{"id":837,"date":"2021-03-18T10:32:52","date_gmt":"2021-03-18T15:32:52","guid":{"rendered":"http:\/\/diluo.digital.conncoll.edu\/Asianart\/?p=837"},"modified":"2021-12-31T19:49:00","modified_gmt":"2022-01-01T00:49:00","slug":"i-ghosts","status":"publish","type":"post","link":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/image\/i-ghosts\/","title":{"rendered":"Hiroshima Panels I Ghosts"},"content":{"rendered":"\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"252\" src=\"http:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2021\/03\/01-ghosts-1024x252.jpg\" alt=\"\" class=\"wp-image-838\" srcset=\"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2021\/03\/01-ghosts-1024x252.jpg 1024w, https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2021\/03\/01-ghosts-300x74.jpg 300w, https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2021\/03\/01-ghosts-768x189.jpg 768w, https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2021\/03\/01-ghosts-1536x379.jpg 1536w, https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2021\/03\/01-ghosts-1246x307.jpg 1246w, https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2021\/03\/01-ghosts-675x166.jpg 675w, https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2021\/03\/01-ghosts-480x118.jpg 480w, https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-content\/uploads\/2021\/03\/01-ghosts.jpg 2000w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Title:<\/strong> I Ghosts (first of the series, Hiroshima Panels)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Creator:<\/strong> Maruki Iri, Maruki Toshi<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Date:<\/strong> 1950<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Period:<\/strong> Post-WWII US Occupation of Japan<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Location:<\/strong> Tokyo<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Culture:<\/strong> Japanese<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Material:<\/strong> Sumi ink, charcoal or cont\u00e9 on paper<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Dimensions:<\/strong> 180 x 720 cm<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Repository:<\/strong> Maruki Gallery, <a href=\"https:\/\/marukigallery.jp\/en\/hiroshimapanels\/\">https:\/\/marukigallery.jp\/en\/hiroshimapanels\/<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Description: <\/strong>&#8220;Ghosts&#8221; is the harrowing portrayal of the aftermath of the US atomic bombing of Hiroshima, Japan. The charcoal depiction is a massive, seven meter-long view of the suffering and annihilation following the bombing that forever scarred Japan, and the world. Individual people are barely visible as the cloud of blackness of the painting overwhelms the audience, accentuating the fact that the bomb did not discriminate between anyone &#8211; soldier or civilian, man or women, adult of child. The explosion stripped everybody of their humanity, a feature which the artists highlight as they portray everybody naked and crying out for their loved ones, stripped of everything including their lives. The naked, largely hairless, collection of humans and skeletons of recently deceased people resembles a group of ghosts.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Title: I Ghosts (first of the series, Hiroshima Panels) Creator: Maruki Iri, Maruki Toshi Date: 1950 Period: Post-WWII US Occupation&#8230;<\/p>\n","protected":false},"author":6,"featured_media":838,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[18],"tags":[3],"class_list":["post-837","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-image","tag-japan","wpcat-18-id"],"_links":{"self":[{"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/posts\/837","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/comments?post=837"}],"version-history":[{"count":6,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/posts\/837\/revisions"}],"predecessor-version":[{"id":3572,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/posts\/837\/revisions\/3572"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/media\/838"}],"wp:attachment":[{"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/media?parent=837"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/categories?post=837"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/diluo.digital.conncoll.edu\/Asianart\/wp-json\/wp\/v2\/tags?post=837"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}