Shorinjin Ryu Saito Ninjitsu is the rare and
highly effective martial art of the Saito Clan from the mountainous region of
Fukushima, Japan. This 1000+ year-old family tradition and martial art form was
strictly controlled by the Saito for generations and secretly taught only to
Clan members up until 1966 when Grand Master Saito opened the art to the public.
As with all Japanese empty hand arts including Ninjutsu, the Saito art
also has roots in Chinese martial arts. The Family Legend of the Immortal
Sennin they call the Shorinjin ("Shaolin Man" also known as "Chinese Martial Man") which the art is named after, suggests this. However, through the centuries the art has become solely Japanese in philosophy, spirit and fashion.
Today there seems to be a big push requiring a martial art to prove its existence, lineage and links to their country of origin by many "scholars" but especially by "internet" and "Forum" warriors. After nearly
10 years of research, and guidance from actual Historians of Asian Culture documented evidence has been uncovered that supports the Saito Legend as to its beginnings and existence in Japan. However this evidence did not come from Japan but rather from China in the form of a personal journal of a Taoist monk that dates to the Mid 900's.
First, one must understand that there are no coincidences in proving history. The following excerpt from the essay “Ninjutsu History” by Dr. Ron Roy, an actual Historian teaching at Tokyo University, and this author's actual personal correspondence with him, states a basic requirement for historical documentation:
"For the professional historian constructing history means
searching for convincing evidence. The better the evidence
is the stronger the argument will be. Such evidence is usually
found in a variety of documents including diaries, chronicles,
tales, picture scrolls, personal correspondence and legal
documents, among others".
The Journal of Taoist Monk Peng Wan Fen
The Taoist Monk Peng Wan Fen lived during the mid 900's AD and was a monk of the Taoist Temple of the Open Gate, a Sun Tzu Temple, located in the Shaolin Prefecture, China and in accordance with the guidlines of his sect, was required to live in the "wilderness" for seven years, document his experiences, and return to the temple to complete his training unlike the Chan Buddhist monks of the Shaolin and other temples who did not make such pilgrimages. Monk Peng, according to the partial translation of his journal, traveled to the northern prefectures of Jai Pan (Japan) around 950 AD. His writings state that he established himself in the mountains living in a cave near a waterfall where he stayed for six years. He writes about his interaction with the local people who believe him to be a deity of the mountains, a sennin, and also refer to him as "Chinese Martial Man". Monk Peng was a Master of Crane Style. According to temple records he was also well versed in Dragon and Tiger styles as well, yet he never became a Grand Master. Some of these "stylings" are still very evident in the Saito art, much more so than in the other Ninjutsu Ryu.
As a Monk of this level, Peng Wan Fen would have also been a highly accomplished Doctor of Traditional Chinese Medicine and would have brought with him on his journey herbs and remedies that were unknown to more primitive Japanese physicians of the time. He would have also brought his acupuncture needles and other implements. To the local peasants simple treatments would have seemed like miracles lending belief to his being of or having "divine" healing powers.
This account alone parallels far too closely the Saito Legend that it improves the argument and supports the claim of the Saitos as to how and when they received the beginnings of their art and over time with the infusion of indigenous arts from other sources such as the Yamabushi, Ronin and other Ninja, developed into what is taught as Shorinjin Ryu Saito Ninjitsu today.
Unlike many of today's Karate, Tae Kwon Do and even other forms of Ninjutsu,
Saito Ninjitsu has not undergone modern alterations (
because it hasn't been necessary to do so) to accommodate "modern" fighting methods
(punching, kicking, using sticks and such hasn't changed in 50,000 years)
or fit into the sports forum. The techniques were developed for the battlefield,
always dealing with multiple enemies, weapons and real life or death
situations. This does not mean that our techniques could not be and have not
been used in tournament play, but students must understand that this art is for
Life Threatening situations and our techniques would have to be toned down to
a level that would not do the art justice merely to compete in sports play. This art
has not been watered down to accommodate high-speed advancement found in other
schools. The art remains in much the same form today as it did hundreds of years
ago.
SAITO RYU NINPO