<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:dcterms="http://purl.org/dc/terms/">
<rdf:Description rdf:about="https://www.empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/3">
    <dcterms:title><![CDATA[Japan: Where the Sun Rises ]]></dcterms:title>
    <dcterms:subject><![CDATA[日出処日本（hi izuru tokoro nippon)]]></dcterms:subject>
    <dcterms:description><![CDATA[A landscape of Mt. Fuji  rising from the mist alongside a crimson red sun in the sky. This painting is filled with nationalistic sentiment<br />
]]></dcterms:description>
    <dcterms:creator><![CDATA[横山大観 (Yokoyama Taikan)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 15 (1926)]]></dcterms:date>
    <dcterms:type><![CDATA[Hanging Scroll, Pigments on Silk]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://www.empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/23">
    <dcterms:title><![CDATA[Forbidden City ]]></dcterms:title>
    <dcterms:subject><![CDATA[紫禁城 (Shikinjō)]]></dcterms:subject>
    <dcterms:description><![CDATA[A painting of the famous Forbidden City in Beijing, China. Umehara Ryuzaburō is intrigued by Chinese culture and history during his time living in Beijing. He even rented an apartment right next to the Forbidden City so he can get a good view. ]]></dcterms:description>
    <dcterms:creator><![CDATA[梅原龍三郎 (Umehara Ryūzaburō)]]></dcterms:creator>
    <dcterms:date><![CDATA[1940 (Shōwa 15)]]></dcterms:date>
    <dcterms:format><![CDATA[112 x 150 cm]]></dcterms:format>
    <dcterms:type><![CDATA[Oil on Canvas]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://www.empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/22">
    <dcterms:title><![CDATA[Morning Sun over the Pacific Ocean ]]></dcterms:title>
    <dcterms:subject><![CDATA[東海旭光 (Tōkai Kyokō)]]></dcterms:subject>
    <dcterms:description><![CDATA[A painting of a sailboat at sea in front of a rising sun. This seemingly tranquil image hides a subtle message of Japanese hegemony and ambitions across the Pacific. ]]></dcterms:description>
    <dcterms:creator><![CDATA[藤島武二 (Fujishima Takeji)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 7 (1932)]]></dcterms:date>
    <dcterms:format><![CDATA[​65.2 x 90.9 cm]]></dcterms:format>
    <dcterms:type><![CDATA[Oil on Canvas]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://www.empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/30">
    <dcterms:title><![CDATA[Meeting of Generals Yamashita and Percival ]]></dcterms:title>
    <dcterms:subject><![CDATA[山下、パーシバル両司令官会見図 (Yamashita, Pāshibaru ryōshireikan kaiken zu)]]></dcterms:subject>
    <dcterms:description><![CDATA[This painting depicts the historic British surrender of Singapore to the Japanese after the Battle of Singapore in 1942. At a small office of an automobile factory, General Arthur Percival meets with General Yamashita Tomoyuki to sign the official surrender. The artist displays the power disparity between the Japanese and the British through their position around the table and their postures. General Yamashita sits steadfast and firm at the top of the table while the British fidgets cowardly and indecisively at the bottom. ]]></dcterms:description>
    <dcterms:creator><![CDATA[宮本三郎 (Miyamoto Saburō)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 17 (1942)]]></dcterms:date>
    <dcterms:format><![CDATA[181 × 226 cm]]></dcterms:format>
    <dcterms:type><![CDATA[Oil on Canvas]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://www.empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/14">
    <dcterms:title><![CDATA[In the Vicinity of the Diet Building]]></dcterms:title>
    <dcterms:subject><![CDATA[議事堂のある風景 (Gijidō-no-aru-Fūkei)]]></dcterms:subject>
    <dcterms:description><![CDATA[An urban landscape of the Diet Building&#039;s surrounding area]]></dcterms:description>
    <dcterms:creator><![CDATA[松本竣介 (Matsumoto Shunsuke)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 17 (1942)]]></dcterms:date>
    <dcterms:format><![CDATA[61 x 92 cm]]></dcterms:format>
    <dcterms:type><![CDATA[Oil on Canvas]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://www.empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/6">
    <dcterms:title><![CDATA[Self-portrait ]]></dcterms:title>
    <dcterms:subject><![CDATA[自画像 (Jigazō)]]></dcterms:subject>
    <dcterms:description><![CDATA[Aimitsu&#039;s self-portrait at 37 years old. The unique characteristic of his self-portraits is how he tend to paint himself squinting his eyes, looking intently into the distant, as if transfixed at a point. ]]></dcterms:description>
    <dcterms:creator><![CDATA[靉光 (Aimitsu)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 19 (1944)]]></dcterms:date>
    <dcterms:type><![CDATA[Oil on Canvas]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://www.empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/73">
    <dcterms:title><![CDATA[Hunger and Thirst ]]></dcterms:title>
    <dcterms:subject><![CDATA[飢渴 (Kikatsu)]]></dcterms:subject>
    <dcterms:description><![CDATA[Compared to Miyamoto&#039;s many war paintings, Hunger and Thirst is special in many ways. First, it wasn&#039;t commissioned by the military nor is it based on any specific military event or photograph. Miyamoto&#039;s conception for this painting came purely from this own imagination. Secondly, and most apparent, this painting does not portray a glorious subject. It shows an injured and downtrodden Japanese soldier surprised and horrified by his own face reflected from a puddle. Other than highlighting the horrors of war, this painting also depicts the dilemma of Japanese people trying to find their ideal self-identity in a caucasian-centered world. ]]></dcterms:description>
    <dcterms:creator><![CDATA[宮本三郎 (Miyamoto Saburō)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 18 (1943)]]></dcterms:date>
    <dcterms:format><![CDATA[130 x 97 cm]]></dcterms:format>
    <dcterms:type><![CDATA[Oil on Canvas]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://www.empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/54">
    <dcterms:title><![CDATA[Refugees ]]></dcterms:title>
    <dcterms:subject><![CDATA[流亡图 (Refugees)]]></dcterms:subject>
    <dcterms:description><![CDATA[&quot;Refugees&quot; is a life-sized scroll that portrays the suffering of Chinese denizens during the Sino-Japanese war. It came out near the end of the war in 1943, and is an artistic plea for a ceasefire between China and Japan. One of Jiang&#039;s best skills is showing the pain and desperation in the figures&#039;s faces. ]]></dcterms:description>
    <dcterms:creator><![CDATA[蒋兆和 (Jiang Zhaohe)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 18 (1943)]]></dcterms:date>
    <dcterms:format><![CDATA[200 x 2700 cm]]></dcterms:format>
    <dcterms:type><![CDATA[Ink and Pigments on scroll]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://www.empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/48">
    <dcterms:title><![CDATA[Capturing a View]]></dcterms:title>
    <dcterms:subject><![CDATA[ 取景 ]]></dcterms:subject>
    <dcterms:description><![CDATA[This painting was completed one year after Japan has started its full-scale invasion against China. Despite the innocuous looking image of a girl with a camera, the painting has subtle nationalistic messages. The camera conveys a message about Japan&#039;s modernity and a colonizer&#039;s gaze.]]></dcterms:description>
    <dcterms:creator><![CDATA[林之助 (Lin Chih-Chu)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 13 (1938)]]></dcterms:date>
    <dcterms:format><![CDATA[91.0  x 72.7 cm]]></dcterms:format>
    <dcterms:type><![CDATA[Pigment on Paper]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://www.empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/43">
    <dcterms:title><![CDATA[Morning Coolness ]]></dcterms:title>
    <dcterms:subject><![CDATA[朝涼]]></dcterms:subject>
    <dcterms:description><![CDATA[A depiction of Lin&#039;s future wife in a Kimono next to two goats, in front of a wall of morning glories. This work was accepted by the Shin Bunten exhibition.]]></dcterms:description>
    <dcterms:creator><![CDATA[林之助 (Lin Chih-Chu)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 15 (1940)]]></dcterms:date>
    <dcterms:format><![CDATA[283 x 182 cm]]></dcterms:format>
    <dcterms:type><![CDATA[Pigments on Paper. Glue Tempera ]]></dcterms:type>
</rdf:Description></rdf:RDF>
