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                <text>東海旭光 (Tōkai Kyokō)</text>
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                <text>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. </text>
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                <text>Shōwa 7 (1932)</text>
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                <text>​65.2 x 90.9 cm</text>
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                <text>嶋田美子 (Shimada Yoshiko)</text>
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                <text>Heisei 5 (1993)</text>
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                <text>Etching and aquatint in colors</text>
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                <text>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. </text>
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                <text>A painting that was displayed along with "Good Day" at the Futen exhibitions. Just like Good Day, it features Lin's wife and child, and promotes nationalistic ideal of womanhood. </text>
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                <text>林之助 (Lin Chih-Chu)</text>
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                <text>Shōwa 22 (1947)</text>
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                <text> 母と子　連山関から奉天に向う (Haha to ko: Renzankan kara Hōten ni mukau)</text>
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                <text>Part of the "祖国への旅" series (Journey to Native Country), which depicts the journey of Japanese returning to their country after World War 2</text>
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                <text>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. &#13;
&#13;
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                <text>Shōwa 30 (1955)</text>
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                <text>新しい寡婦　奉天收容所にて (Atarashii Kafu Hōten Shyūyōjo nite)</text>
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                <text>Omens of a Place I </text>
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                <text>場所の兆し (1) (basho no kizashi)</text>
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                <text>中村宏 (Nakamura Hiroshi)</text>
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                <text>1961</text>
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                <text>130 x 162 cm</text>
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                <text>Oil on Canvas</text>
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                  <text>Weeks 6-10: Art and the Allied Occupation (1945-1952) </text>
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            <description>A name given to the resource</description>
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                <text>On the Steps </text>
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                <text>階段にて ( kaidan-nite)</text>
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                <text>中村宏 (Nakamura Hiroshi)</text>
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                <text>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.</text>
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                <text>芳蕙 (Hōkei)</text>
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                <text>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 "oriental beauty." For such an image, he proposes three crucial components: Chinese clothing, Japanese women, and Western painting. </text>
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                <text>藤島武二 (Fujishima Takeji)</text>
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                <text>Taishō 15 (1926)</text>
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                <text> 給食を待つ孤児 (Kyūshoku wo matsu Minashigo)</text>
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                <text>Part of the "祖国への旅" series (Journey to Native Country), which depicts the journey of Japanese returning to their country after World War 2</text>
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            <description>An entity primarily responsible for making the resource</description>
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                <text>北岡文雄 (Kitaoka Fumio)&#13;
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                <text>Shōwa 22 (1947)</text>
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                <text>13.2 X 11.2cm</text>
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                <text>Woodblock Print</text>
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