To fully understand the reasoning behind the origins of seiza kata in Iaido we must take a closer look at the history of Iaido as it progressed through the Edo period. The development of battojutsu, better known today as Iaido, started early in the 17th century by Hayashizaki Jinsuke, which founded Shimmei Muso Ryu, this ryuha would later become the bases for over 200 styles of Iaido. The beginning of the 17th century also marked a period of great change throughout Japan under the leadership of the Tokugawa shogunate (1603- 1867), which brought peace to the entire country through a new form of centralized government. It was during this time that the warrior class, finding themselves without battles to fight, ventured deeper into the arts and philosophy. The primary focus of swordsmanship shifted from fighting to the development of spiritual enlightenment and art. It was during this time that Iaido would make its largest transformation and a man by the name of Omori Rokurozaemon Masamitsu would change the face of Iaido for the rest of time.

Masamitsu was a student of Rokudayu Morimasa (1661- 1732), 9th headmaster of the Jinsuke Eishin line. During his studies with Morimasa he was expelled from the Eishin school for personal reasons. This led Masamitsu to pursue other styles of swordsmanship, which led him to Yagyu Shinkage Ryu, where he learned Saya Uchi Batto Gohan, the five forms of sword drawing techniques. He also became a student of the Ogaswara Ryu Reishiki, a school of etiquette and manners that derives from Japanese archery and horsemanship with principles deeply rooted in the teachings of Confucianism, it was also though these teachings that large emphasis was placed on seiza. Combining the teachings of Eishin with Yagyu Shinkage Ryu and Ogasawara Ryu Reshiki he developed a series of 11 seated katas and indicated that its teachings were primarily intended as a spiritual discipline rather than an effective combative form. The creation of these katas led to his reinstatement into the Jinsuke Eishin Line and to the formation of Omori Ryu Iaido.

These katas would later become part of the Jinsuke Eishin line’s unofficial curriculum with the naming of the 11th headmaster, Oguro Motoemon Kiyokatsu, a direct student of Masamitsu. Kiyokatsu also took instruction from the 10th headmaster, Hayashi Yasudayu Seisho, of the Eishin line, which was a student of Morimasa, 9th headmaster. Upon Kiyokatsu becoming 11thheadmaster controversy arose regarding the inclusion of these techniques, which would later lead to divisions in the style. These divisions are known as the Tanimura- ha and the Shimomuro- ha, in which the Tanimura- ha became the main Eishin line and the Shimomura- ha would lead to the development of Muso Shinden Ryu.

However, these 11 katas would still not be officially introduced as part of the Jinsuke Eishin line until the Taisho period (1912- 1926). The 17th headmaster Oe Masamichi Shikei made significant changes to the line that would give Muso Jikiden Eishin Ryu its current face. Shikei suggested that the Jinsuke Eishin line formally be taught under the name of Muso Jikiden Eishin Ryu and that its techniques where to include those of the Omori Ryu. He renamed and classified these katas as Shoden, entry level, and reclassified the tate-hiza katas as chuden, middle level.

These modifications became permanent, answering the question as to why Iaido practitioners today perform katas from seiza, a position that pre- Edo warriors would have rarely encountered due to circumstance and procedure. We can now say with confidence that the development of seiza katas in Iaido was not developed for actual combat, but rather for spiritual enlightenment through arduous training and self-sacrifice.

Hand stitched bogu is usually, although not always the case, a better quality set of equipment, and is usually made to measure, providing the practitioner with a very comfortable well fitted set of bogu. Hand stitched, or tezashi bogu, also have varying stitching widths, measured in Bu, varying from 2.0 Bu to 0.8 Bu. A bu is a Japanese form of measurement based on the shaku and came be traced back hundreds of years to it’s origins in China. 1 bu equals 3.030 millimeters. You can usual tell tezashi bogu apart from machine stitched from its stitching pattern. Tezashi bogu is stitched in a vertical and horizontal pattern creating a checkerboard impression on the gear where machine stitched is generally sewn in only one direction.

Some will say that when it comes to hand stitched bogu that it is some what of a status symbol, saying that you have spent time in the art and are committed to it; therefore you have made the investment. Some, if not all, that have reached the higher levels of the art almost expect it of each other. It is not unusual to upgrade one’s equipment as one moves up in rank. However, it may be considered slightly over the top if a beginner decides to purchase a tezashi bogu right off the bat.

While studying in Japan I had the opportunity to visit one of Japan’s top bogu masters, Mr. Umezawa. His small generations old shop is located in Saitama Prefecture. Mr. Umezawa mentioned to me that in order to place an order with him a customer had to be of a higher level and display good form and character before he would even consider placing the customer on his two year waiting list. Mr. Umezawa’s bogu start at about $10,000.

Tezashi bogu made in Japan usually start at about $2000, although bogu manufacturers are springing up in China and Korea offering tezashi bogu starting at about $900. Machine stitched bogu prices range from $400 to $2000 depending on stitching and material used.