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Utagawa Hiroshige (1797 – October 12, 1858) was a Japanese ukiyo-e artist, and one of the last great artists in that tradition. He was also referred to as Andō Hiroshige, and by the art name of Ichiyusai Hiroshige. Among many masterpieces, Hiroshige is particularly remembered for 'The Sixty-nine Stations of the Kisokaido' (1834–1842) and 'Thirty-six Views of Mount Fuji' (1852–1858).<br/><br/> Hiroshige's 'Maiko Beach' is generally credited with having helped to inspire Vincent Van Gogh's 'Olive Orchard' (1889)
Maiko is a Japanese word for a dancing girl and means an apprentice geisha.
A ,i>maiko</i> is an apprentice geiko (a type of geisha) in Kyoto, western Japan. Their jobs consist of performing songs, dances, and playing the shamisen (three-stringed Japanese instrument) for visitors during feasts.<br/><br/> Maiko are usually aged 15 to 20 years old and become Geiko after learning how to dance (a kind of Japanese traditional dance), play the shamisen, and learning <i>Kyō-kotoba</i> (dialect of Kyoto), regardless of their origins.
Maiko (まいこ, マイコ?) is a Japanese word for dancing girl and means an apprentice geisha.
T. Enami (Enami Nobukuni, 1859 – 1929) was the trade name of a celebrated Meiji period photographer. The T. of his trade name is thought to have stood for Toshi, though he never spelled it out on any personal or business document.<br/><br/> Born in Edo (now Tokyo) during the Bakumatsu era, Enami was first a student of, and then an assistant to the well known photographer and collotypist, Ogawa Kazumasa. Enami relocated to Yokohama, and opened a studio on Benten-dōri (Benten Street) in 1892. Just a few doors away from him was the studio of the already well known Tamamura Kozaburō. He and Enami would work together on at least three related projects over the years.<br/><br/> Enami became quietly unique as the only photographer of that period known to work in all popular formats, including the production of large-format photographs compiled into what are commonly called "Yokohama Albums". Enami went on to become Japan's most prolific photographer of small-format images such as the stereoview and glass lantern-slides. The best of these were delicately hand-tinted.
T. Enami (Enami Nobukuni, 1859 – 1929) was the trade name of a celebrated Meiji period photographer. The T. of his trade name is thought to have stood for Toshi, though he never spelled it out on any personal or business document.<br/><br/> Born in Edo (now Tokyo) during the Bakumatsu era, Enami was first a student of, and then an assistant to the well known photographer and collotypist, Ogawa Kazumasa. Enami relocated to Yokohama, and opened a studio on Benten-dōri (Benten Street) in 1892. Just a few doors away from him was the studio of the already well known Tamamura Kozaburō. He and Enami would work together on at least three related projects over the years.<br/><br/> Enami became quietly unique as the only photographer of that period known to work in all popular formats, including the production of large-format photographs compiled into what are commonly called "Yokohama Albums". Enami went on to become Japan's most prolific photographer of small-format images such as the stereoview and glass lantern-slides. The best of these were delicately hand-tinted.