Aftershocks: Japanese Earthquake Prints (2 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.

Through comedy and satire, people gained perspectives on the disaster. They realized that the natural disaster was part of the necessary relationship between nature, humans, and society.

Catfish clash against the angry townspeople of Edo in this epic battle scene. 

Gods of thunder and wind rush to support the catfish.

The deity Kashima joins the ranks of humans in the battle. 

Bystanders watch the fight unfold.

Ghostly figures—victims of the earthquake disaster—linger behind the fighting.

Some prints borrowed imagery and stories from popular culture of the time. Here, the hero from a well-known kabuki play "Shibaraku" is portrayed as the deity Kashima, who wrestles the villain in the play, the catfish monk, to the ground. 

This triumphant scene resonated with people's emotions and desires for control over their situation.

Notice how catfishes are represented as evil monsters in these prints—larger-than-life menacing creatures who leave behind a trail of destruction. This depiction expresses that the people of Edo were fearful of the monster catfish, experiencing anger for what it had done.

This catfish expels fire that blazes through the storehouse roof. Its powerful tail takes the shape of a tsunami—a natural disaster sometimes triggered by large earthquakes. 

Beyond humour, these prints also offered solace. There is no one to blame after a disaster yet through pictures, survivors put form to the invisible and received a sincere apology from someone while in reality, redress was not possible.

A horde of gods, led by the deity Kashima, looks on with stern face expressions.

Ebisu, one of the seven gods of happiness, grills catfish, a parody of the popular dish grilled eel. Through prints like this one, humans can exact revenge against the monster for the pain it caused and feel in control. 

A catfish poses as a Shinto god emitting divine light. In front, the man’s kimono decorated with tool motifs signifies artisans who profited from Edo’s rebuild after the devastation of the earthquake. 

At first glance, this is a man’s portrait, yet notice how the face and hand of this figure are formed with contorted human bodies. This print demonstrates how comedic devices helped the people of Edo cope with intense emotions after the earthquake. 

This comedic style of image was innovated by famed printmaker Utagawa Kuniyoshi (1797-1861), who was known for satirical prints. While the makers of many prints are unrecorded, the use of this style suggests that the previous print might have been created by Kuniyoshi.

This print is believed to be the first earthquake print, created the day after the disaster in 1855. It instantly gained popularity and triggered the production of over 300 different images in two months.

“These earthquake prints, along with the folklore and stories, capture how humans may have coped through disasters and traumatic events over time, and in turn, make better sense of the events and the world around them… 

Each of these prints may have helped explain the unexplainable at the time, such as “What causes an earthquake?” or "Why did this happen?"

It is interesting that now, through evidence-based research, we know that telling stories, or narratives, can help individuals process and heal from trauma. 

We also know that exposure to difficult memories or experiences, even through pictures, can help individuals process and cope with situations that can be anxiety provoking.

The use of humour has also been found to have a positive therapeutic function. So, although these prints date back to the 1850s, it seems that humans continue to cope through difficult events in very similar ways.” 

For more, try these resources:
PTSD Association of Canada – Coping Strategies 

Downloadable Resources:
anxietycanada.com

A drunk catfish dances while another plays the shamisen and sings a parody song describing the earthquake. 

While the catfish symbolized the earthquake, this depiction of catfish having fun and acting like humans demonstrates the perception held among Edo people that humans are tightly interconnected with other animals and the environment.

Fox beats Village Chief, as the fox would deceive the village chief.

Hunter beats Fox, as the hunter would hunt the fox.

Village Chief beats Hunter, as the village chief would hire the hunter.

Villager: "From now on, draw back, draw back"

People of Shinshu: "Oh my goodness, do not push that much!"

Disabled Person: "Thank goodness, we are lucky to be alive, but oh dear, it will be hard to beg…"

Carpenter: "Well, well, folks, you should stop now and forgive the catfish – otherwise we will be in trouble!"

Oden restaurant owner: "Look, these people are chastising the catfish together, so pitiful of them…"

Thunder: "Well, I would not be able to save the catfish. I would go and tell Father and Fire too..."

The Deity Kashima: "Good heavens! I have to fly and save the situation!"