<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/26">
    <dcterms:title><![CDATA[Resplendent Sign]]></dcterms:title>
    <dcterms:subject><![CDATA[乾坤輝く(Kenkon Kagayaku) ]]></dcterms:subject>
    <dcterms:description><![CDATA[A bright red sun rising next to Mt. Fuji across an extravagant gold background. This painting by Yokoyama Taikan is a nationalistic painting that celebrates Japan&#039;s imperial glory. It is part of the series &quot;Ten Mountain <br />
Views and Ten Ocean Views&quot;, which features twenty hanging scrolls; ten of which are all depictions of Mt. Fuji, while the other ten are ocean paintings. ]]></dcterms:description>
    <dcterms:creator><![CDATA[横山大観 (Yokoyama Taikan)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 15 (1940)]]></dcterms:date>
    <dcterms:format><![CDATA[80.3 x 115.5 cm]]></dcterms:format>
    <dcterms:type><![CDATA[Hanging Scroll, Pigments on Paper]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://www.empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/28">
    <dcterms:title><![CDATA[&quot;Where are you going?&quot; (Quo Vadis)]]></dcterms:title>
    <dcterms:subject><![CDATA[クォ・ヴァディス (Quo Vadis )]]></dcterms:subject>
    <dcterms:description><![CDATA[The title is a latin phrase with biblical origins that translates to &quot;where are you marching?&quot;. This quote describes the lone Japanese soldier with his back turned to us, standing at the crossroads in a barren landscape, uncertain of where to go. This surrealist depiction portrays melancholic state of Japan, as the nation faced an uncertain future after its defeat in World War 2. ]]></dcterms:description>
    <dcterms:creator><![CDATA[北脇昇 (Kitawaki Noboru)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 24 (1949)]]></dcterms:date>
    <dcterms:format><![CDATA[117.0 x 91.0 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/29">
    <dcterms:title><![CDATA[War Defeat Group ]]></dcterms:title>
    <dcterms:subject><![CDATA[敗戦群像 (Haisen Gunzō)]]></dcterms:subject>
    <dcterms:description><![CDATA[A surrealist painting that depicts the artist&#039;s sentiment towards the defeat of Japan following the second world war. In the foreground, we see a heap of human bodies stacked up in a rough pyramid shape in front of a barren desolate landscape. Despite the gloom appearance, there are subtle visual clues that conveys Fukuzawa&#039;s hope for Japan&#039;s revival. For example, rather than being in a state of decay, the cadavers appear muscular and robust, as if they still possess the potential to lift themselves up. ]]></dcterms:description>
    <dcterms:creator><![CDATA[福沢一郎 (Fukuzawa Ichirō)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 24 (1949)]]></dcterms:date>
    <dcterms:format><![CDATA[193.9 x 259.1 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/78">
    <dcterms:title><![CDATA[Man -- Person Living in the Yellow Earth]]></dcterms:title>
    <dcterms:subject><![CDATA[ 男: 黄土に住む人 (Otoko: Ōdo ni sumu hito)]]></dcterms:subject>
    <dcterms:description><![CDATA[This work is supposedly inspired by Fukuzawa&#039;s trip to China in 1939, where he sighted a poor man living among the deserts Loess Plateau. The figure also reflects Fukuzawa&#039;s spiritual condition and a representation of the tragedy suffered by Chinese people during the war. ]]></dcterms:description>
    <dcterms:creator><![CDATA[福沢一郎 (Fukuzawa Ichirō)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 15 (1940)]]></dcterms:date>
    <dcterms:format><![CDATA[116.7 x 91 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/59">
    <dcterms:title><![CDATA[On the Steps ]]></dcterms:title>
    <dcterms:subject><![CDATA[階段にて ( kaidan-nite)]]></dcterms:subject>
    <dcterms:description><![CDATA[There are many repetitions and multiplications in this painting. Waves are flowing like water that washes away or traps the figures with glasses. Steps and waves are the motifs that Nakamura repeatedly applies.]]></dcterms:description>
    <dcterms:creator><![CDATA[中村宏 (Nakamura Hiroshi)]]></dcterms:creator>
    <dcterms:format><![CDATA[90.5 x 181.5 cm]]></dcterms:format>
    <dcterms:type><![CDATA[oil on plywood]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://www.empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/82">
    <dcterms:title><![CDATA[Portrait of Sakutarō Hagiwara ]]></dcterms:title>
    <dcterms:subject><![CDATA[「氷島」の著者（萩原朔太郎像）(「Hyōtō」no Chosha: Hagiwara Sakutarō zou)]]></dcterms:subject>
    <dcterms:description><![CDATA[This print is dedicated to Onchi&#039;s friend of 20 years, famous modern Japanese poet Hagiwara Sakutarō. It was created one year after Hagiwara&#039;s death in 1942. In this print, Onchi illuminates the life-long hard work and anguish that Hagiwara endured through the wrinkles on his face and his solemn expression. Today, it&#039;s seen as one of the finest exemplars of the &quot;Sōsaku Hanga&quot; (Creative Print) movement in Japan]]></dcterms:description>
    <dcterms:creator><![CDATA[Onchi Kōshirō (恩地孝四郎)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 18 (1943)]]></dcterms:date>
    <dcterms:format><![CDATA[56.2 x 43.8 cm]]></dcterms:format>
    <dcterms:type><![CDATA[Color Woodcut]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://www.empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/83">
    <dcterms:title><![CDATA[At Ruin--Allegory No. 3]]></dcterms:title>
    <dcterms:subject><![CDATA[アレゴリーNo.3 廃墟 (Aregori--No.3 Haikyo)]]></dcterms:subject>
    <dcterms:creator><![CDATA[Onchi Kōshirō (恩地孝四郎)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shõwa 23 (1948)]]></dcterms:date>
    <dcterms:format><![CDATA[50.5 × 40.5 cm]]></dcterms:format>
    <dcterms:type><![CDATA[Color Woodcut]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://www.empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/113">
    <dcterms:title><![CDATA[Bronze Statue of Yamagata Aritomo]]></dcterms:title>
    <dcterms:subject><![CDATA[ 山県有朋銅像 (Yamagata Aritomo Dōzō) ]]></dcterms:subject>
    <dcterms:description><![CDATA[A bronze statue of Field Marshal Yamagata Aritomo by Kitamura Seibō, unveiled near the Imperial Diet Building in 1929. Today, it was moved to Hagi in Yamaguchi prefecture due to its controversial imperialist connotations. ]]></dcterms:description>
    <dcterms:creator><![CDATA[北村西望 (Kitamura Seibō)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 4 (1929)]]></dcterms:date>
    <dcterms:format><![CDATA[Unknown]]></dcterms:format>
    <dcterms:type><![CDATA[Bronze statue]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://www.empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/112">
    <dcterms:title><![CDATA[Nagasaki Peace Memorial]]></dcterms:title>
    <dcterms:subject><![CDATA[長崎平和祈念像 (Nagasaki Heiwa Kinen-zō)]]></dcterms:subject>
    <dcterms:description><![CDATA[Serving as the centerpiece of Nagasaki Peace Memorial Park, this 13-meter tall bronze statue by Seibo Kitamura has various symbolism in its gestures. The right hand pointing toward the sky represent the threat of nuclear weapons coming from the sky. The left hand outstretched horizontally represent peace across the whole world. Additionally, the serene looking face with closed-eyes is a representation of a prayer to the lives lost in the Nagasaki bombing. <br />
<br />
]]></dcterms:description>
    <dcterms:creator><![CDATA[北村西望 (Kitamura Seibō)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 30 (1955)]]></dcterms:date>
    <dcterms:format><![CDATA[Height: 13 meters]]></dcterms:format>
    <dcterms:type><![CDATA[Bronze statue]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://www.empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/110">
    <dcterms:title><![CDATA[Hiroshima Peace Memorial Park  ]]></dcterms:title>
    <dcterms:subject><![CDATA[広島平和記念公園 (Hiroshima Heiwa Kinen Kō-en)]]></dcterms:subject>
    <dcterms:description><![CDATA[Out of the multiple design proposals for Hiroshima Peace Memorial Park, it was Kenzō Tange&#039;s design that is chosen in the end. Tange&#039;s architecture plans is a mixture of modernist design and Japanese tradition. For example, the cenotaph in front of the exhibition hall is based on prehistoric Japanese &quot;haniwa&quot; ceramics. This turn towards traditions is a continuation of the wartime &quot;tradition debate&quot; in Japanese architecture, where architects debate on ways to implement traditional Japanese architectural characteristics in modern buildings as a celebration of Japanese imperialism. By the postwar period, architects began to look toward the more distant prehistoric past of Japan for inspiration as a justification of implementing Japanese conventions without the imperialistic implications.<br />
<br />
The exhibition hall, on the other hand, utilizes modern designs and shows great influence from famous architect Corbusier]]></dcterms:description>
    <dcterms:creator><![CDATA[丹下健三 (Tange Kenzō)]]></dcterms:creator>
    <dcterms:date><![CDATA[昭和27 (Showa 27)]]></dcterms:date>
    <dcterms:format><![CDATA[N.A]]></dcterms:format>
    <dcterms:type><![CDATA[Architecture]]></dcterms:type>
</rdf:Description></rdf:RDF>
