<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://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://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://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://empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/48">
    <dcterms:title><![CDATA[Capturing a View]]></dcterms:title>
    <dcterms:subject><![CDATA[ 取景 ]]></dcterms:subject>
    <dcterms:description><![CDATA[This painting was completed one year after Japan has started its full-scale invasion against China. Despite the innocuous looking image of a girl with a camera, the painting has subtle nationalistic messages. The camera conveys a message about Japan&#039;s modernity and a colonizer&#039;s gaze.]]></dcterms:description>
    <dcterms:creator><![CDATA[林之助 (Lin Chih-Chu)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 13 (1938)]]></dcterms:date>
    <dcterms:format><![CDATA[91.0  x 72.7 cm]]></dcterms:format>
    <dcterms:type><![CDATA[Pigment on Paper]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://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://empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/23">
    <dcterms:title><![CDATA[Forbidden City ]]></dcterms:title>
    <dcterms:subject><![CDATA[紫禁城 (Shikinjō)]]></dcterms:subject>
    <dcterms:description><![CDATA[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. ]]></dcterms:description>
    <dcterms:creator><![CDATA[梅原龍三郎 (Umehara Ryūzaburō)]]></dcterms:creator>
    <dcterms:date><![CDATA[1940 (Shōwa 15)]]></dcterms:date>
    <dcterms:format><![CDATA[112 x 150 cm]]></dcterms:format>
    <dcterms:type><![CDATA[Oil on Canvas]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://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://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://empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/14">
    <dcterms:title><![CDATA[In the Vicinity of the Diet Building]]></dcterms:title>
    <dcterms:subject><![CDATA[議事堂のある風景 (Gijidō-no-aru-Fūkei)]]></dcterms:subject>
    <dcterms:description><![CDATA[An urban landscape of the Diet Building&#039;s surrounding area]]></dcterms:description>
    <dcterms:creator><![CDATA[松本竣介 (Matsumoto Shunsuke)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 17 (1942)]]></dcterms:date>
    <dcterms:format><![CDATA[61 x 92 cm]]></dcterms:format>
    <dcterms:type><![CDATA[Oil on Canvas]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/3">
    <dcterms:title><![CDATA[Japan: Where the Sun Rises ]]></dcterms:title>
    <dcterms:subject><![CDATA[日出処日本（hi izuru tokoro nippon)]]></dcterms:subject>
    <dcterms:description><![CDATA[A landscape of Mt. Fuji  rising from the mist alongside a crimson red sun in the sky. This painting is filled with nationalistic sentiment<br />
]]></dcterms:description>
    <dcterms:creator><![CDATA[横山大観 (Yokoyama Taikan)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 15 (1926)]]></dcterms:date>
    <dcterms:type><![CDATA[Hanging Scroll, Pigments on Silk]]></dcterms:type>
</rdf:Description></rdf:RDF>