忍者跳跃术Ninja Jumping

一、忍者跳跃术的核心需求与分类

忍者跳跃术服务于隐蔽行动、快速逃脱与渗透，需应对跨墙、渡河、高低差转移等场景。根据《忍术の研究》，其核心分为六种基础跳法：

前跳（Mae-tobi）

1. ：直线向前跳跃，用于快速接近或脱离目标。

2. 后跳（Ushiro-tobi）

   ：向后急退躲避攻击，需配合转身技巧。

3. 高跳（Taka-tobi）

   ：垂直起跳，目标高度达 2.7 米（9 尺），用于翻越围墙。

4. 远跳（Haba-tobi）

   ：水平跳跃 5.4 米（18 尺），跨越壕沟或河流。

5. 侧跳（Yoko-tobi）

   ：横向移动躲避，如闪身避开箭矢。

6. 斜跳（Naname-tobi）

   ：对角线跳跃，用于复杂地形中的灵活转移。

极限训练标准：包括 15 米（50 尺）的下跳，体现忍者对冲击力的耐受能力。

二、体能训练与轻量化策略

1. 身体条件优化

• 饮食控制

  ：
• 服用野生薏米制成的减肥药，主食以豆腐为主，在维持营养的同时避免脂肪堆积。
• 逻辑：低体脂率减少运动负担，同时降低身体异味暴露风险（忍者需避免出汗过多产生气味）。

• 抗阻训练

  ：穿戴鹿皮革内衣训练，汗水浸湿后皮革收缩紧贴身体，通过持续压迫感强化肌肉紧致度，同时适应束缚状态下的运动。

2. ** Hemp Seed 训练法 **

• 方法

  ：在田地播种麻种，待幼苗生长后，每日练习跨越不同高度的麻株（前、后、左、右、斜向）。

• 周期

  ：持续约三年，通过麻株自然长高（每日生长）渐进提升跳跃能力，模拟真实环境中的障碍变化。

三、多人协作跳跃术：人馬（Ninba）技法

1. 二人組人馬（Two-Person Ninba）

• 操作流程

  ：
• 下方者站立，上方者踩肩抓头蹲伏，双方同步冲刺至墙前。
• 上方者蹬肩起跳，下方者托腿助力，利用冲刺惯性和身体弹性完成跨越（如 10 米高墙）。

• 实战应用

  ：
• 一人先翻越围墙后，投掷绳索协助另一人进入，适用于渗透敌方城堡。

2. 三人組人馬（Three-Person Ninba）

• 操作流程

  ：
• 第一人坐地作为「踏板」，第二人站立其上，跳跃者从 10 米外冲刺，依次踩踏第一人膝盖、第二人背部作为支点，借力跃起。
• 下方两人同步发力托举，使跳跃者达到单人无法企及的高度（超 10 米）。

• 风险与训练

  ：
• 着陆时易发生骨折或扭伤，需长期练习平衡与缓冲技巧。作者提到苏联哥萨克舞蹈中类似的多人跳跃动作，推测该技术可能起源于中国，经北方民族传入日本。

3. 四人协作阶梯跳

• 操作流程

  ：
• 三人叠成「人体阶梯」（一人扶墙、一人抱腿、一人弓背），跳跃者通过三步踩踏（背→腰→肩）借力上墙，适用于 3-4 米高墙。

四、工具辅助跳跃法

1. 跷跷板弹射

   ：利用长木板与石块制作简易跷跷板，一人踩一端，另一人从其肩部跃至翘起端，借杠杆原理弹跳过墙。

2. 撑杆跳与摆荡

   ：使用长枪或木杆作为撑杆，或用攀爬绳像钟摆一样荡过障碍（如护城河）。

五、历史背景与文化争议

1. 人馬術的起源之争

• 官方说法

  ：江户中期（元禄时代，1688-1704）由马术师佐佐木平马结合马戏改良而来。

• 作者质疑

  ：
• 人馬術与马术无技术共性，更可能是忍者因俸禄断绝，将实战技巧转化为街头表演（类似杂技）。
• 历史记录显示，人馬術因可能被盗贼利用而三次遭禁（1707 年、1740 年、1742 年），侧面印证其源自忍者的隐蔽性。

2. 与东西方技艺的关联

• 哥萨克舞蹈中的多人跳跃动作与三人組人馬术高度相似，推测技术传播路径为：中国大陆→北方游牧民族（如蒙古、哥萨克）→日本忍者。
• 忍者可能将技术起源伪托为「马术改良」，以掩盖真实军事用途。

六、作者与著作背景

• 名和弓推

  ：出身武士家族，身兼忍术流派掌门，研究融合历史考据与实战经验。

• 《忍术の研究》

  ：1972 年出版，以文献与逻辑推理还原忍者技术，强调其「实用性」与「生存智慧」，而非单纯的传说渲染。

总结

忍者跳跃术体现了轻量化体能、工具创新与团队协作的极致结合。从单人基础训练到多人战术配合，其核心是通过系统化方法突破人体极限，服务于情报渗透与危机逃脱。人馬術等技巧虽被后世赋予传奇色彩，但其本质是古代特种作战中的工程学智慧，至今仍为军事训练与极限运动提供灵感。

英文原文：

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).

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.

长按微信咨询

Add WeChat 

关注武神馆中国公众号

获取更多最新资讯