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                <text>Out of the multiple design proposals for Hiroshima Peace Memorial Park, it was Kenzō Tange's design that is chosen in the end. Tange's architecture plans is a mixture of modernist design and Japanese tradition. For example, the cenotaph in front of the exhibition hall is based on prehistoric Japanese "haniwa" ceramics. This turn towards traditions is a continuation of the wartime "tradition debate" in Japanese architecture, where architects debate on ways to implement traditional Japanese architectural characteristics in modern buildings as a celebration of Japanese imperialism. By the postwar period, architects began to look toward the more distant prehistoric past of Japan for inspiration as a justification of implementing Japanese conventions without the imperialistic implications.&#13;
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                <text>昭和27 (Showa 27)</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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