<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/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/54">
    <dcterms:title><![CDATA[Refugees ]]></dcterms:title>
    <dcterms:subject><![CDATA[流亡图 (Refugees)]]></dcterms:subject>
    <dcterms:description><![CDATA[&quot;Refugees&quot; is a life-sized scroll that portrays the suffering of Chinese denizens during the Sino-Japanese war. It came out near the end of the war in 1943, and is an artistic plea for a ceasefire between China and Japan. One of Jiang&#039;s best skills is showing the pain and desperation in the figures&#039;s faces. ]]></dcterms:description>
    <dcterms:creator><![CDATA[蒋兆和 (Jiang Zhaohe)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 18 (1943)]]></dcterms:date>
    <dcterms:format><![CDATA[200 x 2700 cm]]></dcterms:format>
    <dcterms:type><![CDATA[Ink and Pigments on scroll]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://www.empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/22">
    <dcterms:title><![CDATA[Morning Sun over the Pacific Ocean ]]></dcterms:title>
    <dcterms:subject><![CDATA[東海旭光 (Tōkai Kyokō)]]></dcterms:subject>
    <dcterms:description><![CDATA[A painting of a sailboat at sea in front of a rising sun. This seemingly tranquil image hides a subtle message of Japanese hegemony and ambitions across the Pacific. ]]></dcterms:description>
    <dcterms:creator><![CDATA[藤島武二 (Fujishima Takeji)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 7 (1932)]]></dcterms:date>
    <dcterms:format><![CDATA[​65.2 x 90.9 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/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/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/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/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/77">
    <dcterms:title><![CDATA[Sacred Soldier to the Rescue ]]></dcterms:title>
    <dcterms:subject><![CDATA[神兵の救出到る (Shinhei no Kyushutsu itaru)]]></dcterms:subject>
    <dcterms:description><![CDATA[Unlike Fujita&#039;s other action-packed war paintings, this one is more tranquil. It shows a Japanese soldier entering the house of a luxurious Dutch-owned house in Indonesia, whose owners have tied up their black servant and abandoned her while they ran. The propagandist painting convey a message of Japanese soldiers rescuing other ethnicities from white men, and expressing a sense of moral superiority of the Japanese. Despite this, it still falls into the same tendency of Western paintings where other ethnicities and cultures are feminized and exoticized. For example, the breasts of the female is pronounced while the rifle of the soldier is placed near the figure&#039;s crotch, almost like a phallic symbol. ]]></dcterms:description>
    <dcterms:creator><![CDATA[藤田嗣治 (Fujita Tsuguharu)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 19 (1944)]]></dcterms:date>
    <dcterms:format><![CDATA[192 x 257 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/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/6">
    <dcterms:title><![CDATA[Self-portrait ]]></dcterms:title>
    <dcterms:subject><![CDATA[自画像 (Jigazō)]]></dcterms:subject>
    <dcterms:description><![CDATA[Aimitsu&#039;s self-portrait at 37 years old. The unique characteristic of his self-portraits is how he tend to paint himself squinting his eyes, looking intently into the distant, as if transfixed at a point. ]]></dcterms:description>
    <dcterms:creator><![CDATA[靉光 (Aimitsu)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 19 (1944)]]></dcterms:date>
    <dcterms:type><![CDATA[Oil on Canvas]]></dcterms:type>
</rdf:Description></rdf:RDF>
