<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/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/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/75">
    <dcterms:title><![CDATA[Coal Storage ]]></dcterms:title>
    <dcterms:subject><![CDATA[石炭置き場 (Sekitan okiba)]]></dcterms:subject>
    <dcterms:creator><![CDATA[中村宏 (Nakamura Hiroshi)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa  30 (1955)]]></dcterms:date>
    <dcterms:format><![CDATA[72.8 x 49.8 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/41">
    <dcterms:title><![CDATA[Comfort Women, Women of Conformity ]]></dcterms:title>
    <dcterms:subject><![CDATA[Comfort Women, Women of Conformity (Original title)]]></dcterms:subject>
    <dcterms:description><![CDATA[By contrasting images of Japanese mothers and Korean comfort women, Shimada visualizes the imperialist hierarchy.]]></dcterms:description>
    <dcterms:creator><![CDATA[嶋田美子 (Shimada Yoshiko)]]></dcterms:creator>
    <dcterms:date><![CDATA[Heisei 6 (1994)]]></dcterms:date>
    <dcterms:format><![CDATA[30 x 21 cm]]></dcterms:format>
    <dcterms:type><![CDATA[Artist&#039;s book]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://www.empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/63">
    <dcterms:title><![CDATA[Decoy]]></dcterms:title>
    <dcterms:subject><![CDATA[Decoy]]></dcterms:subject>
    <dcterms:creator><![CDATA[石井茂雄 (Ishii Shigeo)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 36 (1961)]]></dcterms:date>
    <dcterms:format><![CDATA[130.8 X 162.2 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/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/60">
    <dcterms:title><![CDATA[Fierce Fighting on Guadalcanal ]]></dcterms:title>
    <dcterms:subject><![CDATA[血戦ガダルカナル (Kessen Gadarukanaru)]]></dcterms:subject>
    <dcterms:description><![CDATA[A painting that depicts the bloody battle between Japanese and American troops during the Guadalcanal campaign. Fujita captures the chaotic and terrifying atmosphere of the battle with the distorted bodies  being nearly indistinguishable from the mud, and the flash of lightning in the background.]]></dcterms:description>
    <dcterms:creator><![CDATA[藤田嗣治 (Fujita Tsuguharu)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 19 (1944)]]></dcterms:date>
    <dcterms:format><![CDATA[ 262 x 265 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/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/42">
    <dcterms:title><![CDATA[Good Day ]]></dcterms:title>
    <dcterms:subject><![CDATA[好日]]></dcterms:subject>
    <dcterms:description><![CDATA[The artist painted his own wife and daughter in this painting. It conveys the ideological theme of &quot;good wife, wise mother (良妻賢母, Ryōsai Kenbo), which was propagated across Japan and its colonies from the 19th to 20th century. ]]></dcterms:description>
    <dcterms:creator><![CDATA[林之助 (Lin Chih-Chu)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 18 (1943)]]></dcterms:date>
    <dcterms:format><![CDATA[165 x 135 cm]]></dcterms:format>
    <dcterms:type><![CDATA[Pigments on Paper]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://www.empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/92">
    <dcterms:title><![CDATA[Gunned Down]]></dcterms:title>
    <dcterms:subject><![CDATA[ 射殺 (Shasatsu)]]></dcterms:subject>
    <dcterms:description><![CDATA[Nakamura&#039;s comment on the Girard Incident, a shooting of a middle-aged mother in a firing range by an off-duty U.S. guard.]]></dcterms:description>
    <dcterms:creator><![CDATA[中村 宏 (Nakamura Hiroshi)]]></dcterms:creator>
    <dcterms:date><![CDATA[1957]]></dcterms:date>
    <dcterms:format><![CDATA[73 × 91 cm]]></dcterms:format>
    <dcterms:type><![CDATA[Oil on Canvas]]></dcterms:type>
</rdf:Description></rdf:RDF>
