<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/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/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/114">
    <dcterms:title><![CDATA[Children&#039;s Peace Monument]]></dcterms:title>
    <dcterms:subject><![CDATA[原爆の子の像 (Genbaku no Ko no Zō)]]></dcterms:subject>
    <dcterms:description><![CDATA[This sculpture is a memorial to all the child victims of the atomic bomb and also a specific commemoration to the story of Sadako Sasaki.<br />
<br />
Sadako Sasaki was a 2 year old girl living in Nagasaki when the atomic bomb dropped on the city, and she suffered from radiation poisoning. Before her death at the age of 12, she attempted to fold 1000 paper cranes due to a popular Japanese legend that doing so will grant one wish and bring good fortune. She died before she can finish 1000 cranes and her story became one of the most well-known tragic tale associated with the atomic bomb. Today, people still leave paper cranes in front of the monument]]></dcterms:description>
    <dcterms:creator><![CDATA[菊池一雄 (Kikuchi Kazuo)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 33 (1958)]]></dcterms:date>
    <dcterms:format><![CDATA[Unknown]]></dcterms:format>
    <dcterms:type><![CDATA[Bronze and concrete sculpture]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://www.empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/91">
    <dcterms:title><![CDATA[Disinfection at the Port ]]></dcterms:title>
    <dcterms:subject><![CDATA[上陸前のDDT (Jōriku mae no DDT)]]></dcterms:subject>
    <dcterms:description><![CDATA[Part of the &quot;祖国への旅&quot; series (Journey to Native Country), which depicts the journey of Japanese returning to their country after World War 2<br />
<br />
Here, citizen returning to Japan from overseas were quarantined and sprayed with harmful DDT before they can set foot on Japan. ]]></dcterms:description>
    <dcterms:creator><![CDATA[北岡文雄 (Kitaoka Fumio)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 20 (1945)]]></dcterms:date>
    <dcterms:format><![CDATA[12.8 x 10.8 cm]]></dcterms:format>
    <dcterms:type><![CDATA[Woodblock Print]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://www.empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/80">
    <dcterms:title><![CDATA[Hiroshima Panels]]></dcterms:title>
    <dcterms:subject><![CDATA[原爆の図 (Genbaku no Zu)]]></dcterms:subject>
    <dcterms:creator><![CDATA[丸木位里 (Maruki Iri) and 赤松俊子 (Akamatsu Toshiko)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 25 (1950)]]></dcterms:date>
    <dcterms:format><![CDATA[Individual Panel: 1.8 x 7.2 m (30 total)]]></dcterms:format>
    <dcterms:type><![CDATA[Screen-painting, Pigments on Silk<br />
]]></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:Description rdf:about="https://www.empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/99">
    <dcterms:title><![CDATA[In the Hold of a Ship]]></dcterms:title>
    <dcterms:subject><![CDATA[ 船艘 (Sensō)]]></dcterms:subject>
    <dcterms:description><![CDATA[Part of the &quot;祖国への旅&quot; series (Journey to Native Country), which depicts the journey of Japanese returning to their country after World War 2]]></dcterms:description>
    <dcterms:creator><![CDATA[北岡文雄 (Kitaoka Fumio)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 22 (1947)]]></dcterms:date>
    <dcterms:format><![CDATA[15.7 × 20.3 cm]]></dcterms:format>
    <dcterms:type><![CDATA[Woodblock Print]]></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/107">
    <dcterms:title><![CDATA[Model for the Memorial to the Dead of Hiroshima ]]></dcterms:title>
    <dcterms:description><![CDATA[Noguchi&#039;s planned model for the bomb atomic memorial for Hiroshima Peace Memorial Park, which was rejected for a variety of reasons. Noguchi took inspirations from Japanese traditional ceramics and maternal symbolisms for his cenotaph. He claimed that the shape of his planned cenotaph was based on Japanese &quot;haniwa&quot;, prehistoric Japanese pottery figurines. The shape and design of the cenotaph also convey some maternal messages, as the underground chamber underneath the cenotaph represent a womb while the legs of cenotaph is roughly shaped like maternal thighs. ]]></dcterms:description>
    <dcterms:creator><![CDATA[野口　勇 (Noguchi Isamu)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 27 (1952)]]></dcterms:date>
    <dcterms:format><![CDATA[N.A]]></dcterms:format>
    <dcterms:type><![CDATA[unrealized model (black granite and concrete intended)]]></dcterms:type>
</rdf:Description></rdf:RDF>
