{"id":86138,"date":"2011-10-25T10:34:23","date_gmt":"2011-10-25T07:34:23","guid":{"rendered":"http:\/\/www.nationalturk.com\/?p=86138"},"modified":"2011-10-25T10:34:23","modified_gmt":"2011-10-25T07:34:23","slug":"dorsay-muzesi-paris-1569","status":"publish","type":"post","link":"https:\/\/www.nationalturk.com\/tr\/dorsay-muzesi-paris-1569\/","title":{"rendered":"D\u2019ORSAY M\u00dcZES\u0130: Paris\u2019in Empresyonistler M\u00fczesi"},"content":{"rendered":"

\"\"<\/a><\/h3>\n

Sanat tarihi ve ele\u015ftirmeni Dr. \u00d6zkan Ero\u011flu \u2018nun \u201cD\u2019ORSAY M\u00dcZES\u0130: Paris\u2019in Empresyonistler M\u00fczesi\u201d ba\u015fl\u0131kl\u0131 yaz\u0131s\u0131n\u0131 sizlerle payla\u015f\u0131yoruz.<\/h3>\n

Paris\u2019teki bu m\u00fcze, toplu ve nitelikli, \u00e7\u0131k\u0131\u015f\u0131 Frans\u0131zlar taraf\u0131ndan yap\u0131lm\u0131\u015f olan empresyonizm ak\u0131m\u0131n\u0131n, ba\u015fta resim olmak \u00fczere ve se\u00e7kiledi\u011fi ilgin\u00e7 empresyonist heykellerle g\u00f6zler \u00f6n\u00fcne seriyor. Bu m\u00fczenin bir tren gar\u0131ndan d\u00f6n\u00fc\u015f\u00fcmle elde edilmi\u015f olmas\u0131, geni\u015f ve y\u00fcksek tavanl\u0131 salonlar\u0131 kadar, al\u00e7ak tavanl\u0131 bir\u00e7ok odan\u0131n da olu\u015fmas\u0131n\u0131 sa\u011flam\u0131\u015f. \u00d6ncelikle \u015funu s\u00f6ylemek gerekir ki, yeniempresyonistler ya da bir ba\u015fka deyi\u015fle puantalistlerin yap\u0131tlar\u0131ndaki bi\u00e7imsel derinlik, tart\u0131\u015f\u0131lmayacak boyutlarda kendilerini kabul ettiriyor. Noktalar\u0131n, tercih edilmi\u015f \u00e7e\u015fitli renklerle yan yana gelerek, bamba\u015fka bir sanat olu\u015fturmas\u0131, m\u00fczedeki en etkili \u015fey. Bir Seurat\u2019n\u0131n veya Signac\u2019\u0131n, resmetmenin yan\u0131nda, \u0131\u015f\u0131k ve renk konular\u0131nda g\u00f6r\u00fc\u015flerini kaleme almalar\u0131, sonu\u00e7 itibariyle meydana getirdikleri derinlikli vurgulara \u015fa\u015f\u0131r\u0131lam\u0131yor.<\/p>\n

Noktac\u0131lar sayesinde, konst\u00fcr\u00fcktivist bir resim disiplininin ortaya \u00e7\u0131kt\u0131\u011f\u0131 g\u00f6zlenebiliyor ve buradan hareketle kendi i\u00e7indeki inan\u0131lmazl\u0131klar\u0131n\u0131, daha sonraki zamanlara nas\u0131l aktard\u0131klar\u0131na tan\u0131k olunuyor. Empresyonizm nas\u0131l akademizmi k\u0131rd\u0131ysa, neoemresyonizm de o oranda as\u0131l empresyonist devrime neden olan \u00e7al\u0131\u015fmalar i\u00e7inde bulunmu\u015f ve ba\u015far\u0131l\u0131 olmu\u015ftur. Bir de m\u00fczede yer alan pastel \u00e7al\u0131\u015fmalar, \u00e7a\u011fda\u015f desen g\u00fcc\u00fcn\u00fcn ne demek oldu\u011funun ba\u015flang\u0131\u00e7lar\u0131ndan birini yapmakta ve ekspresyonizmin -ekspresyonist \u00e7izginin- haz\u0131rlay\u0131c\u0131s\u0131 oldu\u011funu kabul ettiren ciddiyetler ortaya \u00e7\u0131karm\u0131\u015ft\u0131r.<\/p>\n

d\u2019Orsay m\u00fczesini, \u00fc\u00e7 ana b\u00f6l\u00fcmde incelenebilir.<\/p>\n

Birinci b\u00f6l\u00fcm<\/strong><\/p>\n

\"\"<\/a><\/p>\n

Bunlardan ilki 1863-1874 y\u0131llar\u0131 aras\u0131n\u0131 kaps\u0131yor. Bu d\u00f6nemde olan bitene bak\u0131ld\u0131\u011f\u0131nda \u015funlar g\u00f6r\u00fcl\u00fcyor: Bazille\u2019in 1870 y\u0131l\u0131na ait \u201cRue de la Condamine\u2019deki At\u00f6lye\u201d resmi, empresyonizmin dostluk ve arkada\u015fl\u0131k ili\u015fkilerinin yo\u011fun oldu\u011fu anlarda yap\u0131lm\u0131\u015f \u00e7al\u0131\u015fmalardan biri. Edmond Maitre piyano \u00e7almakta, Emile Zola merdivenlerde masan\u0131n \u00fcst\u00fcne oturan Renoir ile konu\u015fmakta, Bazille, Monet ve Manet de \u015f\u00f6vale etraf\u0131nda sohbet etmekte. Belki de empresyonizmin ilk b\u00f6l\u00fcm\u00fcnde birinci safhay\u0131 olu\u015fturan \u201cSohbetler ve Arkada\u015fl\u0131klar\u201d ba\u015fl\u0131\u011f\u0131n\u0131 en net belgeleyen \u00e7al\u0131\u015fma bu.<\/p>\n

\u0130kinci safha ise \u201cgelene\u011fin y\u0131k\u0131lmas\u0131\u201d olarak nitelenebilir. Bu k\u0131sm\u0131n en \u00f6nemli temsilci resimleri de, Manet\u2019nin \u201cK\u0131rda Kahvalt\u0131\u201ds\u0131, \u201cOlimpiya\u201ds\u0131, Renoir\u2019\u0131n \u201cKedili Genci\u201d gibi resimler olurken, bu resimler ta\u015f\u0131d\u0131klar\u0131 anlamlarla baz\u0131 gelenekleri y\u0131k\u0131p, tepki toplarken, C\u00e9zanne\u2019\u0131n 1869 y\u0131l\u0131na ait \u201cSu Kapl\u0131 Nat\u00fcrmort\u201du, 1870 y\u0131l\u0131na ait \u201cPastoral\u201di, 1869 y\u0131l\u0131na ait \u201cMagdelana\u201ds\u0131 da gene gelenekleri y\u0131kan ilgin\u00e7 bi\u00e7imsel \u00f6zellikler sergilemekte.<\/p>\n

\u00dc\u00e7\u00fcnc\u00fc safha ise, \u201cYeni D\u00fcnya\u201d ba\u015fl\u0131\u011f\u0131yla irdelenmektedir. Yeni d\u00fcnya tan\u0131m\u0131 i\u00e7inde k\u0131r sohbetlerinin, belli k\u0131yafetler ve rutinlerle ya\u015fama girmesi, ya\u015famdan \u00f6rne\u011fin bir tekne veya at yar\u0131\u015f\u0131n\u0131n resimlere aktar\u0131lmas\u0131, \u00f6zellikle Degas\u2019n\u0131n balerinlerin ve m\u00fczisyenlerin ya\u015fam\u0131na el atmas\u0131 gibi konular g\u00f6ze \u00e7arpmakta.<\/p>\n

D\u00f6rd\u00fcnc\u00fc safhada da \u201cSamimi Portreler\u201d dikkati \u00e7ekiyor. Bu resimlerin en ilgi \u00e7ekici olan\u0131 Manet\u2019nin 1867 y\u0131l\u0131na ait olan \u201cD\u00fcd\u00fck\u00e7\u00fc\u201d isimli \u00e7al\u0131\u015fmas\u0131. Yan\u0131 s\u0131ra Manet\u2019nin 1867-68 y\u0131l\u0131na ait Emile Zola portresi de bu safha i\u00e7ine yerle\u015ftirilmekte. Be\u015finci safha \u201cSerbest De\u011fi\u015fimler\u201d ba\u015fl\u0131\u011f\u0131 alt\u0131nda irdeleniyor. Bu resimlerde hem konular, hem de bi\u00e7imsel vurgular de\u011fi\u015fmeye ba\u015fl\u0131yor. \u00d6rne\u011fin Monet\u2019in 1869 y\u0131l\u0131na ait \u201cMondschein Manzaras\u0131\u201d b\u00f6yle \u00f6zelliklere sahip.<\/p>\n

\u0130kinci b\u00f6l\u00fcm<\/strong><\/p>\n

\"\"<\/a>
d 'Orsay 'de Bir ressam kopya \u00e7al\u0131\u015fmas\u0131 yaparken<\/figcaption><\/figure>\n

Bu b\u00f6l\u00fcm, 1874-1886 y\u0131llar\u0131 aras\u0131n\u0131 kapsar. Bu b\u00f6l\u00fcm\u00fcn birinci safhas\u0131n\u0131 \u201cG\u00fcnl\u00fck Arkada\u015fl\u0131klar\u201d ba\u015fl\u0131\u011f\u0131 olu\u015fturuyor. Bu resimlerde kitap okuyan, el i\u015fi yapan, g\u00fcne\u015flenen, dans eden, k\u0131rda sohbet eden kimseler konu olarak g\u00f6r\u00fclmekte. Yan\u0131 s\u0131ra duyarl\u0131 manzaralar da i\u015fin i\u00e7inde. Bu manzaralar, bir sonraki safhan\u0131n m\u00fcjdecisi. \u00c7\u00fcnk\u00fc ikinci safhada \u2018kurgular\u0131 yeniden yap\u0131lacak manzaralara\u2019 y\u00f6nelim yo\u011funla\u015farak kendini g\u00f6sterecek. Bu y\u00f6ndeki en ilgin\u00e7 manzara resmi Monet\u2019nin\u00a01874 y\u0131l\u0131na ait \u201cGelincikler\u201d isimli \u00e7al\u0131\u015fmas\u0131.<\/p>\n

\u0130kinci safhaya gelince, \u201cYeni Manzara Resmi\u201d ad\u0131n\u0131 almakta. Bu safha resimlerinde, duyarl\u0131 ve yumu\u015fak bir ekspresyon devreye girmeye ba\u015flam\u0131\u015f. Bu manzaralarda da, portrelerde de g\u00f6ze \u00e7arpar. Manzaralarda bir do\u011fa detay\u0131n\u0131n, geneldeki manzaray\u0131 soyutlamaya \u00e7al\u0131\u015fmas\u0131 en \u00f6nemli \u00f6zellik. Bu y\u00f6nde Pissarro\u2019nun hemen hemen b\u00fct\u00fcn resimleri \u00e7ok de\u011ferli. Ve C\u00e9zanne\u2019\u0131n 1873-76 y\u0131llar\u0131 aras\u0131na tarihlenen otoportresi ilgin\u00e7 bir ekspresyon duyarl\u0131l\u0131k bar\u0131nd\u0131r\u0131r.
\n\u00dc\u00e7\u00fcnc\u00fc safha: \u201cModern Ya\u015fam\u201d ismini ta\u015f\u0131r. Bu safha resimlerinde m\u00fcthi\u015f yap\u0131tlar ortaya konmu\u015ftur. Bunlardan baz\u0131lar\u0131 ve en \u00f6nemlileri: Monet\u2019in 1877 y\u0131l\u0131na ait \u201cSaint-Lazare Gar\u0131\u201d, Manet\u2019nin 1878-79 y\u0131llar\u0131na ait \u201cBarmen Kad\u0131n\u201d\u0131, yine Monet\u2019nin 1879 y\u0131l\u0131na ait \u201cMontorgueil Bulvar\u201d\u0131, Renoir\u2019\u0131n 1877 y\u0131l\u0131na ait \u201cMonmartre Moulin de la Galette\u201d\u0131, Degas\u2019n\u0131n 1876\u2019ya tarihlenen \u201cAbsinth \u0130\u00e7enler\u201di, Caillebotte\u2019un 1876\u2019ya tarihlenen \u201cParkeciler\u201di, yine Degas\u2019n\u0131n balerin heykelleri say\u0131labilir. Bir ba\u015fka safha da \u201ckahramanl\u0131k ve alegorik temalar\u201d ba\u015fl\u0131\u011f\u0131n\u0131 ta\u015f\u0131r. Bu y\u00f6ndeki en \u00f6nemli resimlerden biri C\u00e9zanne\u2019\u0131n 1874\u2019e tarihlenen \u201cModern Olimpiya\u201ds\u0131d\u0131r. Manet\u2019in 1876 y\u0131l\u0131na ait \u201cMallarme Portresi\u201d de bunlardan biridir. Bu resimlerde i\u00e7erik ve bi\u00e7im, maksimum rahat b\u0131rak\u0131lm\u0131\u015ft\u0131r. B\u00f6ylece ekspresyon, kendini t\u00fcm do\u011fall\u0131\u011f\u0131yla ortaya koyar.<\/p>\n

\u00dc\u00e7\u00fcnc\u00fc b\u00f6l\u00fcm<\/strong><\/p>\n

\"\"<\/a>
d ' Orsay Van Gogh Otoportresi<\/figcaption><\/figure>\n

Bu b\u00f6l\u00fcm, \u201c1886 sonras\u0131\u201d ismini ta\u015f\u0131r. Bu b\u00f6l\u00fcm\u00fcn ilk safhas\u0131 \u201cSisley veya Temiz Empresyonizm\u201d ismini ta\u015f\u0131r. Buraya en iyi \u00f6rnek, Sisley\u2019in 1893 y\u0131l\u0131na tarihlenen \u201cMoret K\u00f6pr\u00fcs\u00fc\u201dnden isimli resmidir. Bu kompozisyon, tipik bir empresyonist resimdir, fakat lekeler p\u00fcr, kompozisyon ise olduk\u00e7a a\u00e7\u0131k bir i\u015flerli\u011fe sahiptir. \u00d6nceki iki b\u00f6l\u00fcm\u00fcn t\u00fcm \u00f6zelliklerini yan\u0131na alan bu resim, kendine \u00f6zg\u00fc bir dinginlikle kar\u015f\u0131m\u0131zdad\u0131r.<\/p>\n

\u0130kinci safha \u201cPissarro veya Son M\u00fccadele\u201d ismini al\u0131p, bu safhaya en iyi \u00f6rneklerden birini Pissarro\u2019nun 1882 y\u0131l\u0131na ait \u201cDe\u011fnekli K\u0131z\u201d\u0131 olu\u015fturmu\u015ftur. Bu safhan\u0131n temel \u00f6zelli\u011fi \u015fudur: art\u0131k soyutlaman\u0131n soyuta yak\u0131n duran halleri tart\u0131\u015f\u0131lmaya ba\u015flanm\u0131\u015ft\u0131r. Bu soyutlamalar, hi\u00e7 ku\u015fku yoktur ki Monet\u2019nin elinde 20. y\u00fczy\u0131l\u0131n ilk \u00e7eyre\u011finde kuvvetle iyice soyuta d\u00f6necek kompozisyonlar\u0131 ortaya \u00e7\u0131karacakt\u0131r. Pissarro\u2019nun ba\u015f\u0131n\u0131 \u00e7ekti\u011fi bu safha \u00f6nc\u00fc bir safhad\u0131r bana g\u00f6re.<\/p>\n

\u00dc\u00e7\u00fcnc\u00fc safhaya gelince, \u201cRenoir veya Mutluluk Resimleri\u201d ismi ile bilinir. Bunun en \u00f6zel \u00f6rne\u011fini Renoir\u2019\u0131n 1918-19 y\u0131llar\u0131na tarihlenen \u201cBanyo Yapanlar\u0131\u201d olu\u015fturur. Renoir\u2019\u0131n bu resminde oldu\u011fu gibi, hemen b\u00fct\u00fcn resimlerinde mutlu ki\u015filer kompoze edilmi\u015ftir.<\/p>\n

D\u00f6rd\u00fcnc\u00fc safhan\u0131n ismi ise, \u201cMonet veya Manzaran\u0131n Devaml\u0131 Geli\u015fmesi\u201d ba\u015fl\u0131\u011f\u0131n\u0131 ta\u015f\u0131r. Buna en g\u00fczel \u00f6rnekleri ise sanat\u00e7\u0131n\u0131n Rouen Katedral resimleri olu\u015fturur. Monet, s\u00f6z konusu katedralin giri\u015f cephesini-portalini, de\u011fi\u015fik zamanlara ait g\u00fcn \u0131\u015f\u0131klar\u0131 alt\u0131nda de\u011ferlendirmi\u015ftir. I\u015f\u0131\u011f\u0131n de\u011fi\u015fkenli\u011fi ve nesneler \u00fczerindeki etkisini, an ve an yakalamaya \u00e7al\u0131\u015fan bu ressam, resimlerini \u0131\u015f\u0131k ge\u00e7ip, yitirilmeden \u00e7abucak boyam\u0131\u015ft\u0131r. Ayr\u0131ca s\u00f6z konusu portali cepheden ve 2\/4 profil pozisyonlar\u0131nda boyam\u0131\u015ft\u0131r. Bunu \u201cSaman Y\u0131\u011f\u0131nlar\u0131\u201d isimli \u00e7al\u0131\u015fmalar\u0131nda, \u201cLondra Parlemanto Binas\u0131\u201d resimlerinde iyice ortaya koymu\u015ftur.<\/p>\n

Be\u015finci safha, \u201cC\u00e9zanne veya Karakterli Nesne ve \u00d6zneler\u201d ismini ta\u015f\u0131r. C\u00e9zanne\u2019\u0131n 1890-95 y\u0131llar\u0131 aras\u0131na tarihlenen<\/p>\n

\"\"
Degas 'n\u0131n balerin heykeli<\/figcaption><\/figure>\n

\u201cKahveibrikli Kad\u0131n\u201d\u0131, 1890-95 y\u0131llar\u0131 aras\u0131na tarihlenen \u201cKa\u011f\u0131t Oynayanlar\u201d\u0131 bu safha resimlerine verilecek \u00f6rneklerdendir. Burada hem temada farkl\u0131l\u0131klar yakalama, hem de bu safha i\u00e7ine sokulan nat\u00fcrmortlara bir kimlik verme \u00e7abas\u0131 dikkati \u00e7eker.<\/p>\n

Alt\u0131nc\u0131 safha, \u201cDegas veya Sadeli\u011fin Na\u011fmeleri\u201d ismini ta\u015f\u0131r. Buna en g\u00fczel \u00f6rne\u011fi, 1893 y\u0131l\u0131na tarihlenen \u201cMavi Balerinler\u201d isimli \u00e7al\u0131\u015fma olu\u015fturur. Ger\u00e7ekten Degas demek, sadelik ve \u015fiirsellik demektir. Hatta bu \u015fiirsellik s\u00f6zc\u00fc\u011f\u00fc, m\u00fcziksellikten yola \u00e7\u0131k\u0131larak, adeta birer na\u011fme sunar gibidir.<\/p>\n

Yedinci safha, \u201cMonet veya Orijinal Do\u011fa\u201d ismini ta\u015f\u0131r. Buna en iyi \u00f6rneklerden birini 1900 y\u0131l\u0131na tarihlenen \u201cJapon K\u00f6pr\u00fcs\u00fc, Ye\u015fil Armoni\u201d isimli Monet \u00e7al\u0131\u015fmas\u0131 te\u015fkil eder. Yan\u0131 s\u0131ra Monet\u2019in 1917 y\u0131l\u0131na ait otoportresi de, bu safhaya uygun olduk\u00e7a ilgin\u00e7 bir \u00f6rnek say\u0131lmal\u0131d\u0131r. Art\u0131k bu safhada, \u201cresim yapmak i\u00e7in resim yapmayan bir empresyonist ressam\u201d tavr\u0131 iyice g\u00f6ze batar. Yan\u0131 s\u0131ra ekspresyon tavr\u0131, doruk noktad\u0131r ve \u0131\u015f\u0131k m\u0131 rengi, renk mi \u0131\u015f\u0131\u011f\u0131 ortaya koyar, b\u00fct\u00fcn\u00fcyle bunlar\u0131 anlamak \u00e7ok zorla\u015fm\u0131\u015ft\u0131r. Sanat\u00e7\u0131 eli, olduk\u00e7a rahatlam\u0131\u015f ve olanca g\u00fcc\u00fcyle samimiyeti yakalamak i\u00e7in \u00e7abalamaktad\u0131r.<\/p>\n

d\u2019Orsay m\u00fczesi tam bir empresyonist m\u00fcze olmakla birlikte, empresyonizmin en kuvvetli haz\u0131rlay\u0131c\u0131s\u0131 olan realizm sanat ak\u0131m\u0131n\u0131n ba\u015f akt\u00f6rleri olan, ba\u015fta Courbet olmak \u00fczere, yan\u0131 s\u0131ra empresyonizm sanat ak\u0131m\u0131n\u0131n belki de do\u011fdu\u011fu yer olan, Barbizon okulu ger\u00e7e\u011finin ba\u015f akt\u00f6rlerinden Millet\u2019nin resimlerine de sahne olmu\u015ftur.<\/p>\n

Bu m\u00fczenin a\u011f\u0131rl\u0131k noktas\u0131 empresyonist resimdir. \u00d6zellikle Degas\u2019ya ait bir grup heykelin b\u00fcy\u00fck\u00e7e bir cam vitrin i\u00e7inde sergilenmeleri, yan\u0131 s\u0131ra Renoir\u2019a ait boyal\u0131 bir kad\u0131n ba\u015f\u0131 heykelinin dikkatimizi \u00e7ekti\u011fini belirtmeliyiz. Fakat gene de bu m\u00fczenin al\u00e7ak tavanl\u0131 \u00e7ok\u00e7a mekan\u0131n\u0131n, Louvre\u2019daki mekan rahatl\u0131\u011f\u0131n\u0131n, tam tersi bir izleyici psikolojisine neden olmas\u0131 da bir not olarak aktar\u0131labilir. Fakat, ne ve nas\u0131l bir ortam olursa olsun, m\u00fcze her yerde kurulabilir, \u00f6nemli olan kurdu\u011funuz m\u00fczeyi en tarafs\u0131z ve en rasyonel bir \u015fekilde nas\u0131l olu\u015fturdu\u011funuzdur. \u0130\u015fte Frans\u0131zlar bu mant\u0131k \u00fczerinde \u00e7ok d\u00fc\u015f\u00fcnm\u00fc\u015f olmal\u0131lar.<\/p>\n

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

Sanat tarihi ve ele\u015ftirmeni Dr. \u00d6zkan Ero\u011flu \u2018nun \u201cD\u2019ORSAY M\u00dcZES\u0130: Paris\u2019in Empresyonistler M\u00fczesi\u201d ba\u015fl\u0131kl\u0131 yaz\u0131s\u0131n\u0131 sizlerle payla\u015f\u0131yoruz.<\/p>\n","protected":false},"author":3,"featured_media":187126,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[6221,5005,6670],"tags":[83601,12,22],"class_list":["post-86138","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kultur","category-manset","category-sanat","tag-emile-zola","tag-paris","tag-paris-turu"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/posts\/86138","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\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/comments?post=86138"}],"version-history":[{"count":0,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/posts\/86138\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/media\/187126"}],"wp:attachment":[{"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/media?parent=86138"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/categories?post=86138"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.nationalturk.com\/tr\/wp-json\/wp\/v2\/tags?post=86138"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}