{"id":8883,"date":"2020-12-15T02:55:02","date_gmt":"2020-12-14T23:55:02","guid":{"rendered":"http:\/\/blog.ulubat.org\/?p=8883"},"modified":"2020-12-15T02:57:25","modified_gmt":"2020-12-14T23:57:25","slug":"monetnin-gozleri-katarakt-ve-niluferler","status":"publish","type":"post","link":"https:\/\/blog.ulubat.org\/index.php\/genel\/monetnin-gozleri-katarakt-ve-niluferler\/","title":{"rendered":"Monet’nin G\u00f6zleri, Katarakt ve Nil\u00fcferler"},"content":{"rendered":"\n

Sanat\u00e7\u0131n\u0131n g\u00f6zleri, karanl\u0131k bir odada ger\u00e7ek bir pencere a\u00e7abilir bizlere. \u00d6yle ki bu pencereden bakt\u0131\u011f\u0131m\u0131zda g\u00f6l\u00fcn \u00fcst\u00fcndeki yald\u0131zl\u0131 g\u00fcne\u015f \u0131\u015f\u0131klar\u0131 g\u00f6zlerimizi kama\u015ft\u0131r\u0131r, s\u00f6\u011f\u00fct yapraklar\u0131n\u0131 dans ettiren o hafif r\u00fczg\u00e2r\u0131 hissederiz tenimizde. Ve belki g\u00fczel nil\u00fcferin \u00fczerine bir ar\u0131 konar, duyar\u0131z v\u0131z\u0131lt\u0131s\u0131n\u0131.
Sanat\u00e7\u0131lar bunun gibi b\u00fcy\u00fcleyici fakat ge\u00e7ici say\u0131s\u0131z izlenimi yakalay\u0131p kaydetmeyi, manzaras\u0131 hi\u00e7 bozulmayacak pencereler a\u00e7may\u0131 kendilerine misyon edindiler. Bize do\u011fay\u0131 yeniden ke\u015ffedebilece\u011fimiz bir anahtar, bir ara\u00e7, bir filtre sundular.<\/em><\/p>\n\n\n\n

Peki o ihti\u015faml\u0131 pencerelerin \u00f6n\u00fcne bir sis perdesi d\u00fc\u015fse ne olurdu?<\/em><\/p>\n\n\n\n

Frans\u0131z izlenimci ressam\nClaude Monet (1840\u20131926); Fransa, Giverny’deki bah\u00e7esi ve nil\u00fcfer g\u00f6l\u00fcn\u00fc\nresmetti\u011fi ikonik eserleriyle tan\u0131n\u0131r. Fakat altm\u0131\u015f y\u0131l\u0131 a\u015fk\u0131n ressaml\u0131k\nhayat\u0131na y\u00fczlerce manzara, portre ve nat\u00fcrmort s\u0131\u011fd\u0131rm\u0131\u015ft\u0131r. <\/p>\n\n\n\n

\"\"
Claude Monet, \u201cNil\u00fcfer G\u00f6l\u00fc \u00dczerinde K\u00f6pr\u00fc\u201d <\/em><\/strong>
1899, The Metropolitan Museum of Art, New York, ABD.<\/em><\/strong> <\/figcaption><\/figure>\n\n\n\n
\"\"
Claude Monet, \u201cYe\u015fil Elbiseli Kad\u0131n\u201d <\/em><\/strong>
1866, <\/em><\/strong>Kunsthalle Bremen, Bremen, Almanya.<\/em><\/strong> <\/figcaption><\/figure>\n\n\n\n
\"\"
Claude Monet, \u201c\u0130zlenim, G\u00fcndo\u011fumu\u201d <\/strong><\/em><\/strong>
1872, <\/strong><\/em><\/strong> Mus\u00e9e Marmottan, Paris, Fransa.<\/em><\/strong>
(Monet\u2019nin kurucu \u00fcyelerinden oldu\u011fu izlenimcilik ak\u0131m\u0131na ad\u0131n\u0131 veren eser)<\/em><\/strong> <\/figcaption><\/figure>\n\n\n\n

Katarakt\u0131n Ba\u015flang\u0131c\u0131 ve \u0130lerleyi\u015fi<\/strong> <\/h2>\n\n\n\n

60\u2019lar\u0131ndayken Monet,\nya\u015fa ba\u011fl\u0131 geli\u015fen ve her iki g\u00f6z\u00fcn\u00fc de etkileyen katarakt*<\/em><\/strong>\nhastal\u0131\u011f\u0131na yakalanm\u0131\u015ft\u0131. Hastal\u0131k, \u00e7al\u0131\u015fmalar\u0131n\u0131 dramatik bir \u015fekilde etkiliyordu.\n1913\u2019te bu durumunu dan\u0131\u015fmak i\u00e7in Londra’ya, Alman g\u00f6z doktoru Richard Liebreich\u2019e\ngitti. \u0130lgin\u00e7tir ki Liebreich de sanata ilgi duyan bir doktordu ve g\u00f6z\nhastal\u0131\u011f\u0131n\u0131n ressamlar \u00fczerindeki etkisi \u00fczerine bir de makale yay\u0131nlam\u0131\u015ft\u0131.<\/p>\n\n\n\n

*Katarakt<\/em><\/strong>:<\/em><\/strong> D\u00fcnyadaki en\nyayg\u0131n k\u00f6rl\u00fck ve g\u00f6rme azalmas\u0131 nedeni olan hastal\u0131k, normalde saydam olan g\u00f6z\nmerce\u011finin ilerleyici olarak saydaml\u0131\u011f\u0131n\u0131 kaybetmesi ve bulan\u0131kla\u015fmas\u0131d\u0131r. Opak hale gelen g\u00f6z merce\u011fi, g\u00f6z\u00fcn i\u00e7ine\ngiren \u0131\u015f\u0131\u011f\u0131 engelledi\u011fi i\u00e7in, zaman i\u00e7inde hastan\u0131n g\u00f6rmesi bozulur. \u0130lk\nbelirtisi renklerin matla\u015fmas\u0131 ve bulan\u0131k g\u00f6rme olan katarakt, tedavi\nedilmedi\u011finde k\u00f6rl\u00fc\u011fe kadar ilerleyebilir<\/em>. Katarakt\u0131n tek tedavisi\ncerrahiyle bulan\u0131kla\u015fm\u0131\u015f lensin bo\u015falt\u0131lmas\u0131 ve yerine yapay bir g\u00f6z i\u00e7i\nmerce\u011finin tak\u0131lmas\u0131d\u0131r. (Katarakt ve Tedavisi, <\/em>http:\/\/www.klinikgelisim.org.tr\/kg_25_2\/3.pdf<\/em><\/a>)<\/em><\/p>\n\n\n\n

Liebreich ona yeni g\u00f6zl\u00fckler re\u00e7ete etti. \u00d6zellikle sa\u011f g\u00f6z\u00fc i\u00e7in katarakt ameliyat\u0131 olmas\u0131 gerekti\u011fini s\u00f6yledi; ama Monet bunu reddetti. 1915\u2019e kadar kataraktla olduk\u00e7a \u015fiddetli bir \u015fekilde m\u00fccadele etti. Art\u0131k renklerin ayn\u0131 yo\u011funlukta olmad\u0131\u011f\u0131, k\u0131rm\u0131z\u0131lar\u0131n \u00e7amurlu g\u00f6r\u00fcnmeye ba\u015flad\u0131\u011f\u0131 ve resimlerinin gittik\u00e7e daha karanl\u0131k hale geldi\u011finden bahsediyordu. Yanl\u0131\u015f renkleri se\u00e7memek i\u00e7in boya t\u00fcplerini etiketlemeye ve paletinde her bir rengin yerini belirlemeye ba\u015flad\u0131. G\u00fcn\u00fcn\u00fcn b\u00fcy\u00fck bir k\u0131sm\u0131n\u0131 d\u0131\u015far\u0131da, g\u00fcne\u015f alt\u0131nda manzaray\u0131 resmederek ge\u00e7iren Monet i\u00e7in g\u00fcne\u015f \u0131\u015f\u0131\u011f\u0131 da i\u015fleri art\u0131k fazlas\u0131yla zorla\u015ft\u0131r\u0131yordu. Bu y\u00fczden, d\u0131\u015far\u0131dayken b\u00fcy\u00fck bir has\u0131r \u015fapka takmaya ba\u015flad\u0131. F\u0131r\u00e7a darbeleri gittik\u00e7e geni\u015fledi, o g\u00f6remedik\u00e7e resimleri parlakla\u015ft\u0131. Monet\u2019nin 1908\u2019de Venedik\u2019te ger\u00e7ekle\u015ftirdi\u011fi \u00e7al\u0131\u015fmalarda hastal\u0131\u011f\u0131n ilk belirtileri g\u00f6r\u00fclebilir.<\/p>\n\n\n\n

\"\"
Germaine Hosched\u00e9, Lili Butler, Mme Joseph Durand-Ruel, Georges Durand-Ruel, Claude Monet Giverny’deki nil\u00fcfer havuzunda<\/em>, 1900<\/strong>
 <\/strong> <\/figcaption><\/figure>\n\n\n\n
\"\"
Claude Monet, “B\u00fcy\u00fck Kanal, Venise”<\/em><\/strong>
1908, G\u00fczel Sanatlar M\u00fczesi, Boston, ABD<\/em><\/strong> <\/figcaption><\/figure>\n\n\n\n
\"\"
Claude Monet, “\u015eafakta San Giorgio Maggiore”<\/em><\/strong>
1908, Ulusal Cardiff M\u00fczesi, BK<\/em><\/strong> <\/figcaption><\/figure>\n\n\n\n
\"\"
Claude Monet, “Japon K\u00f6pr\u00fcs\u00fc”<\/em><\/strong>
1920-22, Modern Sanat M\u00fczesi, New York, USA<\/em><\/strong> <\/figcaption><\/figure>\n\n\n\n

Ka\u00e7\u0131n\u0131lmaz Ameliyat<\/strong><\/h2>\n\n\n\n

Her ge\u00e7en g\u00fcn \u00fcretkenli\u011finin ve umudunun zedelendi\u011fini g\u00f6ren doktor arkada\u015f\u0131 Georges Clemenceau, ondan katarakt ameliyat\u0131n\u0131 tekrar d\u00fc\u015f\u00fcnmesini istedi. Ancak anestezinin o d\u00f6nem i\u00e7in sadece kokain kullan\u0131m\u0131 ile y\u00fczeysel olarak yap\u0131lmas\u0131 ve ayn\u0131 ameliyat\u0131 olan meslekta\u015flar\u0131 Honor\u00e9 Daumier ile Mary Cassatt\u2019\u0131n operasyonlar\u0131n\u0131n ba\u015far\u0131s\u0131z olmas\u0131 Monet\u2019yi korkutuyordu. Ne pahas\u0131na olursa olsun ameliyattan ka\u00e7\u0131nmak konusunda kararl\u0131yd\u0131. Bu konuda, “\u015eu anki g\u00f6rme g\u00fcc\u00fcmle olabildi\u011fince idare etmeyi tercih ederim, hatta gerekirse resim yapmay\u0131 b\u0131rak\u0131r\u0131m. Sevdi\u011fim \u015feyleri az da olsa g\u00f6rebiliyorum, bunu kaybetmek istemiyorum.\u201d<\/strong><\/em> <\/strong>demi\u015fti.<\/p>\n\n\n\n

1922’de Monet\u2019nin gitti\u011fi ba\u015fka bir g\u00f6z doktoru Charles Coutela, her iki g\u00f6z\u00fcn\u00fcn g\u00f6rme keskinli\u011fini ayr\u0131 ayr\u0131 de\u011ferlendirdi. Monet ameliyat konusunda hala isteksiz oldu\u011fu i\u00e7in Coutela ona kataraktl\u0131 lenslerinden i\u00e7eriye daha fazla \u0131\u015f\u0131\u011f\u0131n ge\u00e7mesine izin verecek bir midriyatik (g\u00f6z bebe\u011fini geni\u015fleten) damla re\u00e7ete etti. Daha bir hafta dolmam\u0131\u015ft\u0131 ki, Monet co\u015fkuyla Coutela’ya \u015funlar\u0131 yazd\u0131: “Tek kelimeyle harika. Ben uzun zamand\u0131r bu kadar iyi g\u00f6rmemi\u015ftim. Sana daha \u00f6nce gelmedi\u011fim i\u00e7in o kadar pi\u015fman\u0131m ki! Sisten ba\u015fka bir \u015fey g\u00f6remezken berbat resimler yap\u0131yordum. Bu damla yeniden g\u00fczel \u015feyler \u00e7izmeme izin verdi.\u201d<\/strong><\/em><\/p>\n\n\n\n

 Eyl\u00fcl 1922\u2019de Claude\nMonet ka\u00e7\u0131n\u0131lmaz ger\u00e7ekle y\u00fczle\u015fmek zorunda kald\u0131: mucizevi damlalar\u0131 ameliyat\u0131\nsadece erteletmi\u015fti. Art\u0131k neredeyse k\u00f6rd\u00fc. Sonunda\nMonet sa\u011f g\u00f6z\u00fcnden ameliyat olmay\u0131 kabul etti. Operasyon iki a\u015famal\u0131 bir\nprosed\u00fcrle (k\u0131smi olarak irisi \u00e7\u0131karma ve ard\u0131ndan merce\u011fi \u00e7\u0131karma), 1923’\u00fcn\nba\u015flar\u0131nda ger\u00e7ekle\u015ftirildi.<\/p>\n\n\n\n

Mor ve \u00d6tesini G\u00f6rebilmek<\/strong><\/h2>\n\n\n\n

Ameliyat sonras\u0131, Monet\u2019nin sol g\u00f6z\u00fc\nhala katarakt\u0131n etkisiyle mavi ve mor tonlar\u0131n\u0131 pek g\u00f6remezken, sa\u011f g\u00f6z\u00fc birdenbire\nmavi tonlar\u0131na, hatta mavinin de daha \u00f6tesine kavu\u015ftu. Sa\u011f g\u00f6z\u00fcndeki opakla\u015fm\u0131\u015f mercek\n\u00e7\u0131kar\u0131ld\u0131\u011f\u0131 i\u00e7in, merce\u011fin ultraviyole \u0131\u015f\u0131nlar\u0131 s\u00fczme etkisi de ortadan kalkm\u0131\u015ft\u0131.\nB\u00f6ylece az miktarda da olsa normal insanlar\u0131n g\u00f6remedi\u011fi ultraviyole \u0131\u015f\u0131nlar\u0131\nalg\u0131lamaya ba\u015flad\u0131.<\/p>\n\n\n\n

Bir g\u00f6z\u00fc kataraktl\u0131 ve mor-mavi tonlar\u0131na neredeyse k\u00f6r olan, ancak ameliyat olan di\u011fer g\u00f6z\u00fcyle morlar\u0131, mavileri hatta mor \u00f6tesi tonlar\u0131 bile g\u00f6rmeye ba\u015flayan Monet, sa\u011f ve sol g\u00f6z\u00fcne ait renk alg\u0131lar\u0131ndaki derin fark nedeniyle, bir daha ayn\u0131 anda iki g\u00f6z\u00fcn\u00fc kullanamad\u0131. Yine de tek g\u00f6z\u00fcn\u00fc kullanarak resim yapmaya devam etti. \u00c7i\u00e7ekler hala en sevdi\u011fi objelerdi, ancak art\u0131k onlar\u0131 daha farkl\u0131 g\u00f6r\u00fcyordu. Pek \u00e7ok kimsenin bakt\u0131\u011f\u0131nda beyaz renkte g\u00f6rd\u00fc\u011f\u00fc nil\u00fcferleri Monet, sa\u011f g\u00f6z\u00fcyle bakt\u0131\u011f\u0131nda mavi-beyaz g\u00f6rmeye ba\u015flam\u0131\u015ft\u0131 ve bu \u00e7i\u00e7ekleri tuvaline g\u00f6rd\u00fc\u011f\u00fc tonlarda yans\u0131tt\u0131.<\/p>\n\n\n\n

Son Bak\u0131\u015f<\/strong><\/h2>\n\n\n\n

Kulland\u0131\u011f\u0131 yeni afaki g\u00f6zl\u00fckleriyle neyse ki art\u0131k renkleri ger\u00e7ek tonlar\u0131nda g\u00f6rebilmeye ba\u015flam\u0131\u015ft\u0131. Ameliyattan \u00f6nce yapt\u0131\u011f\u0131 tablolar\u0131n bir k\u0131sm\u0131n\u0131 r\u00f6tu\u015flad\u0131, bir k\u0131sm\u0131n\u0131 \u00e7\u00f6pe att\u0131. 1924’te yine bir ba\u015fka g\u00f6z doktoru Jacques Mawas, Monet\u2019nin sol g\u00f6z\u00fcn\u00fc semptomlar\u0131nda iyile\u015fmeye yol a\u00e7acak siyah bir lensle tamamen kapatt\u0131. Bu d\u00f6nem,1895 y\u0131l\u0131nda haz\u0131rlamaya ba\u015flad\u0131\u011f\u0131, farkl\u0131 mevsimler ve farkl\u0131 \u0131\u015f\u0131klar alt\u0131ndaki nil\u00fcfer \u00e7i\u00e7eklerinden olu\u015fan \u201cNil\u00fcferler\u201d<\/strong><\/em> <\/strong>isimli tablo serisini tamamlad\u0131. Bu eserler \u015fu an Paris’teki Mus\u00e9e de l’Orangerie\u2019de \u00f6zel bir salonda sergilenmektedir. Bu salonu \u00fc\u00e7 boyutlu olarak gezmek i\u00e7in; https:\/\/www.musee-orangerie.fr\/en\/article\/water-lilies-virtual-visit<\/a> <\/p>\n\n\n\n

\"\"
“Water Lilies (Nil\u00fcferler) “<\/em><\/strong>
1926, Orangerie M\u00fczesi<\/em><\/strong>
 <\/em> <\/figcaption><\/figure>\n\n\n\n

Monet\u2019nin ameliyat sonras\u0131 \u00e7al\u0131\u015fmalar\u0131, art\u0131k\ngarip renkler veya kaba f\u0131r\u00e7a darbelerinin olmamas\u0131yla 1914’ten \u00f6nceki\nresimlerine benzemeye ba\u015flam\u0131\u015ft\u0131. Daha \u00f6nceki g\u00f6let ve bah\u00e7e manzaralar\u0131 ile\nk\u0131yasland\u0131\u011f\u0131nda kullan\u0131lan hassas renk \u015femalar\u0131, yumu\u015fak maviler ve ye\u015fillerin\nuyumunu daha da \u00f6ne \u00e7\u0131kar\u0131yordu. <\/p>\n\n\n\n

Fakat ne yaz\u0131k ki Monet, hen\u00fcz kavu\u015ftu\u011fu nil\u00fcferleriyle son zamanlar\u0131n\u0131 ya\u015fad\u0131\u011f\u0131n\u0131 bilmiyordu. Akci\u011fer kanserine yakalanm\u0131\u015ft\u0131. 1926 yaz\u0131nda, art\u0131k resim yapmaya devam edemeyece\u011fine karar verdi. K\u0131z\u0131 Blanche\u2019nin yard\u0131m\u0131yla, st\u00fcdyosundaki be\u011fenmedi\u011fi 60 kadar tabloyu imha etti ve resim yapmay\u0131 tamamen b\u0131rakt\u0131. Monet, tablolar\u0131n\u0131 imha ettikten birka\u00e7 ay sonra, 5 Aral\u0131k 1926 tarihinde, 86 ya\u015f\u0131ndayken hayata g\u00f6zlerini yumdu. <\/p>\n\n\n\n

 \u00d6l\u00fcm\u00fcn\u00fc takip eden y\u0131llarda resimlerinin\nde\u011feri ve onlara g\u00f6sterilen ilgi \u00e7ok az sanat\u00e7\u0131ya sahip olmu\u015f bir seviyeye\nula\u015fm\u0131\u015ft\u0131r. Bir ba\u015fka a\u00e7\u0131dan, katarakt hastal\u0131\u011f\u0131n\u0131 ve a\u015famalar\u0131n\u0131 tablolar\u0131nda\nonun g\u00f6zlerinden, en ger\u00e7ek haliyle g\u00f6rmemize vesile olmas\u0131yla ayr\u0131ca\nde\u011ferlidir. <\/p>\n\n\n\n

Vasiyetinde, cenazesinde hi\u00e7 bir \u00e7i\u00e7ek olmas\u0131n\u0131 istemedi\u011fini belirtmi\u015fti: <\/p>\n\n\n\n

\u201cBeni, buran\u0131n yerlilerini g\u00f6md\u00fc\u011f\u00fcn\u00fcz gibi, basit bir t\u00f6renle g\u00f6m\u00fcn. Tabutumun arkas\u0131ndan sadece akrabalar\u0131m y\u00fcr\u00fcs\u00fcn. Unutmay\u0131n, cenazemde ne \u00e7i\u00e7ekler ne \u00e7elenkler olsun istiyorum. B\u00f6yle bir g\u00fcn i\u00e7in, bah\u00e7emdeki bu g\u00fczel \u00e7i\u00e7eklerin kopar\u0131l\u0131p \u00f6ld\u00fcr\u00fclmesi g\u00fcnahlar\u0131n en b\u00fcy\u00fc\u011f\u00fc olacakt\u0131r.\u201d<\/strong><\/em><\/p>\n\n\n\n

Kaynaklar<\/h2>\n\n\n\n

1. The effect of cataracts and cataract surgery on\nClaude Monet,<\/em> https:\/\/pdfs.semanticscholar.org\/9fe5\/2730d32ea9ce290c6f0d0dd46fd5221199a8.pdf?_ga=2.46292839.179935775.1607207423-611535625.1607207423<\/a>\n(May\u0131s 2015)<\/p>\n\n\n\n

2. Claude\nMonet\u2019nin G\u00f6zlerinden D\u00fcnya<\/em>,  https:\/\/www.sanatlaart.com\/claude-monetin-gozlerinden-dunya\/<\/a>\n(22 Kas\u0131m 2018)<\/p>\n\n\n\n

3. Mor\u00f6tesini\nG\u00f6rmek,<\/em> https:\/\/isilarican.com\/2012\/07\/02\/morotesini-gormek\/<\/a>\n(2 Temmuz 2012)<\/p>\n\n\n\n

4.  Nil\u00fcferler,<\/em>  https:\/\/tr.wikipedia.org\/wiki\/Nil%C3%BCferler<\/a> (5\nAral\u0131k 2020)<\/p>\n\n\n\n

5. Grzymkowski, Eric, Sanat 101.<\/em> \u00c7eviri, Orhan\nD\u00fcz. \u0130stanbul: Say Yay\u0131nlar\u0131, 2018<\/p>\n\n\n\n

6. Claude Monet Eserleri \/  Nil\u00fcfer G\u00f6l\u00fc \u00dczerinde K\u00f6pr\u00fc, 1899<\/em> https:\/\/www.pivada.com\/claude-monet-nilufer-golu-uzerinde-kopru-1899<\/a><\/p>\n\n\n\n

7. Claude Monet Eserleri \/<\/em> <\/em>Camille ya da Ye\u015fil Elbiseli\nKad\u0131n, 1866<\/em> https:\/\/www.pivada.com\/claude-monet-camille-ya-da-yesil-elbiseli-kadin-1866<\/a> <\/p>\n\n\n\n

 8. \u0130zlenim, G\u00fcndo\u011fumu \/ Claude Monet <\/em>https:\/\/www.pivada.com\/claude-monet-izlenim-gundogumu<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Sanat\u00e7\u0131n\u0131n g\u00f6zleri, karanl\u0131k bir odada ger\u00e7ek bir pencere a\u00e7abilir bizlere. \u00d6yle ki bu pencereden bakt\u0131\u011f\u0131m\u0131zda g\u00f6l\u00fcn \u00fcst\u00fcndeki yald\u0131zl\u0131 g\u00fcne\u015f \u0131\u015f\u0131klar\u0131<\/p>\n","protected":false},"author":338,"featured_media":8973,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1,25,19,23,6],"tags":[1484,1486,1483,1480,1488,1491,1490,1489,919,1482,1481,1487,616,1485],"acf":[],"views":2213,"_links":{"self":[{"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/posts\/8883"}],"collection":[{"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/users\/338"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/comments?post=8883"}],"version-history":[{"count":4,"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/posts\/8883\/revisions"}],"predecessor-version":[{"id":8941,"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/posts\/8883\/revisions\/8941"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/media\/8973"}],"wp:attachment":[{"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/media?parent=8883"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/categories?post=8883"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.ulubat.org\/index.php\/wp-json\/wp\/v2\/tags?post=8883"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}