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摩利支天法 Marishiten-hō (document from 1698)

From 武神館兜龍 Bujinkan Toryu by Toryu

摩利支天法 Marishiten-hō (document from 1698)

摩利支天法 Marishiten-hō Introduction to the Translation

This translation presents the complete text of a handwritten Japanese manuscript of the Marishiten-hō (摩利支天法), the Ritual Method of Marishiten.

The original is a short manuscript of eleven leaves held by the Treasure Hall of Zentsūji (総本山善通寺), the head temple of the Shingon school in Kagawa Prefecture. It has been digitized from microfilm and is made available through the National Institute of Japanese Literature (国文学研究資料館) under the Kokusho Database, DOI 10.20730/100226119 (catalogue number セ01-0243-004 / 図号 88-50).

The outer cover bears Siddham characters together with the notation 初安. The inner title is clearly 摩利支天法. The text is written in classical Japanese mixed with Kanbun and Siddham script, and includes detailed ritual instructions, mudrās, visualizations, and the traditional dhāraṇī of Marishiten. A colophon records that the present copy was drafted in Genroku 11 (1698) by the elder monk Jōgon of Reiun, on the basis of an earlier transcription made in Kan’ei 5 (1628).

The translation that follows aims to remain as literal as possible to the original wording and structure.

摩利支天法 Marishiten-hō

Invitation: Great Holy Marishiten Bodhisattva. Retinue, class, and the various heavenly hosts.

Making the vow: the Principal Deity, Great Holy Marishiten. Retinue and attendants, the various heavenly hosts, and so on.

Contemplation of the ritual site.

Inside the tower-pavilion there is the character 貞 forming a lotus-leaf seat; upon it there is the character 貞. The character 或 is the great self of all dharmas, the meaning of sovereignty; raising it, it transforms and becomes the form of a heavenly fan. The fan transforms into the Great Holy Marishiten, resembling a female form. The left hand bends the arm upward, the wrist placed before the left breast, making a fist; inside the fist it holds a heavenly fan. The fan is like the one that was before Vimalakīrti in former times.

The woman holds the heavenly fan; in the middle of the fan there is a 卍 Manji character, its form like the auspicious character on the upper part of the Buddha. The character has four curves, and inside each of the four there is a sun form. On that heavenly fan there is a light-flame appearance. The right hand fully extends the arm and stretches the five fingers, the fingertips hanging down, making the wish-granting gesture. To its left and right sides also each there is a 貞 character, both forming lotus-leaf seats; upon them each there is a 卍 Manji character that transforms into heavenly maidens who together hold white fly-whisks and stand in attendance.

Invitation: form the 結身印 Kesshin-in (Body Seal). The seal is like the 大金剛輪印 Daikongōrin-in (Great Vajra-wheel Seal). The two empties twist the two winds sideways, only letting the two empties come and go.

The dhāraṇī says:

曩謨引囉怛曩合二怛囉二合夜引野一 Namo ratna-traya-ya

怛你也二合他去引遏迦摩鼻聲己一 Tadyathā a-ka-ma (with nasal sound) …

三沫迦麼臬四阿上度引麼臬五紫 … tri-maka-ma-ne shi a-u-du-i-ma-ne go shi

精以鉢囉麼臬五摩訶紫鉢囉麼臬 sei-i hatsu-ra-ma-ne go maha-shi hatsu-ra-ma-ne

切引 setsu-in

頗怛馱引曩麼臬八麼引鼻哩引紫 ha-ta-da-i-na-ma-ne hachi ma-i-bi-ri-i-shi

野麼臬九曩謨引婆觀合帝十囉轉 ya-ma-ne kyū namo-i ba-kan-gō-tei jū ra-ten

乞濕合二囉乞濕合二斡引十薩縛薩怛 kitsu-shitsu-gō-ni ra kitsu-shitsu-gō-ni wa-i jū sa-ba sa-ta

縛引難上左二薩縛怛囉十合三薩 ba-i-nan-jō-sa-ni sa-ba-ta-ra jū-san-gō san sa

縛婆去喻引鉢捺囉合二吠引毗藥合二 ba-ba-ko-yu-i hatsu-natsu-ra-gō-ni bei-i bi-yaku-gō-ni

婆縛引合賀引十 ba-ba-i-gō-ga-i jū

Boundary of the unmoving. Praise of the Four Wisdoms. Empowerment of the principal deity. The preceding 召請印 Shōshō-in (Invitation Seal), only the two-empty mantra, says as above.

Also the mantra says (from the Amoghavajra-translated sūtra, named the heart mantra):

娜莫三去滿多没駄引南一唵引二摩 namaḥ samanta-buddhānām ichi oṃ ni ma

Next, the 安怛祖那印 Antarisona-in (Antardhāna Seal); this means the invisibility seal. With the left hand make an empty palm into a fist; the thumb slightly bent and pinching the tip of the index fingernail like a ring; the lower three fingers grasp into a fist making it tight; and also make a hole in the palm.

In front of one’s own mind, visualize one’s own body entering into the hole of this seal and being hidden. With the right hand, palm flat, rotate rightward stroking this seal and then cover the hole above. Visualize that this seal is the body of Marishiten Bodhisattva; one’s own body is concealed inside the heart of Marishiten Bodhisattva. With one mind concentrate without interruption, recite the preceding root and heart mantras without limiting the number of times. Only with sincere and earnest mind one will certainly obtain the Bodhisattva’s majestic-spirit protection. All enemies and evil people completely will not be able to see; all disasters and difficulties will all obtain liberation.

Correctly and mindfully recite the heart mantra. Contemplation of the syllable wheel.

[Circular diagram of Siddham characters with surrounding notes: unborn and unceasing, nature and characteristics both transcended, speech is itself the real truth, the flowing is unobtainable, self and other both extinguished, cause and effect are non-dual, and so on.]

All dharmas are like water flowing and pouring; in an instant they do not stop; the former is extinguished.

That which is later born is still only the limited view of ignorance; yet in reality all dharmas from the beginning are originally existent, without difference of the three times, without change of the four characteristics. This is called the flowing that is unobtainable. In the gate of original non-arising, the self also fully possesses the other, the other also fully possesses the self; therefore self and other both are extinguished, of one taste and equal. This is the meaning of the 卍 Manji character. When self and other are already non-existent, then the nature and characteristics of self and other also are extinguished; raising it, the nature and characteristics of all dharmas also have no fixed characteristics. This is the meaning of the 卍 Manji character. As for the characteristics of arising and ceasing, characteristics returning to nature is called ceasing; nature giving rise to characteristics is called arising. Nature and characteristics already empty, therefore there is no arising and ceasing. This is the meaning of the 卍 Manji character. All dharmas completely have no arising and no ceasing; therefore the changing words and letters, raising them, are the one real truth. Words and letters, raising them, are true reality; therefore causal practices, raising them, are the resultant virtues. Cause and result are one body; therefore all dharmas unite with original non-arising.

Scattered recitation.

佛眼 大日金或 本尊 Buddha-Eye Mahāvairocana (Golden or) Principal Deity

日天 法施 一字 Sun Deity Dharma Offering One Syllable

Homage to the Buddha.

Dismissal: using the 召請印 Shōshō-in (Invitation Seal), the two empties wave outward. The words say:

[Siddham]

Accompanying-monk heart mantra. Subsequent empowerment heart mantra.

護摩 息災 增益 敬愛 降伏 Homa Pacification Increase Respect-and-love Subjugation

Healing illness. Obtaining clear hearing. Extinguishing heavy sins.

According to the original: Drafted on the 13th day of the 10th month of Genroku 11 by the elder bhikṣu of Reiun, Jōgon, age 60.

Copied from the Gokoku-ji original on the 15th day of the third winter month of Kan’ei 5, the year of the Earth Rat. Corrected once in vermilion by Zuishō of Ichinai village in Tanshū, beginning together with the śramaṇa Jakunyo.

Translation Notes

  • Siddham characters (梵字 / 悉曇文字) Large Siddham (Bonji) characters appear throughout the manuscript, especially in the mantra sections and on the cover. Because they cannot be reproduced accurately in plain text they are marked as [Siddham] or [Siddham groups]. Their phonetic Chinese transcriptions are translated only where the manuscript itself provides readable Sino-Japanese readings.
  • Phonetic annotations The manuscript contains many small interlinear notes that guide the precise pronunciation of the mantra syllables. The most frequent are:
    • 鼻聲 (bisei) – “nasal sound”: the syllable is to be pronounced with nasalization.
    • 上 (jō) – “rising”: indicates the rising tone.
    • 去 (kyo / ko) – “departing”: indicates the departing tone.
    • 切引 (setsu-in) – “cut and draw out”: the syllable is given a sharp onset and then lengthened.
    • Other marks such as 引 (lengthen), 合 (combined sound), and numbered sequential markers (四, 五, 八, 九, 十, 十三, etc.) also appear. These numbers are the original phrase counters of the standard multi-phrase dhāraṇī and are rendered in the English line with their conventional Japanese readings (shi, go, hachi, kyū, jū, jū-san, etc.).
  • Seals (mudrās) The text describes several seals with finger instructions:
    • 結身印 Kesshin-in (Body Seal), said to be like the 大金剛輪印 Daikongōrin-in (Great Vajra-wheel Seal).
    • 安怛祖那印 Antarisona-in (Antardhāna Seal), explicitly called the invisibility seal (隱形).
    • 召請印 Shōshō-in (Invitation Seal), used both for invitation and for dismissal.
  • 卍 Manji The character 卍 is used as a seed symbol on the fan and the attendant seats, and later as the focus of a philosophical contemplation on emptiness and non-duality. It is always written as 卍 Manji.
  • Colophon The final page records two layers of transmission: a draft made in Genroku 11 (1698) by the elder bhikṣu Jōgon of Reiun (age 60), based on an earlier copy from a Gokoku-ji original made in Kan’ei 5 (1628) and corrected in vermilion by Zuishō of Ichinai village in Tanshū together with the śramaṇa Jakunyo.

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太公望と天津蹈鞴 Taikōbō and the Amatsu Tatara

From 武神館兜龍 Bujinkan Toryu by Toryu

太公望と天津蹈鞴 Taikōbō and the Amatsu Tatara

I once read that the Amatsu Tatara scrolls themselves were said to have come from the belly of a fish. That single detail made the old Chinese legend of Lü Shang leap off the page. Three thousand years ago, the sage known as Taigong Wang fished for years with a bare thread until a carp rose from the river carrying a book of profound military strategy in its belly.

The parallel is hard to ignore. Both traditions speak of sacred strategic knowledge arriving from the water, sealed inside a fish, and later entrusted to rulers who would shape the destiny of nations. Whether the Amatsu Tatara transmission somehow inherited or echoed this far older current is something we can never prove. Yet the resemblance is striking enough to invite the thought that these two stories may, in some distant way, share a common root.

The Great Straight-Needle Incident

(or: How a Man Caught a Carp Full of Military Secrets)

呂尚 Lǚ Shàng more known as 太公望 Taikōbō in Japan. He lived around 1000 BC

Long ago there lived a man named Lü Shang1, later known as Taigong Wang. He was old, bearded, and thoroughly tired of ordinary life. So he moved to the state of Zhou2, sat down by the Wei River, and began fishing with a thread that had no hook at all.

Just a plain thread. Dangling. For three entire years.

The villagers walked past every day, scratched their heads, and whispered:

“He’s either a profound sage… or he’s completely lost his mind.”

Lü Shang ignored them and kept dangling the thread with the calm of a man who already knew the punchline.

Heaven watched.
Heaven waited.
Heaven eventually grew impatient and decided to speed things up.

One fine morning a large, slightly offended carp swam up, eyed the useless thread, and thought:
“Fine. I see how this works. Bureaucratic destiny it is.”

The carp bit.
Lü Shang pulled.
And there, inside the fish’s belly, was a book — not a shopping list, not a love letter, but a detailed manual of military strategy containing the very essence of Qimen Dunjia3.

At almost the same moment, King Wen of Zhou woke up from a vivid dream in which a sage was sitting by the Wei River doing something extremely peculiar with a fishing line. He immediately sent messengers.

They found Lü Shang still sitting there, wiping fish scales off an ancient book of battlefield secrets.

“Would you consider becoming our military advisor?” the messengers asked politely.

Lü Shang looked at the book, looked at the river, and shrugged.
“I suppose the fish has spoken.”

He joined the Zhou forces. Later, under King Wen’s son King Wu, he helped overthrow the tyrant King Zhou of Shang. The strategies that came out of that carp’s belly proved remarkably effective.

According to later tradition, the same art had first been mastered by the Yellow Emperor, then passed down through Huang Shigong and Zhang Liang, until it was finally perfected by the famous Zhuge Liang.

And that is how a man fishing with no hook, a mildly annoyed carp, and a book of directional military secrets changed the course of a dynasty — while the villagers continued to insist they had known he was special all along.

  1. His personal name is written 呂尚, pronounced Lǚ Shàng in Chinese and Ro Shō in Japanese. In Japan he is far more widely known by the name 太公望 (Taikōbō). ↩︎
  2. Here is a direct Google Maps link to the Zhouyuan area (周原), the early political center of the Zhou people in present-day Shaanxi, China: https://maps.google.com/?q=34.49,107.84
    This points to the core region of the Zhouyuan archaeological site (near Qishan and Fufeng counties, Baoji). ↩︎
  3. Qimen Dunjia (奇門遁甲) is one of the three classical Chinese divinatory systems known as the “Three Styles” (三式), together with Taiyi and Liuren. It is a complex method of cosmological calculation and strategic divination that combines time, space, direction, and human action. ↩︎

Title 道教の本 ― 不老不死をめざす仙道呪術の世界 (Dōkyō no Hon – Furōfushi o Mezasu Sendō Jujutsu no Sekai)

Series NEW SIGHT MOOK / Books Esoterica 4 (ＮＳＭブックス エソテリカ)

Publisher 学習研究社 (Gakken)

Publication date September 19, 1992 (some listings note 1993 reprints)

ISBN 978-4-05-600031-3 (ISBN-10: 405600031X)

Format A5 softcover mook, 223 pages Original price: ¥1,068 (tax included)

The post 太公望と天津蹈鞴 Taikōbō and the Amatsu Tatara appeared first on 武神館兜龍 Bujinkan Toryu.…

流儀名 Ryūgi-mei (Style Names in Classical Japanese Martial Arts)

From 武神館兜龍 Bujinkan Toryu by Toryu

流儀名 Ryūgi-mei (Style Names in Classical Japanese Martial Arts)

Ryūgi-mei, or style names in classical Japanese martial arts, often originated from claims of divine or mythical transmission. Early schools frequently attributed their founding to gods, Buddhas, tengu, or dreams in order to establish authority, reflecting the limited scientific thinking of the period. Others traced their lineage to mythological deities or historical figures such as Shōtoku Taishi or Minamoto no Yoshitsune. Some schools added their own insights and prefixed the character 新 (Shin, “new”), while others used place names, founder’s names, combined styles, or partial titles of famous schools. Style names could also express enlightenment, be bestowed by priests, or reflect the spirit of the age. Together with kata and transmission ranks, these Ryūgi-mei embody the founder’s philosophy and form a core part of Japan’s traditional martial culture.

Ryūgi-mei by Watanabe

Ryūgi-mei
A scene from a martial arts demonstration at Itsukushima Shrine (Wikipedia).

One of the distinctive characteristics of Japanese budō and bujutsu is that each school or style has been given its own unique “ryūgi-mei” (style name). In addition, each style has developed its own unique system of transmission ranks (teaching curriculum) along with the corresponding “den’i meishō” (transmission rank titles). Consequently, the rise and decline of Japanese budō and bujutsu throughout history can also be understood from the increase and decrease in the number of these style names.

During the Edo period, even when limited only to kenjutsu schools (including comprehensive martial arts schools and iaijutsu schools), the number is said to have reached three hundred or even five hundred styles. Today, however, that number has drastically declined, and only a small number of styles still exist. From this fact alone, it can be said that Japanese budō and bujutsu flourished during the Edo period but have declined in the present day. In this paper, I will examine the motives or justifications that earlier generations used when naming their styles, and further discuss the present state of traditional martial arts schools.


—Watanabe – Shinkage-ryū Dōgyō Sixty Years Memoir

In Shinkage-ryū Dōgyō: Sixty Years Memoir, Watanabe outlines the most common motives for the naming of martial arts styles (Ryūgi-mei).

Ryūgi-mei style names can be classified as follows

  1. Styles that claim to have received the deepest secrets through prayer to gods or Buddhas.
  2. Styles that claim to have been founded after receiving transmission from tengu or other mythical beings.
  3. Styles that claim a deity from the mythological age as their founder.
  4. Styles that claim a historical figure as their founder, asserting that they transmit ancient secrets from that person.
  5. Styles that added their own innovations or realizations to an existing style and prefixed the new name with the character “Shin” (New).
  6. Styles named for the purpose of distinguishing themselves from other branches of the same school.
  7. Styles that claimed orthodoxy of a traditional school, added their own realizations, and then changed the style name.
  8. Styles that claimed orthodoxy of a traditional school and added characters expressing that claim to the style name.
  9. Styles that claim to have recovered the sōke (headmastership) previously transferred to another family and restored the original style name.
  10. Styles named after the place where the style originated.
  11. Styles that prefixed a place name to the style name.
  12. Styles that combined several existing styles and gave the result a new name.
  13. Styles that indicated they were derived from an existing style.
  14. Styles named after a famous individual or family name.
  15. Styles that used an alternative name regardless of whether they were derived from another style.
  16. Styles whose name expressed the spiritual realization or level of attainment of the founder.
  17. Styles whose name was bestowed by a Buddhist priest or similar figure.
  18. Styles named after the personal name or art-name (gō) of the founder.
  19. Styles that used homophonous but differently written characters of a famous style’s name.
  20. Styles that prefixed part of the name of a famous style.
  21. Styles that used terms reflecting the trends or spirit of the times.
  22. Styles named after a training hall or organizational body.
  23. Styles that adopted a common or popular name as their official style name.
  24. Styles that abandoned their original name and adopted the name of a famous style.
  25. Styles that arbitrarily used the name of a style that had already become extinct.
  26. Styles that arbitrarily used the name of a completely different existing martial art style.
  27. Other.

The Ryūgi-mei above was from Shinkage-ryū Dōgyō: Sixty Years Memoir by Watanabe.

新陰流兵法 Shinkage-ryū Hyōhō

This lineage belongs to the Owari Yagyū branch of Shinkage-ryū. While the better-known Edo Yagyū line served the Tokugawa shogunate in Edo, the Owari line was established by Yagyū Hyōgo-no-suke Toshitoshi and became the official sword tradition of the Owari Tokugawa domain in Nagoya.

The transmission remained closely linked to the Owari Tokugawa family for generations. In the early 20th century, the last Yagyū heads of this branch—Yagyū Toshichika (19th) and Yagyū Toshinaga (20th)—passed the complete teachings to their senior student Watanabe Tadatoshi (21st). He in turn transmitted everything to his son Watanabe Tadanari (22nd), who founded the Shinkage-ryū Hyōhō Marobashi-kai in 1969. The lineage is now headed by the 23rd generation, Watanabe Tadahisa.

This branch is characterized by its commitment to preserving the full classical curriculum, including Shinkage-ryū kenjutsu, Seigō-ryū Battōjutsu, and related jōjutsu. Central to its teaching is the principle of marobashi (adaptive, continuous movement). Unlike many modern groups, it remains a relatively closed classical transmission focused on historical accuracy and the correct use of the style name “Shinkage-ryū.”

傳系 Denkei

GenerationTitleReal NameActive Period
Founder上泉武蔵守 (Kamiizumi Musashi-no-kami)藤原 秀綱 (Fujiwara Hidetuna)c. 1508 – 1577
2nd柳生但馬守 (Yagyū Tajima-no-kami)平 宗厳 (Taira Munetoshi)1527 – 1606
3rd柳生兵庫助 (Yagyū Hyōgo-no-suke)平 利厳 (Taira Toshitoshi)1579 – 1650
4th尾張権大納言 (Owari Gon-dainagon)徳川 義直 (Tokugawa Yoshinao)1601 – 1650
5th柳生兵助 (Yagyū Hyōsuke)平 厳包 (Taira Toshikane)mid-17th century
6th尾張権大納言 (Owari Gon-dainagon)徳川 光友 (Tokugawa Mitsutomo)1625 – 1700
7th尾張権中納言 (Owari Gon-chūnagon)徳川 綱誠 (Tokugawa Tsunanari)1652 – 1699
8th柳生兵庫 (Yagyū Hyōgo)平 厳延 (Taira Toshinobu)late 17th – early 18th c.
9th尾張中納言 (Owari Chūnagon)徳川 吉通 (Tokugawa Yoshimichi)1689 – 1713
10th柳生六郎兵衛 (Yagyū Rokurōbei)平 厳儔 (Taira Toshitomo)early–mid 18th century
11th柳生兵助 (Yagyū Hyōsuke)平 厳春 (Taira Toshiharu)mid-18th century
12th尾張宰相中将 (Owari Saishō Chūjō)徳川 治行 (Tokugawa Haruyuki)mid–late 18th century
13th柳生又右衛門 (Yagyū Mataemon)平 厳之 (Taira Toshiyuki)late 18th century
14th柳生兵助 (Yagyū Hyōsuke)平 厳久 (Taira Toshihisa)late 18th – early 19th c.
15th尾張権大納言 (Owari Gon-dainagon)徳川 斉朝 (Tokugawa Naritomo)1793 – 1850
16th柳生新六 (Yagyū Shinroku)平 厳政 (Taira Toshimasa)early–mid 19th century
17th柳生忠次郎 (Yagyū Chūjirō)平 厳蕃 (Taira Toshishige)mid-19th century
18th尾張中納言 (Owari Chūnagon)徳川 慶恕 (Tokugawa Yoshikumi)mid-19th century
19th柳生三五郎 (Yagyū Sangorō)平 厳周 (Taira Toshichika)late 19th – early 20th c.
20th柳生兵庫 (Yagyū Hyōgo)平 厳長 (Taira Toshinaga)early–mid 20th century
21st渡辺遠山 (Watanabe Tōzan)源 忠敏 (Minamoto Tadatoshi)c. 1905 – 1980s
22nd渡辺転心 (Watanabe Tenshin)源 忠成 (Minamoto Tadanari)1941 – present (active)
23rd渡辺転政 (Watanabe Tensei)源 忠久 (Minamoto Tadahisa)late 20th c. – present

Shinkage-ryū Books

渡辺忠成 (Watanabe Tadanari) 22nd Generation Head of Shinkage-ryū Hyōhō (Also known by the art-name Tenshin 転心)

Watanabe Tadanari was born in Tokyo in 1941. He began training in Shinkage-ryū at the age of seven under his father, Watanabe Tadatoshi (21st generation), who had received the full transmission from the last two heads of the Owari Yagyū line, Yagyū Toshichika and Yagyū Toshinaga.

In January 1969, at the age of 28, he founded the Shinkage-ryū Hyōhō Marobashi-kai (新陰流兵法転会) with the purpose of correctly preserving and transmitting the classical teachings of the school. In 1972 he formally succeeded as the 22nd generation head of Shinkage-ryū Hyōhō. He also holds the positions of 14th generation of Seigō-ryū Battōjutsu and 9th generation of Shinkage-ryū Jōjutsu.

Throughout his career he has emphasized the importance of historical accuracy, particularly regarding the proper use of the style name “Shinkage-ryū” rather than the more popular but, in his view, incorrect designation “Yagyū Shinkage-ryū.” He is the author of several works on the school, including Shinkage-ryū Nyūmon and the autobiographical Shinkage-ryū Dōgyō: Sixty Years Memoir (新陰流道業六十年回顧録), in which he reflects on more than six decades of training and teaching.

He has taught extensively in Japan and has established groups in the United States, Russia, and Poland.

The Dojo is still active today in several locations in Tokyo and Japan, here is more information.

Shinkage-ryū Heihō Marobashikai / Tenshinkai

新陰流道業六十年回顧録
Shinkage-ryū Dōgyō Rokujūnen Kaikoroku

Author: 渡辺忠成 (Watanabe Tadanari)
Publisher: 新陰流兵法転会出版部 (Shinkage-ryū Hyōhō Marobashi-kai Publishing Division)
Publication date: 20 February 2009 (Heisei 21)

Tadashige Watanabe, the 22nd head of the Shinkage-ryu school of swordsmanship,
Tadashige Watanabe, 
the 22nd head of the Shinkage-ryu school of swordsmanship,

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History of Ninjutsu: Mori Ninja

From 武神館兜龍 Bujinkan Toryu by Toryu

History of Ninjutsu: Mori Ninja

毛利忍者 Mori Ninja (Page 132–133) from the book Bessho Rekishi Dokuhon Vol. 72 – Shinobi no Mono 132-nin Data File. Written by 祖田浩一 Sota Kōichi (Writer)

Motonari’s Ninjas Who Turn Enemy Spies into Double Agents

▽ When Attacking Saijō Kagamiyama Castle

Mori Motonari
毛利元就 Mori Motonari (1497-04-16 – 1571-07-06) feudal lord in the Chugoku region (Sanyo and San’in roads) during the Sengoku period .

毛利元就 Mori Motonari focused heavily on “strategy” and “subterfuge.” Subterfuge means deceiving the opponent. Those who excel at subterfuge win; those who fail lose. He used ninjas like his hands and feet to outwit the enemy, create internal discord, and weaken them. It seems he thought of little else day and night.

It is well known that Motonari sent spies disguised as merchants, yamabushi, or biwa priests to the strongholds of 陶晴賢 Sue Harukata or the 尼子氏 Amago-shi, spreading rumors or gathering intelligence.

As much as Motonari emphasized using spies, he was extraordinarily cautious of enemy spies sent against him.

Once, his retainer 赤川元保 Akagawa Motoyasu said to Motonari,

“尼子晴久 Amago Haruhisa seems to be ill lately.”

Motonari angrily replied,

“Don’t speak of such things lightly. Amago Haruhisa is the opponent I’m about to fight. The ninjas might be spreading such talk to make me let my guard down.”

Motonari attacked 西条鏡山城 Saijō Kagamiyama-jō (Higashihiroshima City) in June of 大永三年 Tai’ei 3 (1523), when he was still under 尼子経久 Amago Tsunehisa, who ordered him to lead the vanguard.

The castle lord was 蔵田備中守房肩 Kurata Bingo-no-kami Fusatomo, allied with 大内義興 Ōuchi Yoshioki.

Starting the attack on June 13, the castle’s defenses were strong, and it didn’t fall easily. Motonari sent ninjas as secret envoys to contact Fusatomo’s uncle, enticing him to betray with promises of retaining his domain in 安塔 Antō and preserving the family name.

Fusatomo’s uncle accepted, rebelling against Fusatomo within the castle. Motonari sent ninjas to support the uncle, and the castle fell on the 28th. Castle lord 蔵田房信 Kurata Fusanobu fought valiantly but, seeing flames rise within and no hope of victory, committed seppuku. Motonari skillfully dismantled the enemy, earning praise from Amago Tsunehisa.

Afterward, Motonari broke the promised conditions to Fusanobu’s uncle and beheaded him.

One of Kurohabaki-gumi’s tasks was intelligence gathering, as this description shows. Members disguised as merchants, yamabushi, or ascetics—professions free to travel the land. Faith was strong then, so religious figures were likely trusted. Or, yamabushi may have been part of Kurohabaki-gumi.

毛利忍者 Mori Ninja (Page 132–133) from the book Bessho Rekishi Dokuhon Vol. 72 – Shinobi no Mono 132-nin Data File. Written by 祖田浩一 Sota Kōichi (Writer)

I could not find much information about this book, who wrote it or the publisher. It looks like it was published as a history book/magazine published monthly.

Being the 72’nd book I guess it has been around for many years, the web site jinbutsu.co.jp is dead so I don’t know much about the publisher.

別冊歴史読本❼❷ Bessho Rekishi Dokuhon 72 忍びの者132人データファイル Shinobi no Mono 132-nin Data File

Published May 2001
228 pages
ISBN-10 ‏ : ‎ 4404027729
ISBN-13 ‏ : ‎ 978-4404027726

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The Last Ninja: Fujita Seiko ninjutsu history

From 武神館兜龍 Bujinkan Toryu by Toryu

The Last Ninja: Fujita Seiko ninjutsu history

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)

Fujita Seiko ninjutsu history: The author
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)

The author walking on the toes
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 in his Ninja suit
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)

The author In China
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)

Fujita Seiko ninjutsu history: 500 needles in his body
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.

Fujita Seiko ninjutsu history: The book "Doronron"

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Ninjutsu and Shugendo: A Shared Mystical Legacy

From 武神館兜龍 Bujinkan Toryu by Toryu

Ninjutsu and Shugendo: A Shared Mystical Legacy

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.

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忍の朝の儀式: Ninja Morning Rituals

From 武神館兜龍 Bujinkan Toryu by Toryu

忍の朝の儀式: Ninja Morning Rituals

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:

  1. Wash your hands, face, and mouth with water to purify yourself.
  2. Face north and exhale forcefully to expel 濁気 (Dakuki), or unclean spirit.
  3. Turn to face east , open your mouth, and take three deep breaths to absorb fresh, clean energy.
  4. 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).

  1. 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 .
  2. Place your right hand above your heart and extend your left hand forward. Lower your left hand, curl your fingers, and chant HYŌ .
  3. Turn your palms forward at chest height and chant TŌ .
  4. Move your palms to the left and right sides and chant SHA .
  5. Close your hands into fists and press them to your chest while chanting KAI .
  6. Touch both shoulders with your fingers and chant JIN .
  7. Place both palms on your hips and chant RETSU .
  8. Put both palms on your knees and chant ZAI .
  9. 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.

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高木折右衛門物実録 Legacy of Takagi Oriemon: Budō Shiraishi Ei Manuscripts and Takagiyōshin-ryū

From 武神館兜龍 Bujinkan Toryu by Toryu

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.
  • Sakata Mitsuo Library Manuscript: Comprises 50 scrolls and introduces supplemental material.

Themes and Content Evolution in Budō Shiraishi Ei

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.

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The Holland Taikai 1996: A Historic Bujinkan Seminar

From 武神館兜龍 Bujinkan Toryu by Toryu

In May 1996, the serene coastal town of Noordwijkerhout in the Netherlands became the epicenter of a martial arts milestone: the Holland Taikai 1996. Over three days, martial artists from across the globe gathered to train under the legendary Masaaki Hatsumi, the 34th Sōke of the Togakure-ryū and founder of the Bujinkan organization. Organized by Mariette van der Vliet, the seminar’s theme was Kukishin-ryū Kenjutsu, the art of the sword. This event was not just about techniques—it was a celebration of adaptability, survival, and the spirit of Budō.

Setting the Stage: A Journey to Mastery

The Holland Taikai 1996, Kiriage

The preparation for the Holland Taikai 1996 began long before Hatsumi Sensei arrived in the Netherlands. His teaching philosophy for the year centered on Kukishin Biken Jutsu, an intricate and profound swordsmanship tradition. In April 1996, a few weeks prior to the Taikai, Hatsumi Sensei conducted an impromptu outdoor training session in Noda, Japan. He called on a select group of students, including Arnaud Cousergue, to train in the dirt outside his home.

During this session, Hatsumi Sensei emphasized the essence of Nuki Gatana (sword drawing) and the principle that form should never restrict function. He famously said:

“When things get real, do whatever you have to stay alive. Ninpō is only about surviving. Form doesn’t matter. Everything is possible.”

This philosophy would become a cornerstone of the teachings during the Holland Taikai.

The Holland Taikai: A Three-Day Immersion

The Holland Taikai 1996, Iainuki

From May 16 to 18, 1996, Noordwijkerhout witnessed an influx of martial artists eager to learn. Hatsumi Sensei’s sessions were renowned not only for their technical depth but also for the atmosphere of camaraderie and discovery they fostered.

Day One: The Sword’s Edge

The seminar began with a focus on the foundational techniques of Kukishin-ryū Kenjutsu. Participants practiced precise Nuki Gatana movements, emphasizing timing, positioning, and adaptability. Hatsumi Sensei encouraged students to transcend rigid forms and embrace creative application.

He explained:

“Respecting the Waza as a beginner is mandatory. But as you grow, rules are made to be broken. Adjust, adapt, and survive.”

Day Two: The Dimensions of Training

The Holland Taikai 1996, Iai Jodan

Building on the first day’s principles, Hatsumi Sensei introduced the concept of three dimensions in Budō training:

  1. Nijigen no Sekai (Two-dimensional world): Techniques practiced in a linear or planar fashion.
  2. Sanjigen no Sekai (Three-dimensional world): Expanding movements to include lateral shifts and spatial awareness.
  3. Yūgen no Sekai (Invisible dimension): The psychological and intuitive aspects of combat, where movements transcend physical limitations.

Through these teachings, students began to see Kukishin Biken Jutsu as more than a martial art—it was a system of infinite possibilities.

Day Three: The Invisible Path

The Holland Taikai 1996

The final day highlighted the philosophical aspects of Budō. Hatsumi Sensei shared insights into Tama, the sphere, a central concept in Japanese martial arts representing the integration of all dimensions into a cohesive whole.

Participants left with a deeper understanding that martial arts are not confined to physical techniques but are a lifelong pursuit of balance and adaptability.

Cultural Immersion and Reflection

Hatsumi Sensei’s visit to the Netherlands extended beyond the dojo. His observations during the trip added a unique cultural dimension to the event. He reflected on the country’s maritime history, symbolized by the “Tower of Tears,” where sailors’ loved ones bid them farewell. He also remarked on the Dutch people’s prowess in sports like judo and cycling, noting the nation’s emphasis on leg strength and endurance.

In an article written after the event, Hatsumi Sensei shared:

“The Netherlands is a country of Judo, isn’t it? There is a wonderful Judoka, Mr. Heesing, who speaks passionately about Judo. The mystery of Judo lies in how a smaller person can overcome a larger one—a concept deeply rooted in respect and essence.”

Key Takeaways from the Holland Taikai

  1. Adaptability is Survival
    Hatsumi Sensei’s teachings emphasized that martial arts are not rigid but fluid. In real-life scenarios, survival depends on one’s ability to adapt and innovate beyond traditional forms.
  2. Understanding Dimensions in Training
    The progression from two-dimensional to invisible dimensions in Kukishin-ryū Kenjutsu underlined the importance of mastering fundamentals before exploring creative freedom.
  3. Cultural Exchange
    The Taikai was not only a martial arts seminar but also a bridge between Japanese and Dutch cultures, enriching participants’ perspectives on life and combat.

A Legacy That Lives On

The Holland Taikai 1996 remains a pivotal moment in the history of the Bujinkan. It demonstrated the universal appeal of Budō and its ability to transcend cultural and geographical boundaries. Hatsumi Sensei’s teachings during the seminar continue to inspire martial artists to this day, reminding them that:

“Everything is always possible.”

This philosophy, rooted in the principles of survival and adaptability, is as relevant now as it was during the Taikai.

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Put Your Heart and Soul into Consistent Martial Training

From 武神館兜龍 Bujinkan Toryu by Toryu

My master often spoke of his teacher’s belief in the importance of consistent martial training. He shared stories of his teacher’s journey, how he devoted himself to a level of practice that went beyond physical skill to shape his spirit and mind. Much like traditional Kabuki actors who sustain their roles off-stage, his master insisted that training be an integral, daily practice. As martial artists, my master’s teacher would say, we must embrace Bufu Ikkan, or “consistent warrior living.” This was his core lesson: never give up. Keep going.

Early Years: Devotion Beyond Normal Limits

Consistent Martial Training; Musha Dori

In his early days of training, my teacher was determined to achieve greatness. He threw himself into physical practice three times harder than other students. He put in three times the mental focus and invested three times the resources to gain the wisdom he needed. Through this intense devotion, he became very strong.

But as he grew in strength, he felt a strange weakness arise. This new vulnerability troubled him deeply, and despite his efforts, he couldn’t identify its cause. Yet, he trusted his training and continued, confident that the martial tradition itself would bring clarity.

“The way of the warrior is the resolute acceptance of death.” — Miyamoto Musashi

The Challenge of Illness: A Test of True Strength

Consistent Martial Training; Sannindori

One day, my master faced a powerful enemy—illness. It left him weak, even struggling to stand. At times, he couldn’t see. For five years, he endured this trial, and the demands of his illness made him feel that giving up might be easier than living. It was here that he discovered his past strength had been an illusion. His power depended on his health; as his health declined, so did his strength.

True strength, he learned, must go beyond physical condition. Strength that fades in hardship is merely temporary. So, even in his weakened state, he continued training however he could. Slowly, he began to regain his health.

“One must polish one’s heart daily, like a sword.” — Yagyū Munenori

Adapting Training to Life’s Changes

consistent martial training; Kage no Kamae

Looking back, he realized that consistent martial training had carried him through his years of illness. He had adapted his training to fit his limited energy and discovered that training must evolve with life’s stages. He learned that young warriors train intensely, while older ones need a more focused approach. Even illness has its own form of training, and facing death is the final training of a warrior.

True strength, my master would say, comes from matching our training to our current reality. Training adapted to life stages becomes a source of lasting, resilient strength.

“The wise warrior avoids the battle; when he must fight, he fights only to win.” — Tsunetomo Yamamoto

Rethinking Strength

After years of illness, my master understood that true power goes beyond the physical. It doesn’t depend on speed or brute force. Instead, he came to value “natural and fitting technique”—a strength that flows with nature and conditions, not against them. In doing so, he found a higher, adaptive strength beyond what traditional martial arts schools might teach.

Pushing Through Difficult Periods

My teacher knew martial artists often face times when techniques seem impossible, and training becomes frustrating. He taught that these periods of struggle are crucial. Like a snake shedding its skin, we too must experience discomfort to grow. This “molting period,” as he called it, can tempt martial artists to look elsewhere for easier techniques. Yet, he advised against these distractions, saying they’re a temporary escape, not a solution.

However, he also cautioned that not everyone is suited to master every art. Sometimes, a goal may simply not fit, and one may need to reevaluate their path. But for those who feel a true calling, consistent martial training will provide growth beyond these challenging phases.

The Power of Sincere Commitment

My master always taught that true training requires a pure, sincere heart, not just an accumulation of techniques. Training without self-awareness produces only a scholar, a “walking catalog of techniques” without heart. Only those who commit deeply and consistently will discover the true essence of martial arts and gain the lasting strength that lies beyond technique.

Footnotes:

  1. Bufu Ikkan (武風一貫) – A phrase meaning “consistent warrior living.” Bufu refers to “martial wind” or warrior spirit, while Ikkan means “one path” or consistency.
  2. Kabuki (歌舞伎) – A classical Japanese dance-drama where male actors take all roles, embodying their characters on and off the stage.
  3. Shudan (修鍛) – Represents lifelong training, blending 修 (discipline or cultivation) and 鍛 (forging or tempering).
  4. Netsu (熱) – Meaning “heat” or “passion,” representing one’s enthusiasm and fervor in training.
  5. Nekki (熱気) – A combination of “heat” (netsu) and “spirit” (ki), symbolizing energetic presence and intensity in practice.

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