İYİ KOPYANIN SAVUNMASI: ZANAATLER VE ORİJİNALLİK ÜZERİNE BİR TARTIŞMA

1941 ve 1982 yılları arasında iki zanaatkar kardeş Tor ve Åke Carlsson, John Bauer resimlerinin ahşap rölyef kopyalarını yapmaya başladılar. John Bauer İsveç’te oldukça bilinen ve halk hikayelerini resimleyen bir illüstratör ve ressam olarak tanınır. Resimlediği hikayelerin çoğunda karanlık ormanlar, göller, troller, prensler ve cadılar gibi olağan dışı bazı karakterlere yer verilir. Bauer bugün tanınan ve resimlerinin telif haklarını korumak için elinden geldiğince çabalayan bir ressam olarak bilinse de, çalışmalarının ahşap kopyaları Bauer’in doğduğu Jönköping bölgesi sınırları içinde kalan Tranås şehrinde büyük bir olay haline gelir. İnsanlar Bauer resimlerini iyi tanırlar, Åke ve Tor Carlsson da kopya işler ürettiklerinin bilincindedirler ancak yine de işlerine kendi yorumlarını eklemeden duramazlar. Tasarımlarını yapıp oydukları Bauer kopyalarının arkasına meşhur imzalarını şöyle atarlar: “Fritt efter John Bauer (John Bauer’den serbest bir uyarlama).” Ahşap kopyalar öyle popüler olur ki müzayedelerde satılır ve bugün hala pek çok insan bir kopya daha bulabilmenin peşindedir. Sanat objeleri değildirler ancak zanaatkarlık fikrini aşmış, sınırlarını başka bir yere çekmiştirler. “In Defence of a Good Copy (İyi kopyanın savunması)” adlı bu metin Bauer kopyalarının neden bu denli popüler olduğunu, kopya meselesinin farklı açılardan incelenmesini ve bir sanat nesnesi ya da andaç olarak niteliklerini sorgulamayı amaçlamaktadır.

Anahtar Kelimeler:

Zanaat, Sanat, Kopya, Replika, Yorum

IN DEFENCE OF A GOOD COPY: A DISCUSSION ON CRAFT MAKING AND AUTHENTICITY

Between the years 1941 and 1982 two crafts makers and brothers Tor and Åke Carlsson made wooden relief copies of John Bauer paintings. John Bauer was a very well known Swedish painter and illustrator who depicted scenes from folkloric stories. These stories were about dense forests, lakes, trolls, princes and witches. Although Bauer was a prominent figure who was very keen on keeping the copyrights of his work, the wooden copies became a sensation in the rural town Tranås. The Bauer paintings and motifs were popular and very well known in Sweden and Åke and Tor Carlsson were aware they were making wooden replicas of his work but adding their own subtle interpretations. They designed and carved the Bauer works on wood and signed them with their famous inscription: “Fritt efter John Bauer (A free interpretation of John Bauer). The wooden copies were so popular they became collectors’ items and can still be found in auctions today. They were not artworks, yet they exceeded the idea of craft making. “In defence of a good copy” investigates why the Bauer copies were so popular, researching the different aspects of copies and its merits as an art object or as memorabilia.

Keywords:

Craft, Art, Copy, Replica, Interpretation,

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