<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/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://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://empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/53">
    <dcterms:title><![CDATA[Mother and Child  ( black and white reproduction)]]></dcterms:title>
    <dcterms:subject><![CDATA[母子 ]]></dcterms:subject>
    <dcterms:description><![CDATA[A painting that was displayed along with &quot;Good Day&quot; at the Futen exhibitions. Just like Good Day, it features Lin&#039;s wife and child, and promotes nationalistic ideal of womanhood. ]]></dcterms:description>
    <dcterms:creator><![CDATA[林之助 (Lin Chih-Chu)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 17 (1942)]]></dcterms:date>
    <dcterms:format><![CDATA[135 x 165 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/84">
    <dcterms:title><![CDATA[Mother and Child: The Way from Renzankan of Hōten]]></dcterms:title>
    <dcterms:subject><![CDATA[ 母と子　連山関から奉天に向う (Haha to ko: Renzankan kara Hōten ni mukau)]]></dcterms:subject>
    <dcterms:description><![CDATA[Part of the &quot;祖国への旅&quot; series (Journey to Native Country), which depicts the journey of Japanese returning to their country after World War 2]]></dcterms:description>
    <dcterms:creator><![CDATA[北岡文雄 (Kitaoka Fumio)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 22 (1947)]]></dcterms:date>
    <dcterms:format><![CDATA[27.5 x 19.5 cm]]></dcterms:format>
    <dcterms:type><![CDATA[Woodblock Print]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/112">
    <dcterms:title><![CDATA[Nagasaki Peace Memorial]]></dcterms:title>
    <dcterms:subject><![CDATA[長崎平和祈念像 (Nagasaki Heiwa Kinen-zō)]]></dcterms:subject>
    <dcterms:description><![CDATA[Serving as the centerpiece of Nagasaki Peace Memorial Park, this 13-meter tall bronze statue by Seibo Kitamura has various symbolism in its gestures. The right hand pointing toward the sky represent the threat of nuclear weapons coming from the sky. The left hand outstretched horizontally represent peace across the whole world. Additionally, the serene looking face with closed-eyes is a representation of a prayer to the lives lost in the Nagasaki bombing. <br />
<br />
]]></dcterms:description>
    <dcterms:creator><![CDATA[北村西望 (Kitamura Seibō)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 30 (1955)]]></dcterms:date>
    <dcterms:format><![CDATA[Height: 13 meters]]></dcterms:format>
    <dcterms:type><![CDATA[Bronze statue]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/86">
    <dcterms:title><![CDATA[New Widow: At the Hōten Internment Camp ]]></dcterms:title>
    <dcterms:subject><![CDATA[新しい寡婦　奉天收容所にて (Atarashii Kafu Hōten Shyūyōjo nite)]]></dcterms:subject>
    <dcterms:description><![CDATA[Part of the &quot;祖国への旅&quot; series (Journey to Native Country), which depicts the journey of Japanese returning to their country after World War 2]]></dcterms:description>
    <dcterms:creator><![CDATA[北岡文雄 (Kitaoka Fumio)<br />
]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 22 (1947)]]></dcterms:date>
    <dcterms:format><![CDATA[19.5 x 17.0 cm]]></dcterms:format>
    <dcterms:type><![CDATA[Woodblock Print]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/95">
    <dcterms:title><![CDATA[Omens of a Place I ]]></dcterms:title>
    <dcterms:subject><![CDATA[場所の兆し (1) (basho no kizashi)]]></dcterms:subject>
    <dcterms:creator><![CDATA[中村宏 (Nakamura Hiroshi)]]></dcterms:creator>
    <dcterms:date><![CDATA[1961]]></dcterms:date>
    <dcterms:format><![CDATA[130 x 162 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/59">
    <dcterms:title><![CDATA[On the Steps ]]></dcterms:title>
    <dcterms:subject><![CDATA[階段にて ( kaidan-nite)]]></dcterms:subject>
    <dcterms:description><![CDATA[There are many repetitions and multiplications in this painting. Waves are flowing like water that washes away or traps the figures with glasses. Steps and waves are the motifs that Nakamura repeatedly applies.]]></dcterms:description>
    <dcterms:creator><![CDATA[中村宏 (Nakamura Hiroshi)]]></dcterms:creator>
    <dcterms:format><![CDATA[90.5 x 181.5 cm]]></dcterms:format>
    <dcterms:type><![CDATA[oil on plywood]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://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://empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/102">
    <dcterms:title><![CDATA[Orphan waiting for food]]></dcterms:title>
    <dcterms:subject><![CDATA[ 給食を待つ孤児 (Kyūshoku wo matsu Minashigo)]]></dcterms:subject>
    <dcterms:description><![CDATA[Part of the &quot;祖国への旅&quot; series (Journey to Native Country), which depicts the journey of Japanese returning to their country after World War 2]]></dcterms:description>
    <dcterms:creator><![CDATA[北岡文雄 (Kitaoka Fumio)<br />
]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 22 (1947)]]></dcterms:date>
    <dcterms:format><![CDATA[13.2 X 11.2cm]]></dcterms:format>
    <dcterms:type><![CDATA[Woodblock Print]]></dcterms:type>
</rdf:Description></rdf:RDF>