<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/28">
    <dcterms:title><![CDATA[&quot;Where are you going?&quot; (Quo Vadis)]]></dcterms:title>
    <dcterms:subject><![CDATA[クォ・ヴァディス (Quo Vadis )]]></dcterms:subject>
    <dcterms:description><![CDATA[The title is a latin phrase with biblical origins that translates to &quot;where are you marching?&quot;. This quote describes the lone Japanese soldier with his back turned to us, standing at the crossroads in a barren landscape, uncertain of where to go. This surrealist depiction portrays melancholic state of Japan, as the nation faced an uncertain future after its defeat in World War 2. ]]></dcterms:description>
    <dcterms:creator><![CDATA[北脇昇 (Kitawaki Noboru)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 24 (1949)]]></dcterms:date>
    <dcterms:format><![CDATA[117.0 x 91.0 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/44">
    <dcterms:title><![CDATA[A House of Comfort]]></dcterms:title>
    <dcterms:subject><![CDATA[A House of Comfort (Original title)]]></dcterms:subject>
    <dcterms:description><![CDATA[The image consists of photos of a military brothel, prostitutes, and a person in underwear tinted with red. The artist raises the awareness to the tabooed issue of Japanese history to question the system of exploitation.]]></dcterms:description>
    <dcterms:creator><![CDATA[嶋田美子 (Shimada Yoshiko)]]></dcterms:creator>
    <dcterms:date><![CDATA[Heisei 5 (1993)]]></dcterms:date>
    <dcterms:format><![CDATA[60 x 45 cm]]></dcterms:format>
    <dcterms:type><![CDATA[Etching]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/38">
    <dcterms:title><![CDATA[A Picture to be Burnt]]></dcterms:title>
    <dcterms:subject><![CDATA[ 焼かれるべき絵 (Yakareru beki e)]]></dcterms:subject>
    <dcterms:description><![CDATA[A portrait of Emperor Hirohito with his face erased is placed in the middle of a Japanese national flag and is crossed over with a bold red diagonal lines from each corner of the flag.]]></dcterms:description>
    <dcterms:creator><![CDATA[嶋田美子 (Shimada Yoshiko)]]></dcterms:creator>
    <dcterms:publisher><![CDATA[1993]]></dcterms:publisher>
    <dcterms:date><![CDATA[Heisei 5 (1993)]]></dcterms:date>
    <dcterms:format><![CDATA[70.3 x 52.4 cm]]></dcterms:format>
    <dcterms:type><![CDATA[Etching]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/106">
    <dcterms:title><![CDATA[Airplane and Girl ]]></dcterms:title>
    <dcterms:subject><![CDATA[飛行機と少女 (Hikōki to shōjo)]]></dcterms:subject>
    <dcterms:creator><![CDATA[中村宏 (Nakamura Hiroshi)]]></dcterms:creator>
    <dcterms:date><![CDATA[1965]]></dcterms:date>
    <dcterms:format><![CDATA[53 x 65.2 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/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/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/47">
    <dcterms:title><![CDATA[Bottle melted and Deformed by Atomic Bomb Heat, Radiation and Fire, Nagasaki ]]></dcterms:title>
    <dcterms:subject><![CDATA[熱線と火災で溶解変形した瓶 ]]></dcterms:subject>
    <dcterms:creator><![CDATA[東松照明 (Tōmatsu Shōmei)<br />
]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 36 (1961)]]></dcterms:date>
    <dcterms:format><![CDATA[35.4 × 32.86 cm]]></dcterms:format>
    <dcterms:type><![CDATA[Photograph, gelatin silver print]]></dcterms:type>
</rdf:Description><rdf:Description rdf:about="https://empire-war-occupation-20thcent-japaneseart.artinterp.org/items/show/113">
    <dcterms:title><![CDATA[Bronze Statue of Yamagata Aritomo]]></dcterms:title>
    <dcterms:subject><![CDATA[ 山県有朋銅像 (Yamagata Aritomo Dōzō) ]]></dcterms:subject>
    <dcterms:description><![CDATA[A bronze statue of Field Marshal Yamagata Aritomo by Kitamura Seibō, unveiled near the Imperial Diet Building in 1929. Today, it was moved to Hagi in Yamaguchi prefecture due to its controversial imperialist connotations. ]]></dcterms:description>
    <dcterms:creator><![CDATA[北村西望 (Kitamura Seibō)]]></dcterms:creator>
    <dcterms:date><![CDATA[Shōwa 4 (1929)]]></dcterms:date>
    <dcterms:format><![CDATA[Unknown]]></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/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:RDF>