Aftershocks: Japanese Earthquake Prints (3 of 3)

What do they have to do with each other? In Japanese folk belief, catfishes were associated with earthquakes. 

When these prints, called “catfish prints” or namazu-e, were made in 1855, people in Edo (modern day Tokyo, Japan) told stories of a giant catfish living deep underground causing earthquakes. 

It was usually kept under control by Kashima, a deity that pinned it down with a stone to stop its destruction. 

As the story goes, when Kashima was away for one day during the tenth month of 1855, the catfish shook off the stone and thrashed around. On the surface, Edo was thrown into disarray. 

Look for catfish, symbolizing the cause of the earthquake.

Look for the deity Kashima, in charge of controlling the catfish.

Look for the kaname-ishi foundation stone, held by the deity Kashima who controls the catfish.

The catfish rescues townspeople from wreckage after the earthquake. Falling infrastructure is a visual metaphor for the failing social systems and crushing economic inequality that people had been living under in Edo.   

To celebrate the coming new year, the Kashima Dance was performed based on a divine message delivered by a Kashima Shinto priest. Here, the catfish is a parody of the priest, who predicts social reform. Once the cause of the disaster, the catfish is now seen as divine.

The good sense of humour expressed through texts and graphics led to the huge success of the catfish prints. Parodies of popular images and stories from the time made people laugh. 

This is a typical image of the treasure boat, by Utagawa Hiroshige, The Treasure Ship, around 1840.

The seven people on the boat—carpenter, roofer, plasterer, construction worker, catfish print seller, steeplejack, and courtesan—are a parody of Seven Gods of Happiness because they benefited from the earthquake.

The boat is a catfish!

The figurehead of the boat is a dragon-shaped flame from the fire after the earthquake.

The mast of the boat is made of a damaged storehouse.

Look for waves made of roof tiles fallen from damaged houses!

Daikoku, one of the seven gods of happiness, steps on the catfish to control the earthquake. He throws money with his magic mallet to Edo townspeople. Their expressions reflect the joy of people who unexpectedly received post-earthquake emergency relief and donations.

Coins plop to the ground from the bowels of wealthy merchants. Below, three construction workers pick up the money, asking "shouldn’t we be thankful for the earthquake?"

 Merchants spent money to rebuild while construction workers gained extra income through these infrastructure projects. This redistribution of money was thought to restore balance and cleanse the sick society.  

A wealthy merchant reluctantly gives money to carpenters. Notice a catfish wearing a kimono already holding some money standing proudly on the left. The text in this image is a haiku poem that reads: “The earthquake, didn’t you come to extort the rich?” 

This scene hints at the underlying social tension in society.

A neck-pulling game, a popular drinking party pastime in Edo, puts the catfish in competition with the deity Kashima.

In the background of this print, people who benefited from the earthquake cheer on the catfish while those who suffered cheer on the deity Kashima. 

There is no clear winner—the contrast between competitors and its clever suggestion of social tension became the most appealing feature of this print. 

As workers who profited from the earthquake drink and eat catfish, the Bird of Hardship flies down and steals their meal. The bird’s body consists of objects that represent the professions of people who suffered—tea whisk, comb, book, roll of cloth…

The bird stealing food signals the desire for revenge against those who suddenly profited from the earthquake. 

This two-sheet print illustrates the contrast between those who benefited from the earthquake (on the left) and those who suffered (on the right). Find out what professions are categorized to each group.

 These professions profited as Edo rebuilt the city after disaster. 

Roofer

Rooftile Seller

Cartman

Construction Worker

Earthquake Print Seller

Plasterer

Workman's Coat Seller

Tatami Mat Maker

Bone-setter

Tempura Stall

These professions suffered great losses as Edo recovered after disaster. 

Showman

Pouch Maker

Fancy Restaurant

Geisha 

Book Rental

Shamisen Seller

Kimono Seller

Actor

Maki-e Lacquerer

Monkey Showman

Tea Master

This image satirizes two major social events in Edo around the time of the earthquake: 

on the left a catfish symbolizes the Ansei earthquake in 1855

and on the right Commodore Matthew Perry who led American warships to force Japan to open to international trading in 1853. The two characters engage in a pulling-neck game.

Look beneath the taut cord to find the judge of this game (a plasterer who gained from the disaster). He declares the catfish the winner. 

The earthquake and the arrival of Commodore Perry in Japan caused anxiety, tension, and strain in Edo society. Despite negative consequences of these events, this print suggests the benefits from the earthquake were favoured by Edo townspeople.