Plum Park in Kameido  Plum Park in Kameido (亀戸梅屋舗, "Kameido Umeyashiki") is a woodblock print in the ukiyo-e genre by the Japanese artist Hiroshige. It was published in 1857 as the thirtieth print in the "One Hundred Famous Views of Edo" series and depicts "Prunus mume" trees in bloom. The picture is part of the series "One Hundred Famous Views of Edo" which actually features 119 views of named places or celebrated spots in the city of Edo (modern Tokyo). The series was the first to feature this many separate landscape views. The series was produced between 1856 and 1859, with Hiroshige II finishing the series after the death of Hiroshige in 1858. This print is the 30th in the series, within its spring section, and was published in the eleventh month of 1857. The series was commissioned shortly after the 1855 Edo earthquake and subsequent fires, and featured many of the newly rebuilt or repaired buildings. The prints may have commemorated or helped draw the attention of Edo's citizens to the progress of the rebuilding. The series is in portrait orientation, which was a break from ukiyo-e tradition for landscape prints, and proved popular with his audience. The print shows part of the most famous tree in Edo, the , which had blossoms "so white when full in bloom as to drive off the darkness" and branches that travelled looping across the ground like a dragon to emerge as further trunks over an area of 50 square feet. The tree is shown with a unique abstract composition, with wide branches taking up much of the foreground but cropped by the frame of the picture giving a resemblance to Japanese calligraphy. The tree is situated in "Umeyashiki", a plum garden by the banks of the Sumida River in Kameido. Visible between the branches of the Sleeping Dragon Plum are further trees and small figures behind a low fence contemplating the plum blossom. A sign, possibly forbidding vandalism, is in the foreground at the top left of the image. The image demonstrates Hiroshige's mastery of Japanese landscapes and uses his exaggerated single-point perspective whereby the closest objects in view are increased in size. The positioning of the undetailed subject 'too close to the lens' is intended to draw the eye to the scene beyond. In addition the use of the unnatural red sky has the effect of flattening the visible space.