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The Second Sino-Japanese War (July 7, 1937 – September 9, 1945) was a military conflict fought primarily between the Republic of China and the Empire of Japan. After the Japanese attack on Pearl Harbor, the war merged into the greater conflict of World War II as a major front of what is broadly known as the Pacific War.<br/><br/> Although the two countries had fought intermittently since 1931, total war started in earnest in 1937 and ended only with the surrender of Japan in 1945. The war was the result of a decades-long Japanese imperialist policy aiming to dominate China politically and militarily and to secure its vast raw material reserves and other economic resources, particularly food and labour. Before 1937, China and Japan fought in small, localized engagements.<br/><br/> Yet the two sides, for a variety of reasons, refrained from fighting a total war. In 1931, the Japanese invasion of Manchuria by Japan's Kwantung Army followed the Mukden Incident. The last of these incidents was the Marco Polo Bridge Incident of 1937, marking the beginning of total war between the two countries.
Sapajou was the artistic nom de plume of Georgii Avksentievich Sapojnikoff, one-time Lieutenant of the Russian Imperial Army. He was a graduate of the Aleksandrovskoe Military School in Moscow, and saw action in World War I, in which he was gravely wounded. As a result of his wounds, which left him with a pronounced limp for the rest of his life, he was invalided out of the army, and it was at this time that he began to take an interest in the visual arts, enrolling in evening classes at the Academy of Arts. The year 1920 found him, like so many of his compatriots, a refugee in Shanghai.<br/><br/> From 1925 onwards, Sapajou was on the staff of the North-China Daily News, probably the most important and prestigious English language newspaper in the Far East, and one that was considered the mouthpiece of the largely British establishment of the International Settlement in Shanghai. Through his daily cartoons published over an almost unbroken period of some fifteen years, Sapajou became well known not only in Shanghai but also internationally. The publishing house of Kelly & Walsh produced several albums of his sketches of Shanghai life, and his illustrations appeared in a number of contemporary books on Chinese subjects.
Sapajou was the artistic nom de plume of Georgii Avksentievich Sapojnikoff, one-time Lieutenant of the Russian Imperial Army. He was a graduate of the Aleksandrovskoe Military School in Moscow, and saw action in World War I, in which he was gravely wounded. As a result of his wounds, which left him with a pronounced limp for the rest of his life, he was invalided out of the army, and it was at this time that he began to take an interest in the visual arts, enrolling in evening classes at the Academy of Arts. The year 1920 found him, like so many of his compatriots, a refugee in Shanghai.<br/><br/> From 1925 onwards, Sapajou was on the staff of the North-China Daily News, probably the most important and prestigious English language newspaper in the Far East, and one that was considered the mouthpiece of the largely British establishment of the International Settlement in Shanghai. Through his daily cartoons published over an almost unbroken period of some fifteen years, Sapajou became well known not only in Shanghai but also internationally. The publishing house of Kelly & Walsh produced several albums of his sketches of Shanghai life, and his illustrations appeared in a number of contemporary books on Chinese subjects.
A 'chapei dong veng' is a Khmer two-stringed, long-necked traditional guitar. The girl in the picture would most likely have played to the court of King Sisowath Monivong who was the king of Cambodia from 1927 until 1941.