<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/24">
    <dcterms:title><![CDATA[Orchid ]]></dcterms:title>
    <dcterms:subject><![CDATA[芳蕙 (Hōkei)]]></dcterms:subject>
    <dcterms:description><![CDATA[Side-profile of a woman in traditional Chinese dress and attire holding an orchid. Through this painting, Fujishima aims to create his idealized portraiture of &quot;oriental beauty.&quot; For such an image, he proposes three crucial components: Chinese clothing, Japanese women, and Western painting. ]]></dcterms:description>
    <dcterms:creator><![CDATA[藤島武二 (Fujishima Takeji)]]></dcterms:creator>
    <dcterms:date><![CDATA[Taishō 15 (1926)]]></dcterms:date>
    <dcterms:format><![CDATA[65 x 53 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/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/27">
    <dcterms:title><![CDATA[Attu Island Gyokusai ]]></dcterms:title>
    <dcterms:subject><![CDATA[アッツ島玉砕 (Attsu-tō Gyokusai)]]></dcterms:subject>
    <dcterms:description><![CDATA[This oil painting depicts the final banzai charge of Japanese soldiers against American troops during the Battle of Attu island, one of bloodiest battles in the Pacific War. The word &quot;Gyokusai&quot; in the title roughly translates to &quot;smashed jewel&quot;, and it&#039;s a reference to a 6th-century Chinese text that states &quot;it&#039;s better to be a smashed jewel than an intact tile&quot;; a proclamation on the beauty of self-sacrifice. ]]></dcterms:description>
    <dcterms:creator><![CDATA[藤田嗣治 (Fujita Tsuguharu)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 18 (1943)]]></dcterms:date>
    <dcterms:format><![CDATA[193.5 × 259.5 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/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/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/36">
    <dcterms:title><![CDATA[Summer Evening at Lakeside ]]></dcterms:title>
    <dcterms:subject><![CDATA[池畔納涼 (Chihan Nōryō)]]></dcterms:subject>
    <dcterms:description><![CDATA[A painting showing two women clad in kimono enjoying <br />
a cool evening by the lakeside. Back then, paintings showing Japanese women in kimono were popular and touted as an exemplar of Japanese feminine beauty. ]]></dcterms:description>
    <dcterms:creator><![CDATA[藤島武二 (Fujishima Takeji)]]></dcterms:creator>
    <dcterms:date><![CDATA[Meiji 30 (1897)]]></dcterms:date>
    <dcterms:format><![CDATA[152.0 × 194.4 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/38">
    <dcterms:title><![CDATA[A Picture to be Burnt]]></dcterms:title>
    <dcterms:subject><![CDATA[ 焼かれるべき絵 (Yakareru beki e)]]></dcterms:subject>
    <dcterms:description><![CDATA[A portrait of Emperor Hirohito with his face erased is placed in the middle of a Japanese national flag and is crossed over with a bold red diagonal lines from each corner of the flag.]]></dcterms:description>
    <dcterms:creator><![CDATA[嶋田美子 (Shimada Yoshiko)]]></dcterms:creator>
    <dcterms:publisher><![CDATA[1993]]></dcterms:publisher>
    <dcterms:date><![CDATA[Heisei 5 (1993)]]></dcterms:date>
    <dcterms:format><![CDATA[70.3 x 52.4 cm]]></dcterms:format>
    <dcterms:type><![CDATA[Etching]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://www.empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/40">
    <dcterms:title><![CDATA[Mother and Child]]></dcterms:title>
    <dcterms:subject><![CDATA[Mother and Child (Original title)]]></dcterms:subject>
    <dcterms:description><![CDATA[Several images of mother and child are layered to show the expected roles of mothers across the society.  The cult of motherhood was one of the discourses to support the nationalist ideology for illusory unity during the war. ]]></dcterms:description>
    <dcterms:creator><![CDATA[嶋田美子 (Shimada Yoshiko)]]></dcterms:creator>
    <dcterms:date><![CDATA[Heisei 5 (1993)]]></dcterms:date>
    <dcterms:format><![CDATA[66.5 x 46.2 cm]]></dcterms:format>
    <dcterms:type><![CDATA[Etching and aquatint in colors]]></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:RDF>
