나마즈에[鯰絵]에 나타난 일본의 지진신앙과 그 변모

Abstract

In this article, I attempt to examine the diversity of religious recognition of and practice related to natural disasters by looking Japanese earthquake disasters. Especially, I focus on the Ansei Edo Earthquake(安政江戸地震) that occurred in 1855 and namuzu-e(鯰絵), which are folk paintings that appeared after the earthquake in Edo. Through this work, I present how and why these recognitions have changed by employing the approach of the symbolic interpretation of the anthropology of religion. On the second day of the tenth month of 1855(November 11 in the solar calendar), an earthquake with a magnitude of 7 shook Edo and the resultant estimated deaths amounted to 10,000. Three days after the initial earthquake, namazu-e, which means ‘catfish paintings’ were distributed in markets and gained explosive popularity. Namazu-e mainly featured three elements: Namazu(鯰, catfish), Kanameisi(要石) and Kashima-daimyojin(鹿島大明神, God of Kashima). Basically, catfish in the namazu-e were described as ringleaders of disaster and they were suppressed by Kanameisi and Kashima-daimyojin. In this context, catfish were beaten and even eaten by people and sometimes catfish apologized to sufferers for causing earthquakes. On the other hand, interestingly, the different structure of the stories was also depicted in the namazu-e. In these paintings, catfish were no longer the cause of earthquakes. Catfish became independent agents who try to accomplish another purpose through earthquakes. As messengers of Kashima-daimyojin, catfish punish greedy rich people or deprive them of their money. Furthermore, catfish even help those who suffer after the occurrence of an earthquake. From these dual types of namazu-e, we can find the clash and transition of symbolism. The motivation behind such a symbolic reversal could be explained by the term ‘Yonaoshi(世直し)’ which literally means the renewal of the world, the recovery of the world or the reform of the world. In namazu-e, we can find not only the ‘Yonaoshi of Renewal and Recovery’ but also the ‘Yonaoshi of Reform’, which pursues social equality through redistribution of wealth as a consequence of the reformation of society. In conclusion, the earthquake in 1855 was a unique case that showed the idea of world reform through folk paintings as a reinterpretation of then existing mythology.