<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/124">
</rdf:Description><rdf:Description rdf:about="https://empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/121">
    <dcterms:title><![CDATA[Modern Japanese Timeline]]></dcterms:title>
</rdf:Description><rdf:Description rdf:about="https://empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/11">
    <dcterms:title><![CDATA[Landscape with an Eye ]]></dcterms:title>
    <dcterms:subject><![CDATA[眼のある風景 (Me no aru Fūkei)]]></dcterms:subject>
    <dcterms:description><![CDATA[Surrealist landscape with an eye]]></dcterms:description>
    <dcterms:creator><![CDATA[靉光 (Aimitsu)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 13 (1938)]]></dcterms:date>
    <dcterms:type><![CDATA[Oil on Canvas]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/10">
    <dcterms:title><![CDATA[Self-portrait with Tree Tops ]]></dcterms:title>
    <dcterms:subject><![CDATA[梢のある自画像 (Kozue no aru jigazō)]]></dcterms:subject>
    <dcterms:description><![CDATA[A self-portrait of Aimitsu wearing glasses next to some tree tops]]></dcterms:description>
    <dcterms:creator><![CDATA[靉光 (Aimitsu)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 18 (1943)]]></dcterms:date>
    <dcterms:type><![CDATA[Oil on Canvas]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/6">
    <dcterms:title><![CDATA[Self-portrait ]]></dcterms:title>
    <dcterms:subject><![CDATA[自画像 (Jigazō)]]></dcterms:subject>
    <dcterms:description><![CDATA[Aimitsu&#039;s self-portrait at 37 years old. The unique characteristic of his self-portraits is how he tend to paint himself squinting his eyes, looking intently into the distant, as if transfixed at a point. ]]></dcterms:description>
    <dcterms:creator><![CDATA[靉光 (Aimitsu)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 19 (1944)]]></dcterms:date>
    <dcterms:type><![CDATA[Oil on Canvas]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/107">
    <dcterms:title><![CDATA[Model for the Memorial to the Dead of Hiroshima ]]></dcterms:title>
    <dcterms:description><![CDATA[Noguchi&#039;s planned model for the bomb atomic memorial for Hiroshima Peace Memorial Park, which was rejected for a variety of reasons. Noguchi took inspirations from Japanese traditional ceramics and maternal symbolisms for his cenotaph. He claimed that the shape of his planned cenotaph was based on Japanese &quot;haniwa&quot;, prehistoric Japanese pottery figurines. The shape and design of the cenotaph also convey some maternal messages, as the underground chamber underneath the cenotaph represent a womb while the legs of cenotaph is roughly shaped like maternal thighs. ]]></dcterms:description>
    <dcterms:creator><![CDATA[野口　勇 (Noguchi Isamu)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 27 (1952)]]></dcterms:date>
    <dcterms:format><![CDATA[N.A]]></dcterms:format>
    <dcterms:type><![CDATA[unrealized model (black granite and concrete intended)]]></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/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/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/36">
    <dcterms:title><![CDATA[Summer Evening at Lakeside ]]></dcterms:title>
    <dcterms:subject><![CDATA[池畔納涼 (Chihan Nōryō)]]></dcterms:subject>
    <dcterms:description><![CDATA[A painting showing two women clad in kimono enjoying <br />
a cool evening by the lakeside. Back then, paintings showing Japanese women in kimono were popular and touted as an exemplar of Japanese feminine beauty. ]]></dcterms:description>
    <dcterms:creator><![CDATA[藤島武二 (Fujishima Takeji)]]></dcterms:creator>
    <dcterms:date><![CDATA[Meiji 30 (1897)]]></dcterms:date>
    <dcterms:format><![CDATA[152.0 × 194.4 cm]]></dcterms:format>
    <dcterms:type><![CDATA[Oil on Canvas]]></dcterms:type>
</rdf:Description></rdf:RDF>