<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/57">
    <dcterms:title><![CDATA[Marriage of hibakushas ]]></dcterms:title>
    <dcterms:subject><![CDATA[被爆者同士の結婚 (Mr. and Mrs. Kotani: Two who have suffered from the bomb)]]></dcterms:subject>
    <dcterms:creator><![CDATA[土門拳 (Domon Ken)]]></dcterms:creator>
    <dcterms:date><![CDATA[1957]]></dcterms:date>
    <dcterms:type><![CDATA[Photograph]]></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/71">
    <dcterms:title><![CDATA[Attack on Nanyuan, Beijing ]]></dcterms:title>
    <dcterms:subject><![CDATA[南苑攻撃図 (Nan-en Kōgeki-zu)]]></dcterms:subject>
    <dcterms:description><![CDATA[A painting by Miyamoto depicting the Japanese attack on Beijing during World War 2. The pose of the soldier raising his rifle and flag is modeled after Lady Liberty in Eugene Delacroix&#039;s 1830 painting &quot;Liberty Leading the People&quot;, demonstrating how Miyamoto adapted body languages from Western art to celebrate Imperial Japan&#039;s glory]]></dcterms:description>
    <dcterms:creator><![CDATA[宮本三郎 (Miyamoto Saburō)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 16 (1941)]]></dcterms:date>
    <dcterms:format><![CDATA[176.7 x 255 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/72">
    <dcterms:title><![CDATA[Captives]]></dcterms:title>
    <dcterms:subject><![CDATA[捕虜 (Horyo)]]></dcterms:subject>
    <dcterms:description><![CDATA[Sketches of Australian Prisoners-of-War by Miyamoto Saburo when he visited Singapore during World War 2. Even though Miyamoto is aware that these Westerners are Japan&#039;s enemies, he still admired the physical characteristics of these caucasian men. He proudly highlights the muscular upper torso and robust physiques of these men, even though they are prisoners]]></dcterms:description>
    <dcterms:creator><![CDATA[宮本三郎 (Miyamoto Saburō)]]></dcterms:creator>
    <dcterms:format><![CDATA[43.5 x 27.8 cm]]></dcterms:format>
    <dcterms:type><![CDATA[Pencil, crayon, and watercolors on paper]]></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/52">
    <dcterms:title><![CDATA[Installation view of &quot;the Woman at the Butcher&#039;s Shop&quot;]]></dcterms:title>
    <dcterms:subject><![CDATA[「肉屋の女」展示風景]]></dcterms:subject>
    <dcterms:creator><![CDATA[山城知佳子 (Yamashiro Chikako)]]></dcterms:creator>
    <dcterms:date><![CDATA[2013]]></dcterms:date>
    <dcterms:format><![CDATA[21 min]]></dcterms:format>
    <dcterms:type><![CDATA[3-channels video projection]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://www.empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/55">
    <dcterms:title><![CDATA[The Woman at the Butcher&#039;s Shop ]]></dcterms:title>
    <dcterms:subject><![CDATA[肉屋の女 (Nikuya no onna)]]></dcterms:subject>
    <dcterms:creator><![CDATA[山城知佳子 (Yamashiro Chikako)]]></dcterms:creator>
    <dcterms:date><![CDATA[2013]]></dcterms:date>
    <dcterms:format><![CDATA[21 min]]></dcterms:format>
    <dcterms:type><![CDATA[3-channels video projection]]></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:RDF>