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                  <text>Weeks 2-5: Art, Empire and War (1930-1945) </text>
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                <text>Lady Kusunoki</text>
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                <text> 楠公夫人 (Nankō Fujin）</text>
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                <text>上村松園 (Uemura Shōen)</text>
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                <text>Shōwa 19 (1944)</text>
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                <text>Pigments on Silk</text>
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                <text>A portrait of Lady Kusunoki, the wife Kusunoki Masashige. </text>
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        <name>Uemura Shōen</name>
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                <text>Meeting of Generals Yamashita and Percival </text>
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                <text>山下、パーシバル両司令官会見図 (Yamashita, Pāshibaru ryōshireikan kaiken zu)</text>
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                <text>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. </text>
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                <text>宮本三郎 (Miyamoto Saburō)</text>
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                <text>Shōwa 17 (1942)</text>
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                <text>Oil on Canvas</text>
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                <text>Attack on Nanyuan, Beijing </text>
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                <text>南苑攻撃図 (Nan-en Kōgeki-zu)</text>
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                <text>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's 1830 painting "Liberty Leading the People", demonstrating how Miyamoto adapted body languages from Western art to celebrate Imperial Japan's glory</text>
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                <text>宮本三郎 (Miyamoto Saburō)</text>
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                <text>Shōwa 16 (1941)</text>
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                <text>Captives</text>
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                <text>捕虜 (Horyo)</text>
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                <text>宮本三郎 (Miyamoto Saburō)</text>
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                <text>43.5 x 27.8 cm</text>
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                <text>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'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</text>
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                <text>Hunger and Thirst </text>
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                <text>飢渴 (Kikatsu)</text>
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                <text>宮本三郎 (Miyamoto Saburō)</text>
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                <text>Shōwa 18 (1943)</text>
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                <text>130 x 97 cm</text>
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                <text>Oil on Canvas</text>
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                <text>Compared to Miyamoto's many war paintings, Hunger and Thirst is special in many ways. First, it wasn't commissioned by the military nor is it based on any specific military event or photograph. Miyamoto'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. </text>
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                <text>立ている像 (Tatte-iru Zō)</text>
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                <text>松本竣介 (Matsumoto Shunsuke)</text>
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                <text>Shōwa 17 (1942)</text>
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                <text>A standing self-portrait </text>
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              <description>A name given to the resource</description>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Portrait of a Painter</text>
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          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>画家の像 (Gaka no Zō)</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>松本竣介 (Matsumoto Shunsuke)</text>
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            <name>Date</name>
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                <text>Shōwa 16 (1941)</text>
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                <text>162.56 x 112.73 cm</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Portrait of an artist, presumably Matsumoto himself, with his family. </text>
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        <name>Matsumoto Shunsuke</name>
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        <name>Yōga</name>
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            <description>A name given to the resource</description>
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                <text>In the Vicinity of the Diet Building</text>
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            <description>The topic of the resource</description>
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                <text>議事堂のある風景 (Gijidō-no-aru-Fūkei)</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>松本竣介 (Matsumoto Shunsuke)</text>
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                <text>Shōwa 17 (1942)</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>Oil on Canvas</text>
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                <text>An urban landscape of the Diet Building's surrounding area</text>
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        <name>Matsumoto Shunsuke</name>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Good Day </text>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>好日</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>The artist painted his own wife and daughter in this painting. It conveys the ideological theme of "good wife, wise mother (良妻賢母, Ryōsai Kenbo), which was propagated across Japan and its colonies from the 19th to 20th century. </text>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="270">
                <text>林之助 (Lin Chih-Chu)</text>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>Shōwa 18 (1943)</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>165 x 135 cm</text>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>Pigments on Paper</text>
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        <name>Lin Chih-Chu</name>
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        <name>Nihonga</name>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Weeks 2-5: Art, Empire and War (1930-1945) </text>
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    <elementSetContainer>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Morning Coolness </text>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>朝涼</text>
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                <text>A depiction of Lin'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.</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>林之助 (Lin Chih-Chu)</text>
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            <name>Date</name>
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                <text>Shōwa 15 (1940)</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>283 x 182 cm</text>
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            <name>Type</name>
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                <text>Pigments on Paper. Glue Tempera </text>
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        <name>Lin Chih-Chu</name>
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