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                  <text>Weeks 6-10: Art and the Allied Occupation (1945-1952) </text>
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                <text>"Where are you going?" (Quo Vadis)</text>
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                <text>クォ・ヴァディス (Quo Vadis )</text>
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                <text>The title is a latin phrase with biblical origins that translates to "where are you marching?". 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. </text>
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                <text>北脇昇 (Kitawaki Noboru)</text>
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                <text>Shōwa 24 (1949)</text>
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        <name>Kitawaki Noboru</name>
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                  <text>Weeks 2-5: Art, Empire and War (1930-1945) </text>
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                <text>Attu Island Gyokusai </text>
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                <text>アッツ島玉砕 (Attsu-tō Gyokusai)</text>
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                <text>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 "Gyokusai" in the title roughly translates to "smashed jewel", and it's a reference to a 6th-century Chinese text that states "it's better to be a smashed jewel than an intact tile"; a proclamation on the beauty of self-sacrifice. </text>
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                <text>藤田嗣治 (Fujita Tsuguharu)</text>
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                <text>Shōwa 18 (1943)</text>
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                <text>Oil on Canvas</text>
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        <name>Fujita Tsuguharu</name>
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            <description>A name given to the resource</description>
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                <text>Resplendent Sign</text>
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                <text>乾坤輝く(Kenkon Kagayaku) </text>
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                <text>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's imperial glory. It is part of the series "Ten Mountain &#13;
Views and Ten Ocean Views", which features twenty hanging scrolls; ten of which are all depictions of Mt. Fuji, while the other ten are ocean paintings. </text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>横山大観 (Yokoyama Taikan)</text>
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                <text>Shōwa 15 (1940)</text>
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                <text>80.3 x 115.5 cm</text>
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                <text>Hanging Scroll, Pigments on Paper</text>
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            <description>A name given to the resource</description>
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                <text>Orchid </text>
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                <text>芳蕙 (Hōkei)</text>
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                <text>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 "oriental beauty." For such an image, he proposes three crucial components: Chinese clothing, Japanese women, and Western painting. </text>
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                <text>藤島武二 (Fujishima Takeji)</text>
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                <text>Taishō 15 (1926)</text>
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                <text>65 x 53 cm</text>
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            <description>The nature or genre of the resource</description>
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                <text>Oil on Canvas</text>
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        <name>Fujishima Takeji</name>
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              <description>A name given to the resource</description>
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                <text>Forbidden City </text>
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                <text>紫禁城 (Shikinjō)</text>
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                <text>A painting of the famous Forbidden City in Beijing, China. Umehara Ryuzaburō is intrigued by Chinese culture and history during his time living in Beijing. He even rented an apartment right next to the Forbidden City so he can get a good view. </text>
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                <text>梅原龍三郎 (Umehara Ryūzaburō)</text>
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                <text>1940 (Shōwa 15)</text>
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            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>112 x 150 cm</text>
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                <text>Oil on Canvas</text>
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        <name>Umehara Ryūzaburō</name>
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              <description>A name given to the resource</description>
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            <description>A name given to the resource</description>
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                <text>Morning Sun over the Pacific Ocean </text>
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                <text>東海旭光 (Tōkai Kyokō)</text>
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                <text>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. </text>
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                <text>藤島武二 (Fujishima Takeji)</text>
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                <text>Shōwa 7 (1932)</text>
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                <text>​65.2 x 90.9 cm</text>
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        <name>Fujishima Takeji</name>
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                <text>A standing self-portrait </text>
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