What if a catfish could change society?

After the devastating Ansei Edo earthquake in 1855, popular prints known as *namazu-e* circulated in Japan, depicting a giant catfish underground causing earthquakes. Some of these prints were charms to protect against future quakes, while others were sharp social commentary. In the latter, the catfish became a popular deity capable of bringing positive changes for the lower classes, reducing economic disparities. A famous print, 'The Prodigal Buddha,' portrayed the catfish as an antihero criticizing the inefficiency of the Tokugawa government and the lack of spiritual support from religious institutions. The print juxtaposed the catfish, now a popular deity, with the thunder god, once feared but now submissive to the catfish. This symbolism reflected the shift in power between the two divine figures and criticized the political and religious authorities of the time.

The *namazu-e* prints were not just works of art but also tools for social protest. The catfish, a symbol of chaos and destruction, was depicted as a force that could overturn the established order. The choice to juxtapose it with the thunder god, a traditionally powerful and feared figure, was a way to emphasize the shift in power and criticize the authorities. These prints reflected the hopes and frustrations of the Japanese people after the earthquake, showing how art could be a means of expressing dissent and hope for a better future.