<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/45">
    <dcterms:title><![CDATA[Hiroshima #88 ]]></dcterms:title>
    <dcterms:subject><![CDATA[ひろしま (Hiroshima) #88]]></dcterms:subject>
    <dcterms:creator><![CDATA[石内都 (Ishiuchi Miyako)]]></dcterms:creator>
    <dcterms:date><![CDATA[Heisei 20 (2008)]]></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/44">
    <dcterms:title><![CDATA[A House of Comfort]]></dcterms:title>
    <dcterms:subject><![CDATA[A House of Comfort (Original title)]]></dcterms:subject>
    <dcterms:description><![CDATA[The image consists of photos of a military brothel, prostitutes, and a person in underwear tinted with red. The artist raises the awareness to the tabooed issue of Japanese history to question the system of exploitation.]]></dcterms:description>
    <dcterms:creator><![CDATA[嶋田美子 (Shimada Yoshiko)]]></dcterms:creator>
    <dcterms:date><![CDATA[Heisei 5 (1993)]]></dcterms:date>
    <dcterms:format><![CDATA[60 x 45 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/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: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/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/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/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/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/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/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:RDF>