{"id":78901,"date":"2011-08-12T12:38:52","date_gmt":"2011-08-12T09:38:52","guid":{"rendered":"http:\/\/www.nationalturk.com\/?p=78901"},"modified":"2019-03-28T10:42:38","modified_gmt":"2019-03-28T07:42:38","slug":"yaratici-bir-sanatci-abdurrahman-oztoprak-5193","status":"publish","type":"post","link":"https:\/\/www.nationalturk.com\/tr\/yaratici-bir-sanatci-abdurrahman-oztoprak-5193\/","title":{"rendered":"Yarat\u0131c\u0131 bir sanat\u00e7\u0131: Abdurrahman \u00d6ztoprak"},"content":{"rendered":"

\"\"<\/a>Yarat\u0131c\u0131 bir sanat\u00e7\u0131: Abdurrahman \u00d6ztoprak adl\u0131 makalesiyle sayg\u0131de\u011fer bir sanat ele\u015ftirmeni ve sanat tarih\u00e7isi olan \u00d6zkan Ero\u011flu \u2018nun en son yaz\u0131s\u0131n\u0131 NationalTurk okuru sizlerle payla\u015fman\u0131n sevincindeyiz.<\/h3>\n

Kim Sanat\u00e7\u0131\/Who is an Artist? kitab\u0131mdaki \u00fclkemiz resim sanat\u0131 ba\u011flam\u0131ndaki on yarat\u0131c\u0131 sanat\u00e7\u0131dan biri olan \u00d6ztoprak\u2019\u0131 26 May\u0131s 2011 g\u00fcn\u00fc kaybetmi\u015ftik. O g\u00fcn, T\u00fcrk resmi \u00f6nemli bir de\u011ferini yitirdi. Bu insanlar, yerleri kolay kolay dolmayacak insanlar…<\/p>\n

Hi\u00e7 bir zaman ortal\u0131kta olmay\u0131 tercih etmemi\u015f, m\u00fctevazi bir ki\u015filikti \u00d6ztoprak. Resimlerinin b\u00fcy\u00fck bir k\u0131sm\u0131n\u0131 elinde bulunduran Elgiz Ailesi, umar\u0131m bu yarat\u0131c\u0131 sanat\u00e7\u0131n\u0131n hakketti\u011fi yerlerde kalmas\u0131n\u0131 sa\u011flar. Fakat konu ne olursa olsun bu yarat\u0131c\u0131 sanat\u00e7\u0131n\u0131n izini bir ele\u015ftirmen olarak s\u00fcrece\u011fim; onunla ilgili olan her \u015feyi yak\u0131ndan takip edece\u011fim.<\/p>\n

\"\"<\/a>Abdurrahman \u00d6ztoprak\u2019\u0131n yarat\u0131c\u0131 yan\u0131 s\u00f6z konusu olunca, T\u00fcrkiye\u2019deki resim sanat\u0131n\u0131n az\u0131nl\u0131kta kalan de\u011ferlerinden biri (1) oldu\u011funu hat\u0131rlatmal\u0131y\u0131m. 1995, sanat\u00e7\u0131yla kar\u015f\u0131la\u015ft\u0131\u011f\u0131m ilk y\u0131ld\u0131r. 50. Sanat Y\u0131l\u0131 i\u00e7in haz\u0131rlanan kitapta yer alan yaz\u0131mda (2), sanat\u00e7\u0131n\u0131n yap\u0131tlar\u0131ndaki par\u00e7a-b\u00fct\u00fcn ili\u015fkisi ve bununla ili\u015fkilenen \u0131\u015f\u0131k olgusundan hareketle olu\u015fan d\u00fc\u015f\u00fcncelerimi ileri s\u00fcrm\u00fc\u015ft\u00fcm. 1999\u2019da \u00d6ztoprak ve yap\u0131tlar\u0131n\u0131n derinli\u011fi \u00fczerine yaz\u0131lan \u201cAbdurrahman \u00d6ztoprak: Duygulan\u0131m Resimleri\u201dnde, sanat\u00e7\u0131n\u0131n Akademi y\u0131llar\u0131ndan ba\u015flayarak, 1998 y\u0131l\u0131na dek \u00fcretti\u011fi yap\u0131tlar\u0131 \u00e7\u00f6z\u00fcmledim. Bu kitapta, 15. y\u00fczy\u0131l, \u0130lk R\u00f6nesans d\u00f6nemi sanat\u00e7\u0131s\u0131 Fra (Beato) Angelico ile \u00d6ztoprak aras\u0131nda analojiler kurgulad\u0131m (3). Sonu\u00e7: \u0130ki d\u00fcnya sanat\u00e7\u0131s\u0131 \u2018duygulan\u0131m\u2019 ortak paydas\u0131nda ve birer yap\u0131t\u0131 \u00fczerinden yan yana getirildi. Bu analoji, ertesi y\u0131l d\u00fczenledi\u011fim \u201cBir E\u015fle\u015ftirme (4): Fra Angelico-Abdurrahman \u00d6ztoprak\u201d sergisiyle (5) izleyiciyle bulu\u015ftu.<\/p>\n

1999-2001 y\u0131llar\u0131 aras\u0131nda \u00d6ztoprak\u2019la ger\u00e7ekle\u015ftirdi\u011fimiz kapsaml\u0131 ses ve video kay\u0131tlar\u0131n\u0131n bir k\u0131sm\u0131 2000\u2019li y\u0131llarda yay\u0131mland\u0131 (Sanat 1 ve Sanat Birikimi). D\u00fcnya sanat\u00e7\u0131lar\u0131n\u0131n baz\u0131lar\u0131n\u0131 ele ald\u0131\u011f\u0131m (Sanat\u0131n \u0130pu\u00e7lar\u0131) monografilerin aras\u0131nda \u00d6ztoprak \u00fczerine de yazarak ve bu yaz\u0131da, sanat\u0131n\u0131n k\u00f6klerinden ba\u015flayarak 2005 y\u0131l\u0131na dek uzanan ser\u00fcvenini anlatt\u0131m. \u201cDerin Hislenme Kavram\u0131na Giri\u015f\u201dde, \u201c\u0130\u015faretten duygulan\u0131ma\u201d alt ba\u015fl\u0131\u011f\u0131 alt\u0131nda \u2018\u00d6ztoprak-Beethoven\u2019 ili\u015fkisini, \u201cDuygulan\u0131m\u0131n neden oldu\u011fu kar\u015f\u0131la\u015ft\u0131rmalar\u201d alt ba\u015fl\u0131\u011f\u0131 alt\u0131nda ise, \u00d6ztoprak\u2019\u0131n yap\u0131tlar\u0131ndaki analojik ihtiya\u00e7 boyutunu irdeledim. Derin bir yarat\u0131c\u0131y\u0131 anlamak ve belli bir alg\u0131ya ula\u015ft\u0131rmak i\u00e7in bir Y\u00fcksek Lisans seminer \u00e7al\u0131\u015fmas\u0131n\u0131 da y\u00f6nettim (6).<\/p>\n

2000\u2019li y\u0131llardaki yap\u0131tlar\u0131n temel filozofisi<\/strong><\/p>\n

2000\u2019li y\u0131llardaki \u00d6ztoprak yap\u0131tlar\u0131n\u0131n ortaya koydu\u011fu anlay\u0131\u015flar hakk\u0131nda \u015funlar\u0131 s\u00f6yleyebilirim: Sanat\u00e7\u0131n\u0131n, sanat\u0131n\u0131n ilk d\u00f6nemlerinden bu yana ge\u00e7erli olan derinlikli d\u00fc\u015f\u00fcnsel yap\u0131s\u0131 devrede olmak \u00fczere, bu kez diyagonal \u00e7izgi ay\u0131rmalar\u0131n\u0131n kompozisyonlara egemen olarak, renk alanlar\u0131 olu\u015fturdu\u011funa dikkat \u00e7ekmeliyim. Bu renk alanlar\u0131, zaman zaman \u00fcst \u00fcste bindirme efektlerini de kullanarak hareket etmektedir. Aradan, kendini belli eden \u0131\u015f\u0131kl\u0131 ve \u0131\u015f\u0131ks\u0131z eleman par\u00e7alar\u0131n\u0131n izleyiciye g\u00f6z k\u0131rpmas\u0131 gibi enteresan \u00f6nem noktalar\u0131n\u0131n yarat\u0131ld\u0131\u011f\u0131na da tan\u0131k olmaktay\u0131z. Degrade uygulamalarla diyagonal \u00e7izgiler e\u015fli\u011finde, par\u00e7alar halinde kendini belli eden kompozisyonlarda, di\u011fer taraftan sal\u0131narak ve hareket halinde sunulan soyut k\u00fctleler kendini g\u00f6stermektedir. \u0130ki yakla\u015f\u0131mda da k\u0131r\u0131lan hatlar\u0131 g\u00f6r\u00fcr, dolay\u0131s\u0131yla birbirlerine de\u011ferek bir temas noktas\u0131 olu\u015fturarak geli\u015fen kompozisyonlar\u0131 alg\u0131lar\u0131z. Bu durumlar, derinlikli bir d\u00fc\u015f\u00fcnsel yap\u0131 sinyallerinin sanat\u00e7\u0131 taraf\u0131ndan yay\u0131ld\u0131\u011f\u0131n\u0131, yan\u0131 s\u0131ra yay\u0131lan bu sinyallerin, \u00f6zel bir izleyici alg\u0131s\u0131yla tamamlanabilir bir boyuta s\u00fcr\u00fcklenebilece\u011fini ortaya koymaktad\u0131r.<\/p>\n

\"Abdurrahman<\/a>\u00d6zellikle sal\u0131nan k\u00fctlelerin yer ald\u0131\u011f\u0131 kompozisyonlar\u0131n, az \u00f6nce dile getirdi\u011fimiz, \u2018birlik\u2019 kavram\u0131yla yak\u0131n ilgisi bulundu\u011funa dikkat \u00e7ekmek istiyorum. Buna paralel, baz\u0131 k\u0131vr\u0131mlar boyut kazanmaktad\u0131r. K\u0131vr\u0131m olu\u015fumlar\u0131n \u2018ara\u2019 kavram\u0131na kuvvet vererek, o \u2018ara\u2019larda zaman zaman baz\u0131 renkleri lanse edip, baz\u0131 zamanlarda da o renkleri gizemle\u015ftirdi\u011fini g\u00f6r\u00fcyoruz. Romantik bir sanat\u00e7\u0131n\u0131n, alg\u0131 noktas\u0131nda in\u015fac\u0131 d\u0131\u015favurmalara ula\u015fan kompozisyonlar \u00fcretmesiyle ba\u015f ba\u015fay\u0131z. \u00d6ztoprak, sanat ya\u015fam\u0131 boyunca romantizmi elden b\u0131rakmam\u0131\u015ft\u0131r. Derin bir his olarak kendisinde beliren ve mimariye olan yak\u0131n ilgisinden dolay\u0131, in\u015fa etmeyi de hislerine eklemesini bilir. Burada dile getirmeye \u00e7al\u0131\u015ft\u0131\u011f\u0131m, bir form\u00fcl olarak \u015f\u00f6yle belirir: \u201cSanat\u00e7\u0131 bir taraftan hislerinin pe\u015finden giderken, di\u011fer taraftan mant\u0131\u011f\u0131n\u0131n istedi\u011fi in\u015fac\u0131l\u0131\u011f\u0131 da elden b\u0131rakmam\u0131\u015ft\u0131r. Bu iki kar\u015f\u0131t anlay\u0131\u015f\u0131n, adeta bir \u00e7eli\u015fkiye, bu \u00e7eli\u015fkinin de paradoks filozofisinden beslenerek bir kar\u015f\u0131tl\u0131k enerjisine d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fcn\u00fc dile getirmem gerekiyor.<\/p>\n

Sanat\u00e7\u0131n\u0131n 2000\u2019li y\u0131llarda \u00fcretti\u011fi yap\u0131tlarda s\u0131kl\u0131kla diyagonalleri, birbirinin ard\u0131na saklanan soyut k\u00fctleleri severek kulland\u0131\u011f\u0131n\u0131 g\u00f6r\u00fcnce, buradan gizemle\u015ftirilen k\u00fctle mant\u0131\u011f\u0131n\u0131n da devreye sokulmak istendi\u011fini, yan\u0131 s\u0131ra ele al\u0131nan ve tekil elemanlar\u0131 in\u015fala\u015ft\u0131ran \u00e7izgilerin, yap\u0131tlar\u0131n \u00e7er\u00e7evesinin d\u0131\u015f\u0131nda bir yerlerde de kesi\u015febildi\u011fini g\u00f6r\u00fcnce \u015fu s\u00f6z akla gelmekte: \u201cBaro\u011fun \u00f6z\u00fc sonsuza giden k\u0131vr\u0131md\u0131r\u201d (7). Buradan hareketle \u015fu d\u00fc\u015f\u00fcn\u00fclebilir: \u00d6ztoprak, 2000\u2019li y\u0131llarda \u00fcretti\u011fi yap\u0131tlar\u0131yla beraber sanat\u0131nda bir Barok s\u00fcreci mi ya\u015famaktad\u0131r? Kan\u0131mca bu soru ve bu soruya verilecek cevap, sanat\u00e7\u0131n\u0131n son on y\u0131lda \u00fcretti\u011fi yap\u0131tlar\u0131n\u0131n \u00f6z\u00fcn\u00fc olu\u015fturmaktad\u0131r. \u00d6zellikle sal\u0131msal k\u00fctlelere dayal\u0131 \u00e7al\u0131\u015fmalar\u0131nda bir ak\u0131\u015fkanl\u0131k, elastiklik ve benzer durumlar s\u00f6z konusudur. Sal\u0131n\u0131msal k\u00fctlelere dayal\u0131 \u00e7al\u0131\u015fmalar\u0131nda hangi eleman\u0131n, hangisinin \u00fcst\u00fcnde veya alt\u0131nda oldu\u011fu durumunun net olmay\u0131\u015f\u0131, bir boyut de\u011fi\u015fiminden \u00e7ok bi\u00e7im de\u011fi\u015fimine, dolay\u0131s\u0131yla bir metamorfoza i\u015faret eder. 2000\u2019li y\u0131llardaki \u00d6ztoprak yap\u0131tlar\u0131nda, adeta farkl\u0131la\u015fm\u0131\u015f olan\u0131n farkl\u0131la\u015fm\u0131\u015f olan\u0131 ya\u015fanmaktad\u0131r.<\/p>\n

2000\u2019li y\u0131llarda sanat\u00e7\u0131n\u0131n sanat anlay\u0131\u015f\u0131nda ya\u015fanan Barok tav\u0131r kuvvetini \u0131\u015f\u0131ktan al\u0131r. Fakat \u0131\u015f\u0131k, m\u00fcmk\u00fcn oldu\u011fu kadar pasifize edilerek, g\u00f6lgeyle ilgili \u00e7\u0131kmalar ileri s\u00fcr\u00fclm\u00fc\u015ft\u00fcr. Formlar, dolay\u0131s\u0131yla olu\u015fan her bir birim, kendine eleman belirsizli\u011fini dayanak al\u0131r. Formlar, az \u00f6nce de vurgulad\u0131\u011f\u0131m gibi, \u00e7er\u00e7evenin d\u0131\u015f\u0131ndaki ka\u00e7\u0131\u015f noktalar\u0131na kadar i\u015fi ta\u015f\u0131d\u0131\u011f\u0131ndan, a\u00e7\u0131k form dilinin yap\u0131tlarda birer var olma temsili \u00fcstlendi\u011fini s\u00f6yleyebiliriz. En \u00f6nemlisi, elemanlar aras\u0131 bir birlik dilinin derinle\u015ftirilerek kullan\u0131lmas\u0131d\u0131r. Zaten bu yap\u0131tlar gerek i\u00e7erik, gerekse bi\u00e7im ba\u011flam\u0131nda derindir, d\u00fczlemden iyice uzakla\u015fm\u0131\u015ft\u0131r. Bu kopukluktur ki, al\u0131p ba\u015f\u0131n\u0131 gitmek isteyen bir \u00d6ztoprak ikonografisini g\u00f6zler \u00f6n\u00fcne serer. S\u00f6z konusu ikonografi, g\u00fcc\u00fcn\u00fc iyice mistisizmden almaktad\u0131r. Her bir yap\u0131t, \u00e7a\u011fda\u015f mistik yap\u0131lar olarak de\u011fer kazan\u0131r ve \u00e7\u00f6z\u00fcmlenmeyi bekler.<\/p>\n

\u00d6ztoprak\u2019\u0131n 2000\u2019li y\u0131llardaki yap\u0131t anlay\u0131\u015flar\u0131n\u0131n i\u00e7inde, \u00f6zellikle par\u00e7a-b\u00fct\u00fcn ili\u015fkisinden hareket eden kompozisyonlar\u0131ndaki belirgin hatlara dikkat ediniz, elde edilen bir notan\u0131n alfabetik yap\u0131s\u0131na benzer bir durum sunar. Bu yap\u0131larda t\u00fcm y\u00fckselen ve al\u00e7alan m\u00fczi\u011fi duyumsamak olas\u0131d\u0131r. Burada, klasik duyumlarla beslenen, fakat \u00fcst yap\u0131s\u0131nda Barok\u2019un o, kendine \u00f6zg\u00fc k\u0131vr\u0131ml\u0131 yollar\u0131nda ilerleyen melodilerinin namelerini duyar gibi oluruz. M\u00fczik-resim ili\u015fkisi \u00f6yle bir hale ula\u015fm\u0131\u015ft\u0131r ki, aralar\u0131ndaki \u00f6rt\u00fc iyice kalkm\u0131\u015f ve konuyla ilgili hemen her \u015fey aleni bir \u015fekilde kompozisyon y\u00fczeylerinde belirmi\u015ftir. Bu, tam olarak zirve yapmaktan ba\u015fka bir \u015fey de\u011fildir. Abdurrahman \u00d6ztoprak, \u00f6zellikle son bir ka\u00e7 y\u0131ld\u0131r ortaya koydu\u011fu yap\u0131t yap\u0131lar\u0131nda, yans\u0131t\u0131m olarak sundu\u011fu ve ya\u015fam\u0131ndaki her\u015feyi tek bir noktaya indirdi\u011finin mesajlar\u0131n\u0131 vermektedir. Yarat\u0131c\u0131 g\u00fc\u00e7, art\u0131k piramidin en ucundad\u0131r, yaln\u0131zd\u0131r ve tek ba\u015f\u0131na bir ya\u015fam s\u00fcrmektedir.<\/p>\n

Notlar<\/strong><\/p>\n

(1) \u00d6zkan Ero\u011flu, Kim Sanat\u00e7\u0131\/Who is an Artist, \u0130stanbul, \u00d6ke Yay\u0131nevi, 2002. (2) Hamit K\u0131nayt\u00fcrk (Ed.), Abdurrahman \u00d6ztoprak, \u201cPar\u00e7a-B\u00fct\u00fcn \u0130li\u015fkisi ve I\u015f\u0131k\/The Relationship of Part, Whole and Right\u201d, \u0130stanbul, Kendi Yay\u0131n\u0131, 1995, s. 58-63. (3) \u00d6. Ero\u011flu, Abdurrahman \u00d6ztoprak: Duygulan\u0131m Resimleri\/Painting Which Move Me, \u0130stanbul, Bilim Sanat Galerisi Yay\u0131n\u0131, 1999, s. 166-196. (4) A.e., s. 170-171. (5) 06-28 Aral\u0131k 2001 tarihleri aras\u0131nda Te\u015fvikiye Nelli Sanat Sanatevi\u2019nde d\u00fczenlenmi\u015ftir. (6) Ero\u011flu (Ed.), Sanat 1, \u0130stanbul, Nelli Sanatevi Yay\u0131n\u0131, 2005, s. 214-232; Ero\u011flu, Sanat Birikimi, \u0130stanbul, Galeri Artist Yay\u0131n\u0131, 2009, s. 777-796; Ero\u011flu, Sanat\u0131n \u0130pu\u00e7lar\u0131, \u0130stanbul, Nelli Sanatevi Yay\u0131n\u0131, 2005, s. 91-99; Ero\u011flu, Derin Hislenme Kavram\u0131na Giri\u015f, \u0130stanbul, Nelli Sanatevi Yay\u0131n\u0131, 2006, s. 59 ve s. 61-62; Gizem Tatl\u0131c\u0131, Abdurrahman \u00d6ztoprak ve Duygulan\u0131m Felsefesi (Seminer), I\u015f\u0131k \u00dcniversitesi Sosyal Bilimler Enstit\u00fcs\u00fc Sanat Bilimi Anabilim Dal\u0131, \u0130stanbul, 2010. (8) Gilles Deleuze, K\u0131vr\u0131m, Leibniz ve Barok, \u0130stanbul, Ba\u011flam Yay\u0131nlar\u0131, 2006, \u00c7ev. H. Y\u00fccefer, s. 7<\/p>\n

Bir Duyuru:<\/strong><\/p>\n

Sanat\u00e7\u0131ya arma\u011fan olarak, Temmuz ay\u0131 i\u00e7erisinde 64 sayfadan olu\u015fan bir b\u00fclten yay\u0131mlanm\u0131\u015ft\u0131r. Galeri Selvin taraf\u0131ndan yay\u0131mlanan \u201csanatartkunst\u201d isimli b\u00fcltenin i\u00e7inde \u015fu yaz\u0131lar yer almaktad\u0131r:<\/p>\n

Edit\u00f6rden \u2022 2, Bir Dost Bir A\u011fabeyi Kaybetmenin Ac\u0131s\u0131yla \u2022 2, \u00d6ztoprak\u2019\u0131 da Yitirdik \u2022 2, Abdurrahman \u00d6ztoprak\u2019\u0131n Sanat\u0131 \u2022 3, Yarat\u0131c\u0131 Bir Sanat\u00e7\u0131: Abdurrahman \u00d6ztoprak \u2022 4, \u00d6ztoprak\u2019\u0131n Sanat Tarihiyle \u0130li\u015fkisi \u2022 5, Paul Klee\u2019de Mimari, Oran, Say\u0131 \u2022 8, Klee\u2019de D\u00fc\u015f\u00fcnsellik \u2022 9, Ayna, Ayna, G\u00fczel Ayna, Var m\u0131 Benden Daha G\u00fczeli Bu D\u00fcnyada \u2022 11, Bacon\u2019da Zaman S\u0131\u00e7ramas\u0131 \u00dczerine \u2022 12, Bir Sanat Filozofumuz \u2022 13, Pier Pasolini: \u0130konografi ve Ger\u00e7eklik \u2022 15, \u00c7elebi, Kocamemi, Cuda ve Tollu\u2019nun T\u00fcrk D\u0131a\u015favurumculu\u011fu, K\u00fcbizmi ve \u0130n\u015fac\u0131l\u0131\u011f\u0131 \u0130le \u0130li\u015fkileri \u2022 17, Assisi\u2019deki Giotto Resimlerinin \u00c7a\u011fda\u015f Sanatla \u0130li\u015fkisi \u2022 24, Abdurrahman \u00d6ztoprak\u2019la Sanat\u0131 \u00dczerine G\u00f6r\u00fc\u015fmeler Yapard\u0131m \u2022 29, Pop ve Erotik A\u00e7\u0131l\u0131mlar \u2022 30, Gen\u00e7 Bir Sanat\u00e7\u0131ya Dair \u2022 30, Komple Gen\u00e7 Bir Sanat\u00e7\u0131 \u2022 31, PORTFOLYO: Armmuseum Projesi \u2022 32, Dada Ruhu \u2022 38, \u00c7a\u011fda\u015f Sanat\u0131n Baz\u0131 Filozoflar\u0131 \u2022 42, Kitap \u2022 47, Alternatif Bir Tarih Kurgusu Ve Bir Poetikan\u0131n \u0130n\u015fas\u0131: \u0130lahi Komedya \u2022 48, Yumurta, S\u00fct, Bal \u2022 51, Bir Bilim Adam\u0131 Olacaksa B\u00f6yle Olmal\u0131 \u2022 51, Hans Hofmann\u2019\u0131n Sanat \u00d6\u011fretileri \u2022 52, Nejat Melih Devrim\u2019in K\u0131sa Bir Biyografisi \u2022 59, Bug\u00fcn Ele\u015ftiri \u2022 63, Galeri Selvin\u2019den Bir Sanat\u00e7\u0131 Ge\u00e7ti \u2022 63<\/p>\n

Bu b\u00fcltene ula\u015fmak isteyenlerin ozkan@ozkaneroglu.com adresine bir posta adresi ve telefon yollamalar\u0131 yeterli olacakt\u0131r.<\/p>\n

Dr. \u00d6zkan Ero\u011flu<\/strong><\/p>\n\n\n","protected":false},"excerpt":{"rendered":"

Yarat\u0131c\u0131 bir sanat\u00e7\u0131: Abdurrahman \u00d6ztoprak adl\u0131 makalesiyle sayg\u0131de\u011fer bir sanat ele\u015ftirmeni ve sanat tarih\u00e7isi olan \u00d6zkan Ero\u011flu \u2018nun en son yaz\u0131s\u0131n\u0131 NationalTurk okuru sizlerle payla\u015fman\u0131n sevincindeyiz.<\/p>\n","protected":false},"author":9192214,"featured_media":188221,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[6221,5005,6670],"tags":[78165,196075],"class_list":["post-78901","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kultur","category-manset","category-sanat","tag-kim-sanatci","tag-ozkan-eroglu"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/posts\/78901","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/users\/9192214"}],"replies":[{"embeddable":true,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/comments?post=78901"}],"version-history":[{"count":0,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/posts\/78901\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/media\/188221"}],"wp:attachment":[{"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/media?parent=78901"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/categories?post=78901"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/tags?post=78901"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}