<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/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/75">
    <dcterms:title><![CDATA[Coal Storage ]]></dcterms:title>
    <dcterms:subject><![CDATA[石炭置き場 (Sekitan okiba)]]></dcterms:subject>
    <dcterms:creator><![CDATA[中村宏 (Nakamura Hiroshi)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa  30 (1955)]]></dcterms:date>
    <dcterms:format><![CDATA[72.8 x 49.8 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/76">
    <dcterms:title><![CDATA[Japan railway, Shinagawa station ]]></dcterms:title>
    <dcterms:subject><![CDATA[国鉄品川 (Kokutetsu Shinagawa)]]></dcterms:subject>
    <dcterms:creator><![CDATA[中村宏 (Nakamura Hiroshi)]]></dcterms:creator>
    <dcterms:format><![CDATA[37.5 x 101.5 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/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://empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/78">
    <dcterms:title><![CDATA[Man -- Person Living in the Yellow Earth]]></dcterms:title>
    <dcterms:subject><![CDATA[ 男: 黄土に住む人 (Otoko: Ōdo ni sumu hito)]]></dcterms:subject>
    <dcterms:description><![CDATA[This work is supposedly inspired by Fukuzawa&#039;s trip to China in 1939, where he sighted a poor man living among the deserts Loess Plateau. The figure also reflects Fukuzawa&#039;s spiritual condition and a representation of the tragedy suffered by Chinese people during the war. ]]></dcterms:description>
    <dcterms:creator><![CDATA[福沢一郎 (Fukuzawa Ichirō)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 15 (1940)]]></dcterms:date>
    <dcterms:format><![CDATA[116.7 x 91 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/80">
    <dcterms:title><![CDATA[Hiroshima Panels]]></dcterms:title>
    <dcterms:subject><![CDATA[原爆の図 (Genbaku no Zu)]]></dcterms:subject>
    <dcterms:creator><![CDATA[丸木位里 (Maruki Iri) and 赤松俊子 (Akamatsu Toshiko)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 25 (1950)]]></dcterms:date>
    <dcterms:format><![CDATA[Individual Panel: 1.8 x 7.2 m (30 total)]]></dcterms:format>
    <dcterms:type><![CDATA[Screen-painting, Pigments on Silk<br />
]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/81">
    <dcterms:title><![CDATA[The Battle of Okinawa ]]></dcterms:title>
    <dcterms:subject><![CDATA[沖縄戦の図 (Okinawa-sen no Zu)]]></dcterms:subject>
    <dcterms:creator><![CDATA[丸木位里 (Maruki Iri) and 赤松俊子 (Akamatsu Toshiko)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 59 (1984)]]></dcterms:date>
    <dcterms:type><![CDATA[Screen-painting, Pigments on Silk]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/82">
    <dcterms:title><![CDATA[Portrait of Sakutarō Hagiwara ]]></dcterms:title>
    <dcterms:subject><![CDATA[「氷島」の著者（萩原朔太郎像）(「Hyōtō」no Chosha: Hagiwara Sakutarō zou)]]></dcterms:subject>
    <dcterms:description><![CDATA[This print is dedicated to Onchi&#039;s friend of 20 years, famous modern Japanese poet Hagiwara Sakutarō. It was created one year after Hagiwara&#039;s death in 1942. In this print, Onchi illuminates the life-long hard work and anguish that Hagiwara endured through the wrinkles on his face and his solemn expression. Today, it&#039;s seen as one of the finest exemplars of the &quot;Sōsaku Hanga&quot; (Creative Print) movement in Japan]]></dcterms:description>
    <dcterms:creator><![CDATA[Onchi Kōshirō (恩地孝四郎)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 18 (1943)]]></dcterms:date>
    <dcterms:format><![CDATA[56.2 x 43.8 cm]]></dcterms:format>
    <dcterms:type><![CDATA[Color Woodcut]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/83">
    <dcterms:title><![CDATA[At Ruin--Allegory No. 3]]></dcterms:title>
    <dcterms:subject><![CDATA[アレゴリーNo.3 廃墟 (Aregori--No.3 Haikyo)]]></dcterms:subject>
    <dcterms:creator><![CDATA[Onchi Kōshirō (恩地孝四郎)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shõwa 23 (1948)]]></dcterms:date>
    <dcterms:format><![CDATA[50.5 × 40.5 cm]]></dcterms:format>
    <dcterms:type><![CDATA[Color Woodcut]]></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:RDF>