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Mukul Chandra Dey ((ベンガル語:মুকুলচন্দ্র দে)) (23 July 1895 – 1 March 1989) was one of five children of Purnashashi Devi and Kula Chandra Dey.〔''The International Who's Who 1943–44''. George Allen & Unwin, 8th edition, London, 1943, p. 197.〕 He was a student of Rabindranath Tagore's Santiniketan and is considered as a pioneer of drypoint-etching in India. The entire family of Mukul Dey had artistic talents, the brother Manishi Dey was a well-known painter, and his two sisters, Annapura and Rani, were accomplished in arts and crafts as well.〔Satyasri Ukil: "Manishi Dey: The Elusive Bohemian." art etc. news & views, February 2012 ()〕 Mukul Dey was married to his wife Bina, née Bina Roy, which was from Khanakul, Bengal. They had one daughter named Manjari, whom they affectionately called Bukuma. Manjari was later married to Shantanu Ukil, a leading painter of the Bengal School of Art.〔Satyasri Ukil: "Shantanu Ukil: Profile of the Painter." Mukul Dey Archives, undated - retrieved 03.Oct.2015 ()〕 == Early Years == He was the first Indian artist to travel abroad for the purpose of studying printmaking as an art.〔Bhavna Kakar, ''Mark, Etch and Print'', Art and Deal / Art Konsult, 2006〕 While in Japan in 1916, Mukul Dey studied under Yokoyama Taikan and Kanzan Shimomura at Tokyo and Yokohama. At Yokohama Rabindranath Tagore and Mukul Dey lived as guests of Japanese silk-merchant Tomitaro Hara at his famous residential complex Sankeien, enjoying a rare opportunity to study classical Chinese and Nihonga style Japanese paintings. Especially the masterpieces of Sesshu Toyo. Dey received his initial training at Rabindranath Tagore's Santiniketan. He then travelled to America from Japan in 1916 to learn the technique of etching under James Blanding Sloan and Bertha Jaques in Chicago, to whom Dey was introduced by American artist Roi Partridge and his wife Imogen Cunningham. Mukul Dey remained a life-member of Chicago Society of Etchers. On his return to India in 1917, Dey concentrated on creating etchings as a fine art. He also supported himself through making portrait drawings of the rich and famous, and turned these into etchings. In 1920 Dey once again travelled abroad for the purpose of study, this time learning etching and engraving under Frank Short and Muirhead Bone. He studied at both the Slade School of Fine Art and the Royal College of Art in London. At Slade School of Art Mukul Dey was a student of Professor Henry Tonks. According to the Polish sculptor Stanislaw Szukalski, when Mukul was in America, he showed Szukalski his drawings, which impressed the artist. He then told Szukalski of his desire to venture into Paris, to "finish his study", despite the extreme disapproval of this decision by Mukul's mentor, Tagore. Szukalski thought of Paris as a factory for the "brainwashing of the public of every nation", into thinking Kandinski, Picasso, etc., were masters. Szukalski told Mukul, "You are already a fine artist, but with your silly anticipation of finding miraculous Culture in Europe, you will swallow as a new religion any pseudo-movement, any Ism of the misfits who abuse painting and sculpture with combs, forks and brushes stuck in their noses to give an easy semblance of individuality. Later come to Europe, with enough belief in yourself to look upon European Decadence with CONTEMPT and the ability to select really worthy examples of Art from all ages and Cultures". This argument persuaded Mukul to return to Santiniketan, to the delight of Tagore. Mukul Dey chose an essentially Western medium to portray various sides of Indian life. Unlike artists such as Haren Das, whose woodcut printing technique was more indigenous to Indian culture,〔Paula Sengupta, ''Haren Das: The End of Toil'', Delhi Art Gallery, 2008〕 Dey concentrated on drypoint etching, a thoroughly European practice. Regardless of his adopted Western technique, Dey chose subjects such as river scenes in Bengal, traditional baul singers, the markets of Calcutta, or the life of Santhal villagers in the Birbhum district, near the Santiniketan art school. When the Tagore family of Kolkata created the Vichitra Club at their ancestral home of Jorasanko, Mukul Dey became an active member. At Vichitra Club the young and upcoming artists like Nandalal Bose, Asit Kumar Haldar, Mukul Dey and Narayan Kashinath Deval were encouraged to experiment in ever new creative mediums and art forms.〔(Mukul Dey Archives )〕 In 1925, Dey published a book on the cave paintings in Ajanta and Bagh, which he cherished and used as an inspiration. The vibrant language of the descriptions reflect his enthusiasm for the cave paintings. He later published and illustrated various other books during his career. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Mukul Dey」の詳細全文を読む スポンサード リンク
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