Sanat, insan\u0131n varolu\u015fundan beri kendini ifade etme bi\u00e7imidir; ruhun yank\u0131s\u0131, zaman\u0131n \u015fahidi, insanl\u0131\u011f\u0131n ortak dilidir. Ancak bizde sanat\u00e7\u0131, k\u00f6klerinden kopmu\u015f, d\u00fcnyay\u0131 tek bir pencereden g\u00f6ren, bilgiye ve hikmete kula\u011f\u0131n\u0131 t\u0131kayan bir yaln\u0131zl\u0131k i\u00e7inde var olmaya \u00e7abalar bir g\u00f6r\u00fcn\u00fcm i\u00e7erisindedir. K\u00fclt\u00fcrel miras\u0131na s\u0131rt d\u00f6nm\u00fc\u015f, kendi sanat gelene\u011finden bihaber bir sanat\u00e7\u0131n\u0131n evrensel bir dile ula\u015fmas\u0131 m\u00fcmk\u00fcn m\u00fcd\u00fcr?<\/p>\n
\u00dcnl\u00fc Rus yazar L. N. Tolstoy, sanat\u0131n izini suya giden k\u0131zlar\u0131n t\u00fcrk\u00fclerinde, k\u0131\u015f geceleri ninelerin anlatt\u0131\u011f\u0131 masallarda arar. Oysa bizim sanat\u00e7\u0131lar\u0131m\u0131z ne halk edebiyat\u0131n\u0131 ne de divan edebiyat\u0131n\u0131 hakk\u0131yla bilir. Bir d\u00fcnyaya kulak kesilmi\u015fse, di\u011ferine k\u00f6rd\u00fcr. Bu y\u00fczden, kendi \u00fclkesinde bile herkese hitap edemeyen bir sanat\u00e7\u0131, d\u00fcnya halklar\u0131na nas\u0131l sesini duyurabilir? Sanat, yaln\u0131zca bireysel bir \u00e7aba de\u011fil, bir k\u00fclt\u00fcr\u00fcn, bir medeniyetin birikimidir. Kendi \u00f6z\u00fcnden kopan sanat\u00e7\u0131, derinlikten mahrum kal\u0131r, y\u00fczeyde savrulur ve evrenselli\u011fe eri\u015fmek bir yana, kendi topra\u011f\u0131nda bile k\u00f6k salamaz.<\/p>\n
Bat\u0131y\u0131 bilir ama do\u011fuyu tan\u0131maz. Yunan mitolojisini ezbere anlat\u0131r fakat G\u0131lgam\u0131\u015f Destan\u0131\u2019ndan bihaberdir. O\u011fuz Ka\u011fan Destan\u0131, Binbir Gece Masallar\u0131, Kelile ve Dimne ona yabanc\u0131d\u0131r. Oysa Nietzsche\u2019nin \u015fu s\u00f6z\u00fc her \u015feyi \u00f6zetler: \u201cB\u00fct\u00fcn d\u00fcnya edebiyat\u0131 yok olsa ve elimizde sadece Binbir Gece Masallar\u0131 kalsa, o bile insanl\u0131k i\u00e7in yeterdi.\u201d
\nAma bizim sanat\u00e7\u0131lar\u0131m\u0131z, ne bu masallar\u0131 bilir ne de onlar\u0131 anlamland\u0131rabilir. Fuzuli\u2019yi, Baki\u2019yi, Nedim\u2019i, Molla Ahmed-i Cezir\u00ee\u2019yi, Fek\u00eeye Teyran\u2019\u0131, Ahmede Hani\u2019yi, Haf\u0131z-\u0131 \u015eirazi\u2019yi, Sadi\u2019yi, Mevlana\u2019y\u0131 derinlemesine bilmez. Oysa Sadi\u2019nin s\u00f6zleri Birle\u015fmi\u015f Milletler binas\u0131n\u0131n kap\u0131s\u0131na as\u0131lm\u0131\u015ft\u0131r. Haf\u0131z-\u0131 \u015eirazi, Goethe\u2019yi Do\u011fu-Bat\u0131 Divan\u0131\u2019n\u0131 yazmaya sevk etmi\u015f; Kur\u2019an-\u0131 Kerim, Rusya\u2019n\u0131n b\u00fcy\u00fck \u015fairi Pu\u015fkin\u2019e ve Fransa\u2019n\u0131n efsanevi edebiyat\u00e7\u0131s\u0131 Victor Hugo\u2019ya ilham olmu\u015ftur. Lakin bizde bu de\u011fere s\u0131rt\u0131n\u0131 d\u00f6nmek prim vesilesi olabilir, ne yaz\u0131k ki elimizdeki bu hazinenin fark\u0131nda de\u011filiz.<\/p>\n
Bat\u0131n\u0131n sanat anlay\u0131\u015f\u0131 fig\u00fcratif resme dayal\u0131d\u0131r \u00e7\u00fcnk\u00fc k\u00f6kenini Yunan\u2019dan al\u0131r. Bizde ise sanat daha \u00e7ok s\u00f6z (logos), mimari ve minyat\u00fcr \u00fczerinden \u015fekillenmi\u015ftir. \u00c7in ve Japon minyat\u00fcr sanat\u0131na benzer bi\u00e7imde, soyut kavramlar \u00f6n plandad\u0131r. \u00c7\u00fcnk\u00fc \u0130slam sanat\u0131nda tasvirin yasak olmas\u0131, anlat\u0131m\u0131 g\u00fc\u00e7le\u015ftirir ve sanat\u0131 farkl\u0131 bir y\u00f6ne iter. O y\u00fczden, mana iklimimizin sultanlar\u0131ndan \u015eeyh G\u00e2lip \u015fu s\u00f6z\u00fcyle sanattaki soyut anlat\u0131m\u0131 vurgular:
\n\u201cB\u00e2l\u00e2-rev olan ancak m\u00e2n\u00e2-y\u0131 m\u00fccerreddir \/ Tasv\u00eeri Mes\u00eeh\u00e2\u2019n\u0131n b\u00fct-h\u00e2nede kalm\u0131\u015ft\u0131r.\u201d
\n(Y\u00fcceye y\u00fckselen ancak soyut manad\u0131r; \u0130sa\u2019n\u0131n tasvirleri puthanede kalm\u0131\u015ft\u0131r.)<\/p>\n
Sanat\u00e7\u0131m\u0131z co\u011frafyas\u0131ndan kopuktur. Bat\u0131n\u0131n pozitivist d\u00fc\u015f\u00fcncesinin esiri olmu\u015f ve orada kalm\u0131\u015ft\u0131r. Ge\u00e7mi\u015fin ideolojileri, sanat\u0131 prangaya vurmu\u015ftur. Dindar sanat\u00e7\u0131 ise sanat\u0131 anlamaz; tarihini bile sadece sultanlar \u00fczerinden okur. Sanat\u0131n nas\u0131l ortaya \u00e7\u0131kt\u0131\u011f\u0131n\u0131, Hz. Peygamber\u2019in (sav) mescitte Habe\u015flilerin oyununa neden izin verdi\u011fini bilmez. Kral peygamberler Hz. S\u00fcleyman ve Hz. Davud\u2019un (a.s.) saraylar\u0131ndaki s\u00fcslemelerden habersizdir. G\u00fczel seslere neden \u201cDavudi\u201d denildi\u011fini dahi anlayamaz. Hz. Davud\u2019a (a.s.) neden mizmar (kaval) verildi\u011fini ise kavrayamaz. \u00c7\u00fcnk\u00fc bunu anlatacak bir tarih metodolojisi yoktur.<\/p>\n
Fransa\u2019da ya\u015fam\u0131\u015f olan \u0130spanyol ressam, heykelt\u0131ra\u015f, sahne tasar\u0131mc\u0131s\u0131, \u015fair ve oyun yazar\u0131 Pablo Picasso, 20. y\u00fczy\u0131l\u0131n en b\u00fcy\u00fck ressamlar\u0131ndan biridir. Ancak \u00e7ok az ki\u015fi bilir ki onun \u0130slam sanat\u0131na olan ilgisi \u00e7ocukluk y\u0131llar\u0131na dayan\u0131r. Babas\u0131, \u0130spanya\u2019da bir m\u00fcze k\u00fcrat\u00f6r\u00fcyd\u00fc ve o m\u00fczedeki eserleri kopyalayarak b\u00fcy\u00fcd\u00fc. End\u00fcl\u00fcs miras\u0131n\u0131n etkisi Picasso\u2019nun sanat\u0131nda derin izler b\u0131rakm\u0131\u015ft\u0131r.
\nCumhuriyetin ilk d\u00f6nemlerinde T\u00fcrk ressamlar Paris\u2019e gidip Picasso\u2019yu ziyaret ettiklerinde, o onlara \u015fu soruyu sorar: \u201cNi\u00e7in Bat\u0131\u2019n\u0131n sanat\u0131n\u0131 taklit ediyorsunuz? Sizin hat sanat\u0131n\u0131z, bizim ula\u015fmaya \u00e7al\u0131\u015ft\u0131\u011f\u0131m\u0131z modern sanata y\u00fczlerce y\u0131l \u00f6nce ula\u015fm\u0131\u015f!\u201d<\/p>\n
Benzer bir hat\u0131ra, Ressam Hasan Kavruk\u2019tan aktar\u0131l\u0131r. Paris\u2019te Picasso\u2019nun at\u00f6lyesine giderek, orada \u00e7al\u0131\u015fmak istedi\u011fini s\u00f6yler. Picasso ona \u015funu der: \u201cSen T\u00fcrks\u00fcn de\u011fil mi? Biz bug\u00fcn sanatta sizin eski hattatlar\u0131n\u0131z\u0131n yapt\u0131klar\u0131n\u0131 yapmaya \u00e7al\u0131\u015f\u0131yoruz. Sen hemen memleketine d\u00f6n ve kendi hat sanat\u0131n\u0131 incele.\u201d<\/p>\n
Bunlar, Bat\u0131\u2019n\u0131n \u0130slam sanat\u0131na duydu\u011fu hayranl\u0131\u011f\u0131n a\u00e7\u0131k itiraflar\u0131d\u0131r. 2009\u2019da Berlin\u2019de a\u00e7\u0131lan \u201cTasvir\/\u0130slam \u0130mge D\u00fcnyalar\u0131 ve Modernizm\u201d sergisinde Picasso\u2019nun \u0130slam sanat\u0131 ile olan ba\u011f\u0131 bir kez daha g\u00fcndeme gelir. K\u00fcrat\u00f6r Almut Bruckstein, Picasso\u2019yu s\u00fcslemeli bir Kur\u2019an el yazmas\u0131yla ilintilendirir. Ayn\u0131 \u015fekilde, 20. y\u00fczy\u0131l\u0131n en \u00f6nemli \u015fairlerinden \u015eilili Pablo Neruda, 1930\u2019larda gitti\u011fi Singapur\u2019da bir camiyi ziyaret eder ve hat sanat\u0131ndan etkilenir. O anda, dostu Picasso\u2019nun \u015fu s\u00f6z\u00fc akl\u0131na gelir: \u201cHat sanat\u0131 m\u00fccevherdir.\u201d<\/p>\n
Bat\u0131, sanat\u0131n Yunan\u2019la ba\u015flad\u0131\u011f\u0131n\u0131 iddia eder ve bunu \u00fc\u00e7 y\u00fcz y\u0131ld\u0131r insanl\u0131\u011fa dayatmaktad\u0131r. Fakat bug\u00fcn gelinen noktada art\u0131k Hint, \u00c7in, Babil, S\u00fcmer, M\u0131s\u0131r gibi \u015eark medeniyetlerinin sanatta ve felsefede Yunan\u2019dan \u00f6nce de var oldu\u011fu kabul ediliyor. \u00dcnl\u00fc Frans\u0131z yazar Voltaire bile \u00e7a\u011f\u0131n\u0131n anl\u0131 \u015fanl\u0131 cahillerine, \u201cYunan\u2019\u0131n tahayy\u00fcl ettikleri gibi olmad\u0131\u011f\u0131n\u0131\u201d hayk\u0131ranlardan biriydi. \u00c7ari\u00e7e II. Katerina ona, \u201cBeyefendi, Algarotti\u2019ye g\u00f6re her \u015feyi Yunanl\u0131lar icat etmi\u015f. Bu do\u011fru mudur?\u201d diye sorunca, Voltaire \u015f\u00f6yle cevap verir: \u201cHay\u0131r, han\u0131mefendi. Yunanl\u0131lar bir \u015feyi icat etmi\u015f de\u011fil. M\u00fckemmele ula\u015ft\u0131rd\u0131klar\u0131 pek az \u015fey var, onu da bir hayli ge\u00e7 kalarak yapt\u0131lar.\u201d<\/p>\n
Sanat\u0131n k\u00f6keni, insani becerilerle i\u00e7 i\u00e7edir. \u0130ngilizcedeki \u201cart\u201d s\u00f6zc\u00fc\u011f\u00fc, Yunanca \u201ctechne\u201d ve Latince \u201cars\u201d kelimesinden gelir ve bu kelime hem sanat\u0131 hem de zanaat\u0131 i\u00e7erirdi. Bat\u0131\u2019da 18. y\u00fczy\u0131lda sanat ile zanaat ayr\u0131lm\u0131\u015f, biz de bu ayr\u0131m\u0131 Bat\u0131\u2019dan kopyalad\u0131k. Oysa sanat ve zanaat, tarih boyunca i\u00e7 i\u00e7e olmu\u015ftur. Eskiden sanat\u00e7\u0131lar, yaln\u0131zca eser \u00fcretmekle kalmaz, m\u00fczik ve resim aletlerini de yapar, \u00e7alar ve kullan\u0131rlard\u0131. Dilimize Arap\u00e7a\u2019dan ge\u00e7en \u201csanaat\u201d kelimesi de ustal\u0131kla yap\u0131lan i\u015fleri (hem sanat hem de zanaat\u0131) ifade ederken, Bat\u0131\u2019n\u0131n etkisiyle biz de art\u2019\u0131n yerine \u201cf\u00fcnun\u201d kelimesini kullanm\u0131\u015f\u0131z. Gelenek\/g\u00f6renek yerine de \u00f6nce \u201cHars\u201d\u0131 sonrada Almanca\u2019dan \u201ck\u00fclt\u00fcr\u201d kavram\u0131n\u0131 ithal etmi\u015fiz.<\/p>\n
\u015eark, \u00f6nce kelam\u0131n, s\u00f6z\u00fcn (logos) g\u00fcc\u00fcn\u00fc \u00f6nemsedi ve logos Arap\u00e7aya l\u00fcgat olarak ge\u00e7ti. Dil, \u015fiir ve hitabet, do\u011funun en g\u00fc\u00e7l\u00fc alanlar\u0131yd\u0131. Ard\u0131ndan yaz\u0131n\u0131n g\u00fcc\u00fc \u00f6ne \u00e7\u0131kt\u0131. Kalem (Yunanca kalemos) ve k\u0131rtasiye (Yunanca \u03c7\u00e1rt\u0113s) ile birlikte yaz\u0131l\u0131 k\u00fclt\u00fcr geli\u015fmeye ba\u015flad\u0131. Bug\u00fcn ise, G\u00f6rsellik \u00c7a\u011f\u0131\u2019nda ya\u015f\u0131yoruz. \u015eark toplumlar\u0131, ya s\u00f6z\u00fc ve yaz\u0131y\u0131 yeniden g\u00fc\u00e7l\u00fc hale getirecek ya da g\u00f6rsel d\u00fcnyay\u0131 kendi hayal d\u00fcnyalar\u0131 ile in\u015fa edeceklerdir. \u0130\u015fte bundand\u0131r ki, Camii in\u015fa etmek kadar film \u00e7ekmenin de \u00f6nemli oldu\u011funu anlamak zorunday\u0131z. Sinema, tiyatro, m\u00fczik, orkestra, opera, resim, heykel\u2026 Bunlar k\u00fclt\u00fcr\u00fcn, sanat\u0131n ve esteti\u011fin temel unsurlar\u0131d\u0131r. Onun i\u00e7in bu alanlarda d\u00fcnya ile yar\u0131\u015f\u0131r halde gelebilmeliyiz.<\/p>\n
Tolstoy, \u201cSanat Nedir?\u201d adl\u0131 eserinde, sanat\u0131n M\u00fcsl\u00fcmanlarda y\u00fcce Allah\u2019\u0131n cemal s\u0131fat\u0131ndan hareketle cemil (g\u00fczel) olanda tezah\u00fcr etti\u011fi anlat\u0131r. Ve cemil (g\u00fczel) bak\u0131\u015f a\u00e7\u0131s\u0131n\u0131n da en iyi M\u00fcsl\u00fcmanlarda estetik anlay\u0131\u015f\u0131n\u0131 geli\u015ftirdi\u011fini anlat\u0131r. Ancak bug\u00fcn\u00fcn muhafazak\u00e2rlar\u0131 ve dindarlar\u0131, bu ruhtan uzakla\u015fm\u0131\u015ft\u0131r. Oysa, ge\u00e7mi\u015fte sanatlar\u0131n\u0131 ka\u011f\u0131da, suya ve mimariye i\u015fleyen medeniyetin \u00e7ocuklar\u0131, sanat\u0131 ve esteti\u011fi unutmamal\u0131yd\u0131\u2026<\/p>\n
Muhafazak\u00e2rlar\u0131n k\u00fclt\u00fcr ve sanat alan\u0131ndaki vahim durumunun sebebi bir\u00e7ok meseleyi hen\u00fcz d\u00fc\u015f\u00fcnce baz\u0131nda dahi \u00e7\u00f6zememi\u015f olmalar\u0131, bu alanlarda ilerleme kaydetmelerini ve \u00f6zg\u00fcn fikirler \u00fcretmelerini engellemektedir. Y\u00fczy\u0131llard\u0131r s\u00fcregelen m\u00fczik, sinema ve heykel tart\u0131\u015fmalar\u0131, bu zihinsel t\u0131kan\u0131kl\u0131\u011f\u0131n en bariz \u00f6rneklerindendir.<\/p>\n
Muhafazak\u00e2r partiler, vak\u0131flar ve i\u015f insanlar\u0131, k\u00fclt\u00fcr ve sanata yat\u0131r\u0131m yapmay\u0131 gereksiz bir l\u00fcks olarak g\u00f6rmekte, bu alan\u0131 desteklemeyi \u00e7o\u011fu zaman fuzuli bir u\u011fra\u015f olarak de\u011ferlendirmektedir. Oysa tam aksine, bug\u00fcn sanat\u0131n ve k\u00fclt\u00fcr\u00fcn desteklenmesi, manevi anlamda belki de en b\u00fcy\u00fck hay\u0131r i\u015flerinden biridir. Ancak, bu bilin\u00e7ten yoksunluk nedeniyle, sanata ayr\u0131lan b\u00fct\u00e7eler ya hi\u00e7 olu\u015fturulmaz ya da ilk kesinti hep bu alandan yap\u0131l\u0131r.<\/p>\n
Oysa tarihte b\u00fcy\u00fck medeniyetler, sanata verdikleri \u00f6nemle y\u00fckselmi\u015f, estetik anlay\u0131\u015flar\u0131yla \u00e7a\u011flar\u0131na damga vurmu\u015flard\u0131r. R\u00f6nesans, Medici ailesinin sanat hamili\u011fiyle serpildi, b\u00fcy\u00fck ustalar onlar\u0131n destekleriyle yeti\u015fti. Bug\u00fcn de benzer \u015fekilde vak\u0131flar\u0131n, sanat\u0131n geli\u015fimine \u00f6nc\u00fcl\u00fck etmesi gerekmektedir.<\/p>\n
Devletin k\u00fclt\u00fcr\u00fc ve sanat\u0131 ciddi anlamda desteklemesi, \u00fcniversitelerde g\u00fczel sanatlar b\u00f6l\u00fcmlerinin b\u00fcy\u00fck ilgi g\u00f6rmesi elzemdir. Bunlar sa\u011flanmad\u0131k\u00e7a, k\u00fclt\u00fcr ve sanatta fark yaratmak, evrensel bir ses olmak m\u00fcmk\u00fcn de\u011fildir. Bir medeniyetin kal\u0131c\u0131l\u0131\u011f\u0131, sadece teknolojide veya siyasette de\u011fil, sanat\u0131nda ve k\u00fclt\u00fcr\u00fcnde \u015fekillenir. Sanata s\u0131rt d\u00f6nen bir toplum, zamanla kendi ruhuna da yabanc\u0131la\u015f\u0131r.<\/p>\n
Velh\u00e2s\u0131l, e\u011fer T\u00fcrkiye b\u00fcy\u00fck sanat\u00e7\u0131lar yeti\u015ftirmek ya da bu sanat\u00e7\u0131lar\u0131n \u00f6n\u00fcn\u00fc a\u00e7mak istiyorsa, \u00f6nce kendi k\u00f6klerine d\u00f6nmeli, kendi hik\u00e2yelerini anlatmal\u0131 ve kendi sanat anlay\u0131\u015f\u0131n\u0131 evrensel bir dile d\u00f6n\u00fc\u015ft\u00fcrmelidir. Fakat bunlar\u0131 yaparken sanat\u0131n bask\u0131 alt\u0131na ye\u015feremeyece\u011fini, sanat\u00e7\u0131n\u0131n \u00f6zg\u00fcrl\u00fc\u011f\u00fcn\u00fcn gerek \u015fart oldu\u011funu da hat\u0131rdan \u00e7\u0131kartmamal\u0131d\u0131r. \u00c7\u00fcnk\u00fc ger\u00e7ek sanat, yaln\u0131zca derin k\u00f6klerden, kadim bir medeniyetin \u00f6z suyuyla beslenen \u00f6zg\u00fcr bir ruhtan do\u011far.<\/p>\n
Kendi ge\u00e7mi\u015finin \u0131\u015f\u0131\u011f\u0131ndan bihaber bir sanat\u00e7\u0131, evrenselli\u011fe nas\u0131l ula\u015fabilir? Kendi k\u00fclt\u00fcr\u00fcn\u00fc tan\u0131mayan bir sanat, ba\u015fka d\u00fcnyalara nas\u0131l ses verebilir? T\u0131pk\u0131 hazinesinin \u00fcst\u00fcnde oturup a\u00e7l\u0131ktan yak\u0131nan bir medeniyet gibi\u2026 As\u0131l zenginli\u011fi g\u00f6z ard\u0131 edip ba\u015fkalar\u0131n\u0131n g\u00f6lgelerinde dola\u015fan bir sanat anlay\u0131\u015f\u0131, ne sahici olabilir ne de zamana meydan okuyabilir. Ger\u00e7ek sanat, kendi \u00f6z\u00fcnden g\u00fc\u00e7 alarak b\u00fcy\u00fcr; k\u00f6ks\u00fcz bir \u00e7\u0131nar\u0131n ayakta kalmas\u0131 nas\u0131l m\u00fcmk\u00fcn de\u011filse, kendi k\u00fclt\u00fcr\u00fcne yabanc\u0131la\u015fan bir sanat\u0131n da ya\u015famas\u0131 m\u00fcmk\u00fcn de\u011fildir.<\/p>\n
<\/p>\n
Kaynak:<\/strong> \u0130stiklal Gazetesi, ilk yay\u0131mlanma tarihi: 08 Mart 2025<\/p>\n","protected":false},"excerpt":{"rendered":"Sanat, insan\u0131n varolu\u015fundan beri kendini ifade etme bi\u00e7imidir; ruhun yank\u0131s\u0131, zaman\u0131n \u015fahidi, insanl\u0131\u011f\u0131n ortak dilidir. Ancak bizde sanat\u00e7\u0131, k\u00f6klerinden kopmu\u015f, […]","protected":false},"author":2,"featured_media":827,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"tags":[862,856,861,860,859,857,864,863,858,679,683],"class_list":["post-826","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-edebiyat","tag-dogu-bati-divani","tag-estetik","tag-evrensellik","tag-hat-sanati","tag-islam-sanati","tag-kulturel-miras","tag-milli-teknoloji-hamlesi-kulturel-boyut","tag-muhafazakarlik-ve-sanat","tag-picasso","tag-sanat","tag-tolstoy"],"_links":{"self":[{"href":"https:\/\/turankislakci.com\/tr\/wp-json\/wp\/v2\/posts\/826","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/turankislakci.com\/tr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/turankislakci.com\/tr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/turankislakci.com\/tr\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/turankislakci.com\/tr\/wp-json\/wp\/v2\/comments?post=826"}],"version-history":[{"count":1,"href":"https:\/\/turankislakci.com\/tr\/wp-json\/wp\/v2\/posts\/826\/revisions"}],"predecessor-version":[{"id":828,"href":"https:\/\/turankislakci.com\/tr\/wp-json\/wp\/v2\/posts\/826\/revisions\/828"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/turankislakci.com\/tr\/wp-json\/wp\/v2\/media\/827"}],"wp:attachment":[{"href":"https:\/\/turankislakci.com\/tr\/wp-json\/wp\/v2\/media?parent=826"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/turankislakci.com\/tr\/wp-json\/wp\/v2\/categories?post=826"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/turankislakci.com\/tr\/wp-json\/wp\/v2\/tags?post=826"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}