenobu—a revered samurai of the Shiraishi domain during the Edo period and the co-founder of Takagiyōshin-ryū with his son—is immortalized through a fascinating series of manuscripts. These works, collectively referred to as Budō Shiraishi Ei(“Martial Tales of Shiraishi”), document his Musha Shugyō (warrior’s pilgrimage) and reveal an intricate web of historical, cultural, and martial growth. This article explores the development and variations of these manuscripts, uncovering how Takagi’s legacy, including the founding of Takagiyōshin-ryū, was shaped over centuries.
Overview of Budō Shiraishi Ei and Takagi Oriemon
The core narrative of Budō Shiraishi Ei revolves around Takagi’s adventures as he journeyed across Japan, honing his skills and imparting lessons. Initially penned by Mamiya Hyoemon—a retainer of the Katakura family who served as the lords of Shiraishi Castle—the manuscripts underwent numerous reproductions and expansions. Early texts focus on Takagi’s personal strength and moral character, while later versions elaborate on his philosophical teachings and broader socio-cultural themes. Takagi’s martial philosophy ultimately culminated in the founding of Takagiyōshin-ryū alongside his son, ensuring the continuity of his techniques and teachings.
Key Manuscript Variants of Budō Shiraishi Ei
Researchers have identified multiple manuscript versions, divided into two main categories: existing texts (kijutsu-bon) and newly discovered texts (shinshutsu-bon). The most notable versions include:
1. The Katakura Family Manuscript
Title:Budō Shiraishi Banashi
Format: 10 scrolls in 5 volumes
Key Features: The foundational text focusing on Takagi’s deeds as recounted by Mamiya Hyoemon.
Significance: Served as the basis for subsequent reproductions.
2. Ryukoku University Library Manuscript
Format: Single-volume edition
Copyist: Mizuno Katsuhide (associated with the Moonlight Pavilion)
Classification: Known as the “Hei Version” (Hei-bon).
Details: Features stylistic enhancements with minimal content variation.
3. Miyagi Prefectural Library Edition
Format: 15 scrolls in 3 volumes
Classification: “Otsu Version” (Otsu-bon).
Traits: Retains close fidelity to the Katakura family manuscript, with slight editorial refinements.
4. Newly Discovered Texts (Shinshutsu-bon)
These include significant additions to the original narrative, incorporating extensive character arcs and thematic developments:
Waseda University Manuscript: Features 30 volumes with front and back sections.
National Diet Library Version: Expanded to 45 scrolls, spanning three sections.
Takagi was extremely strong, he often used his strength to help people.
Takagi Oriemon Heroic Strength and Moral Integrity
The earliest versions of Budō Shiraishi Ei emphasize Takagi’s extraordinary physical prowess and his role as a compassionate leader. Stories such as lifting massive stones and assisting troubled villagers resonate with themes of chivalry and self-restraint.
Transmission of Samurai Values and the Roots of Takagiyōshin-ryū
Later texts delve into Takagi’s philosophical insights, including the teachings he passed down to his successors, such as the principle of humility embodied in the phrase “Takagi wa kaze ni taoru” (“The Takagi falls to the wind”). These teachings laid the foundation for Takagiyōshin-ryū, a martial art that emphasized adaptability, resilience, and moral discipline.
Takagi helping the 14 year old Yoshinosuke taking revenge on his fathers killer.
New Characters and Expanded Narratives
The shinshutsu-bon editions introduce dynamic subplots involving Takagi’s apprentices, like Toramatsu. These texts elevate his journey into a broader allegory for perseverance and the transmission of samurai ethics.
Research Insights into Budō Shiraishi Ei Manuscripts
Recent studies, such as those by Ogihara Daichi, provide a comparative framework for understanding the development of these manuscripts. While the kijutsu-bon editions prioritize historical fidelity, the shinshutsu-bon versions reflect the Edo period’s evolving literary tastes, incorporating dramatic embellishments to cater to a wider audience.
While resting at a Jinja in the village of Hata in Nobeoka (present day Miyagi) Takagi first meeting with Toranosuke carrying a stone to the Jinja 100 times every night to pray.
Conclusion: The Legacy of Takagi Oriemon and Takagiyōshin-ryū
The enduring appeal of Budō Shiraishi Ei lies in its dual identity: a historical record and a literary masterpiece. From the Katakura family’s archives to the expansive adaptations of the shinshutsu-bon, these manuscripts offer a window into the life of Takagi Oriemon Shigenobu and the cultural zeitgeist of Edo-period Japan. Moreover, the founding of Takagiyōshin-ryū alongside his son ensured that Takagi’s martial legacy would thrive for generations.
By tracing the evolution of these texts, we not only preserve the legacy of a remarkable samurai but also enrich our understanding of Japanese martial history and storytelling traditions.
Explore the fascinating history of Takagi Oriemon Shigenobu and the origins of Takagiyōshin-ryū by delving into the archives of Budō Shiraishi Ei. Each manuscript version provides a unique lens on this iconic figure’s life and the spirit of the times.
Eric Shahan’s translation is noted for its clarity and dedication to preserving the original intent of the manuscript. Readers appreciate the detailed explanations and the cultural context provided, which make the historical content accessible to modern audiences. The memoir offers valuable perspectives for martial artists, historians, and enthusiasts of Japanese culture, shedding light on traditional practices and the evolution of martial arts in Japan.
Overall, the book serves as a significant resource for those interested in the depth and history of Japanese martial traditions.
