<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/56">
    <dcterms:title><![CDATA[Japanese national flag ]]></dcterms:title>
    <dcterms:subject><![CDATA[日本国旗 (Japanese national flag)]]></dcterms:subject>
    <dcterms:description><![CDATA[The picture is from Kawada&#039;s book The Map (地図). ]]></dcterms:description>
    <dcterms:creator><![CDATA[川田喜久治 (Kawada Kikuji)]]></dcterms:creator>
    <dcterms:publisher><![CDATA[Getsuyo Sha]]></dcterms:publisher>
    <dcterms:date><![CDATA[1959-65]]></dcterms:date>
</rdf:Description><rdf:Description rdf:about="https://www.empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/15">
    <dcterms:title><![CDATA[Lady Kusunoki]]></dcterms:title>
    <dcterms:subject><![CDATA[ 楠公夫人 (Nankō Fujin）]]></dcterms:subject>
    <dcterms:description><![CDATA[A portrait of Lady Kusunoki, the wife Kusunoki Masashige. ]]></dcterms:description>
    <dcterms:creator><![CDATA[上村松園 (Uemura Shōen)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 19 (1944)]]></dcterms:date>
    <dcterms:format><![CDATA[60 x 71.5 cm]]></dcterms:format>
    <dcterms:type><![CDATA[Pigments on Silk]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://www.empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/11">
    <dcterms:title><![CDATA[Landscape with an Eye ]]></dcterms:title>
    <dcterms:subject><![CDATA[眼のある風景 (Me no aru Fūkei)]]></dcterms:subject>
    <dcterms:description><![CDATA[Surrealist landscape with an eye]]></dcterms:description>
    <dcterms:creator><![CDATA[靉光 (Aimitsu)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 13 (1938)]]></dcterms:date>
    <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/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/50">
    <dcterms:title><![CDATA[Miyuki Bridge, shortly after 11:00 am, 6 August 1945]]></dcterms:title>
    <dcterms:subject><![CDATA[御幸橋、8月6日午前11時すぎ (Miyuki Bridge, shortly after 11:00 am, 6 August 1945)]]></dcterms:subject>
    <dcterms:description><![CDATA[A temporary medical treatment station was set up and insured people were waiting for treatment.]]></dcterms:description>
    <dcterms:creator><![CDATA[松重美人 (Matsushige Yoshito)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 20 (1945)]]></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/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:Description rdf:about="https://www.empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/121">
    <dcterms:title><![CDATA[Modern Japanese Timeline]]></dcterms:title>
</rdf:Description><rdf:Description rdf:about="https://www.empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/43">
    <dcterms:title><![CDATA[Morning Coolness ]]></dcterms:title>
    <dcterms:subject><![CDATA[朝涼]]></dcterms:subject>
    <dcterms:description><![CDATA[A depiction of Lin&#039;s future wife in a Kimono next to two goats, in front of a wall of morning glories. This work was accepted by the Shin Bunten exhibition.]]></dcterms:description>
    <dcterms:creator><![CDATA[林之助 (Lin Chih-Chu)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 15 (1940)]]></dcterms:date>
    <dcterms:format><![CDATA[283 x 182 cm]]></dcterms:format>
    <dcterms:type><![CDATA[Pigments on Paper. Glue Tempera ]]></dcterms:type>
</rdf:Description></rdf:RDF>