{"id":5004,"date":"2023-12-16T07:25:39","date_gmt":"2023-12-16T07:25:39","guid":{"rendered":"https:\/\/guneydoguasyacalismalari.com\/?p=5004"},"modified":"2023-12-16T07:25:59","modified_gmt":"2023-12-16T07:25:59","slug":"kuala-lumpurda-ceyrek-yuzyillik-islam-sanatlari-muzesi-a-quarter-century-old-islamic-art-museum-iamm-in-kuala-lumpur","status":"publish","type":"post","link":"https:\/\/guneydoguasyacalismalari.com\/tr_tr\/kuala-lumpurda-ceyrek-yuzyillik-islam-sanatlari-muzesi-a-quarter-century-old-islamic-art-museum-iamm-in-kuala-lumpur\/","title":{"rendered":"Kuala Lumpur\u2019da \u00e7eyrek y\u00fczy\u0131ll\u0131k \u0130slam Sanatlar\u0131 M\u00fczesi \/ A quarter-century old Islamic Art Museum (IAMM) in Kuala Lumpur"},"content":{"rendered":"\n

Mehmet \u00d6zay                                                                                                            16.12.2023<\/strong><\/p>\n\n\n\n

Malezya\u2019n\u0131n \u00f6nemli m\u00fczelerinden biri olan \u0130slami Art M\u00fczesi\u2019nin (Islamic Art Museum of Malaysia<\/em>-IAMM) kurulu\u015funun 25. y\u0131l\u0131 vesilesiyle, bu g\u00fcnlerde bir dizi etkinlik ger\u00e7ekle\u015ftiriliyor.<\/p>\n\n\n\n

Bu \u00e7er\u00e7evede, 13 Aral\u0131k g\u00fcn\u00fc, \u201c\u0130slami Sanat M\u00fczeleri ve Galerileri\u2019nin Gelece\u011fi, Farkl\u0131l\u0131k ve Kapsay\u0131c\u0131l\u0131\u011f\u0131n \u00d6nemi\u201d (The Future of Islamic Art Museums and Galleries, Celebrating Diversity and Inclusivity<\/em>) ba\u015fl\u0131kl\u0131 bir panel toplant\u0131 ger\u00e7ekle\u015ftirildi. Bu panelde ele al\u0131nan hususlara dair baz\u0131 g\u00f6r\u00fc\u015flerimi burada payla\u015faca\u011f\u0131m.<\/p>\n\n\n\n

Ba\u015fkent Kuala Lumpur\u2019da, Masjid Negara<\/em>\u2019ya (Ulusal Cami) kom\u015fu olan M\u00fcze\u2019nin, \u00e7eyrek y\u00fczy\u0131ll\u0131k ge\u00e7mi\u015fi, uzun bir tarihi s\u00fcre\u00e7 anlam\u0131na gelmese de, bu kurumun ve i\u00e7erdi\u011fi etkinliklerin, Malezya ve b\u00f6lge ba\u011flam\u0131nda \u00f6nemli bir k\u00fclt\u00fcrel-dini ve sanat kurumsalla\u015fmas\u0131 anlam\u0131nda dikkat \u00e7ekici oldu\u011funa ku\u015fku yok.<\/p>\n\n\n\n

M\u00fcze\u2019nin kurulu\u015funun y\u0131ld\u00f6n\u00fcm\u00fc vesilesiyle, bu g\u00fczel mek\u00e2n bug\u00fcnlerde, baz\u0131 sergilerin yan\u0131 s\u0131ra, entellekt\u00fcel toplant\u0131lara ev sahipli\u011fi yap\u0131yor. 13 Aral\u0131k \u00c7ar\u015famba g\u00fcn\u00fc M\u00fcze konferans salonunda gayet dikkat \u00e7ekici entellekt\u00fcel toplant\u0131lardan birine tan\u0131kl\u0131k ettik. Bu etkinli\u011fe dair baz\u0131 g\u00f6zlem ve g\u00f6r\u00fc\u015flerimi payla\u015faca\u011f\u0131m.<\/p>\n\n\n\n

Ancak \u00f6ncesinde k\u0131saca, sanat ve k\u00fclt\u00fcr ba\u011flam\u0131nda i\u015f-\u00e7evrelerinin ve siyasilerin yakla\u015f\u0131m\u0131na \u00f6rnek olmas\u0131 a\u00e7\u0131s\u0131ndan bir hususa dikkat \u00e7ekmekte yarar var…<\/p>\n\n\n\n

M\u00fcze\u2019nin \u00fclkenin \u00f6nde gelen i\u015f adamlar\u0131ndan Syed Mochtar Buchari\u2019nin \u00e7abalar\u0131yla kuruldu\u011fu ve bug\u00fcnlere getirildi\u011fini s\u00f6ylemek gerekiyor. M\u00fcze, \u00e7e\u015fitli alt kurumsal yap\u0131lar\u0131n\u0131n yan\u0131 s\u0131ra, gayet \u00f6nemli bir k\u00fct\u00fcphaneyi de b\u00fcnyesinde bar\u0131nd\u0131r\u0131yor. Scholars\u2019 Library<\/em> ad\u0131n\u0131 ta\u015f\u0131yan ve \u00f6nemli kolleksiyonlara ev sahipli\u011fi yapan bu k\u00fct\u00fcphanenin sadece ara\u015ft\u0131rmac\u0131lara hizmet verdi\u011fini s\u00f6yleyelim.<\/p>\n\n\n\n

Bunun yan\u0131 s\u0131ra, M\u00fcze\u2019nin bug\u00fcn ta\u015f\u0131d\u0131\u011f\u0131 \u00f6nemi ortaya koyacak sembolik g\u00f6stergelerden birinin, s\u00f6z konusu etkinliklerin a\u00e7\u0131l\u0131\u015f\u0131na ba\u015fbakan Enver \u0130brahim\u2019in kat\u0131lm\u0131\u015f olmas\u0131yd\u0131.<\/p>\n\n\n\n

Ba\u015fbakan\u2019\u0131n ge\u00e7ti\u011fimiz Haziran ay\u0131nda da, bu mek\u00e2n\u0131 \u201cOryantalist Sergi\u201dnin a\u00e7\u0131l\u0131\u015f\u0131 vesilesiyle ziyareti, hem m\u00fczenin, hem de genel itibar\u0131yla \u0130slam-k\u00fclt\u00fcr-sanat olgusunun mevcut siyasi iktidar \u00e7evrelerinde \u00f6ncellendi\u011fini veya \u00f6n s\u0131ralara konulmak istendi\u011finin bir g\u00f6stergesi olarak de\u011ferlendirilebilir.<\/p>\n\n\n\n

Siyasilerin bu alanda g\u00f6r\u00fcn\u00fcrl\u00fck kazanmalar\u0131, hem sanat ve k\u00fclt\u00fcr\u00fcn sahiplenilmesi, hem de ba\u015fta okur yazar olmak \u00fczere geni\u015f kitlelere ula\u015ft\u0131r\u0131lmas\u0131 ve bu geni\u015f kitlenin bu t\u00fcr mekanlara ve etkinliklere daveti konusunda da \u00f6nemli bir i\u015flev sergiledi\u011fini s\u00f6ylemek m\u00fcmk\u00fcn.<\/p>\n\n\n\n

Bununla birlikte, Malezya veya benzeri \u00fclkelerde geni\u015f toplum kesimlerini ve \u00f6zellikle de, gen\u00e7 kesimleri sanat alan\u0131na y\u00f6nlendirebilecek kamusal g\u00f6stergelerden biri kabul edildi\u011finde, ba\u015fbakanl\u0131k koltu\u011funda oturan bir siyasi fig\u00fcr\u00fcn, b\u00f6ylesine \u00f6nemli bir sanat kurumunu ziyaretinin ve burada sanata ve entellekt\u00fcalizme dair bir s\u00f6ylem geli\u015ftirmesinin yads\u0131n\u0131r yan\u0131ndan ziyade, olumlu yanlar\u0131na i\u015faret etmek gerekir.<\/p>\n\n\n\n

Sadece Kuala Lumpur ve Malezya\u2019n\u0131n de\u011fil, b\u00f6lgenin \u00f6nemli m\u00fczeleri aras\u0131nda say\u0131lan IAMM\u2019in varl\u0131\u011f\u0131, hi\u00e7 ku\u015fku yok ki, \u00e7ok k\u00fclt\u00fcrl\u00fc, \u00e7ok dinli, \u00e7ok dilli nitelikleriyle \u00f6ne \u00e7\u0131kan G\u00fcneydo\u011fu Asya toplumlar\u0131n\u0131n dini-k\u00fclt\u00fcrel etkile\u015fimleri ve bunlar\u0131n payla\u015f\u0131m\u0131 hususunda kayda de\u011fer bir i\u015flevi ve \u00f6nemi bulunuyor.<\/p>\n\n\n\n

S\u00f6z konusu bu i\u015flev ve \u00f6nem, farkl\u0131 b\u00f6lgeler ve etnik yap\u0131lar dikkate al\u0131nd\u0131\u011f\u0131nda, b\u00f6lgenin \u0130slamla\u015fmas\u0131\u2019n\u0131n tarihsel ge\u00e7mi\u015fi kadar, bu tarihsel s\u00fcre\u00e7te rol oynayan, Arap Yar\u0131madas\u0131, Hindistan ve \u00c7in gibi farkl\u0131 b\u00f6lgelerden M\u00fcsl\u00fcmanlar\u0131n, alimlerin, entellekt\u00fcellerin, isimleri unutulmu\u015f s\u0131radan insanlar\u0131n \u00e7e\u015fitli d\u00fczeylerde oynad\u0131klar\u0131 rol\u00fcn, sanat objeleri \u00fczerinden payla\u015f\u0131lmas\u0131n\u0131 g\u00fcndeme getirmesinden kaynaklan\u0131yor.<\/p>\n\n\n\n

Bunun yan\u0131 s\u0131ra, bu sanat objelerinin sadece, b\u00f6lgedeki M\u00fcsl\u00fcman kitleler i\u00e7in de\u011fil, ayn\u0131 zamanda b\u00f6lgenin do\u011fal dini-k\u00fclt\u00fcrel yap\u0131lar\u0131 aras\u0131nda dikkat \u00e7eken \u00f6zellikle de, Budizm ve Hinduizm ba\u015fl\u0131klar\u0131 alt\u0131nda ele al\u0131nabilecek yap\u0131lara mensup kitleler taraf\u0131ndan da g\u00f6zlemlenmeye, incelenmeye, anla\u015f\u0131lmaya de\u011fer oldu\u011funa ku\u015fku yok.<\/p>\n\n\n\n

Panel\u2019e gelecek olursak…<\/p>\n\n\n\n

Her ne kadar, panelin ba\u015fl\u0131\u011f\u0131, \u201c\u0130slami Sanat M\u00fczeleri ve Galerileri\u2019nin Gelece\u011fi, Farkl\u0131l\u0131k ve Kapsay\u0131c\u0131l\u0131\u011f\u0131n \u00d6nemi\u201dni i\u00e7ine alan gayet kapsaml\u0131 bir boyutta olsa da, \u0130slam sanat\u0131, busanat\u0131n bug\u00fcn\u00fc, gelece\u011fi ve\/ya bu alan\u0131n kamusal temsili vb. konulara -Osman Bakar Hoca d\u0131\u015f\u0131nda- de\u011finen olmad\u0131.<\/p>\n\n\n\n

Organizat\u00f6rlerin, b\u00f6ylesine \u00f6nemli bir ulusal ve b\u00f6lgesel kurumsalla\u015fmay\u0131 temsil eden IAAM\u2019\u0131n 25. kurulu\u015f y\u0131ld\u00f6n\u00fcm\u00fcne davet edilecek ve b\u00f6ylesine \u00f6nemli bir ba\u015fl\u0131k alt\u0131nda ger\u00e7kle\u015ftirilen toplant\u0131da \u2018uzman\u2019 s\u0131fat\u0131yla s\u00f6z alacak ki\u015fileri \u0130slam d\u00fc\u015f\u00fcnce sisteminden, bunun \u0130slam sanatlar\u0131 olarak bilenen alana yans\u0131mas\u0131ndan, \u0130slam sanat\u0131n\u0131n \u00fcreticilerinden, sunumundan, m\u00fc\u015fterilerinden ve potansiyel m\u00fc\u015fterilerinden haberdar olmalar\u0131 ve buna dair bir s\u00f6ylem geli\u015ftirmeleri beklenirdi.<\/p>\n\n\n\n

Kat\u0131l\u0131mc\u0131lar\u0131n kimlikleri onlar\u0131 entellekt\u00fcel bir \u00e7er\u00e7eveye oturtmaya yetti\u011fi d\u00fc\u015f\u00fcn\u00fclse de, yukar\u0131da dikkat \u00e7ekilen bilgi birikimine sahip olmamalar\u0131 nedeniyle, panel ba\u015fl\u0131\u011f\u0131n\u0131n ortaya koydu\u011fu ve arzu edilen \u00f6ylesi bir entellekt\u00fcel etkile\u015fim olmad\u0131.<\/p>\n\n\n\n

Brezilya b\u00fcy\u00fckel\u00e7isi, kendi bireysel tarihinden \u00f6rne\u011fin, Paris\u2019teki Louvre<\/em> m\u00fczesinde Mona Liza\u2019n\u0131n ger\u00e7ek boyutlar\u0131yla g\u00f6r\u00fclmesi Londra\u2019da Ulusal Galery\u2019nin (National Gallery<\/em>) d\u00fcnyan\u0131n en \u00f6nemli ilk birka\u00e7 m\u00fcze olmas\u0131n\u0131 sa\u011flayan nadide tablolar\u0131 bar\u0131nd\u0131rmas\u0131 gibi \u00f6rnekleri g\u00fcndeme getirmesinin ya da Katolik bir Brezilyal\u0131 olmas\u0131yla \u00f6rt\u00fc\u015ft\u00fcr\u00fclecek \u015fekilde 12\/13. y\u00fczy\u0131l H\u0131ristiyan sanat\u0131ndan bir iki \u00f6rnekle s\u00f6ylemini yap\u0131land\u0131rmas\u0131n\u0131n panelin konusuyla ne t\u00fcrden bir ili\u015fkisi oldu\u011funa \u015f\u00fcphe d\u00fc\u015f\u00fcren unsurlard\u0131.<\/p>\n\n\n\n

Ya da, Oxford Bilim M\u00fczesi direkt\u00f6r\u00fc\u2019n\u00fcn gayet liberal, dini bir yana spirituelli\u011fi bile i\u00e7inde bar\u0131nd\u0131rmaktan uzak so\u011fuk ve sek\u00fcler dil kurgusu, ortaya koymaya \u00e7al\u0131\u015ft\u0131\u011f\u0131 sempatik beden dilinin yard\u0131m\u0131na ra\u011fmen, panelin konusu hakk\u0131nda bir\u015feyler duymak isteyenlere herhangi bir veri sa\u011flamaktan uzakt\u0131.<\/p>\n\n\n\n

\u0130ngiltere\u2019de sanat tarihi ve arkeolojisi alan\u0131nda akademisyenlik yapan Faruk Yahya isimli Malezyal\u0131 akademisyen ise, \u00e7al\u0131\u015fma alan\u0131n\u0131n gayet incelikli bilgilerine ve verilerine ra\u011fmen, kendi toplumuna ve geni\u015f Malay d\u00fcnyas\u0131na dair verilerden haberdars\u0131zl\u0131\u011f\u0131 veya bunlar\u0131 ortaya koymaktan uzak bir s\u00f6ylemine tan\u0131k olduk.<\/p>\n\n\n\n

Kendisini i\u015f adam\u0131 ve e\u011fitimci olarak tan\u0131tan moderat\u00f6r Bijan Khezri\u2019nin ise bilmedi\u011fi bir alanda, neyi nas\u0131l \u201cmodere\u201d edece\u011fi ba\u015fl\u0131 ba\u015f\u0131na bir problemdi.<\/p>\n\n\n\n

\u015eayet panelin konusu genel itibar\u0131yla m\u00fczeler, m\u00fczelerin i\u015flevi ve gelece\u011fi gibi bir ba\u015fl\u0131k olsayd\u0131, hakkaniyetle s\u00f6ylemek gerekirse t\u00fcm Ayd\u0131nlanmac\u0131 felsefenin ve buna reddiye sunan kar\u015f\u0131 Ayd\u0131nlanmac\u0131 felsefenin m\u00fczecilik alan\u0131na yans\u0131yan arg\u00fcmanlar\u0131n\u0131, g\u00f6r\u00fc\u015flerini dinlemekten b\u00fcy\u00fck keyif al\u0131rd\u0131k…<\/p>\n\n\n\n

Kat\u0131l\u0131mc\u0131lar aras\u0131nda, Osman Bakar Hoca\u2019n\u0131n s\u0131n\u0131rl\u0131 zaman diliminde dikkat \u00e7ekti\u011fi hususlar\u0131n ba\u015f\u0131nda, Malezya siyasi otoritesininin patronaj\u0131n\u0131n \u00f6nemine vurgusu \u00f6nemliydi.<\/p>\n\n\n\n

Onun bu s\u00f6ylemini, mevcut siyasilerin bu alana daha \u00e7ok ilgi ve al\u00e2ka g\u00f6stermeleri y\u00f6n\u00fcndeki bir davetiye olarak de\u011ferlendirmek m\u00fcmk\u00fcn. Hi\u00e7 ku\u015fku yok ki, M\u00fcsl\u00fcman toplumlarda, sanat, \u0130slam sanatlar\u0131 vb. alanlarda siyasi otoritenin ve kurumlar\u0131n s\u00fcrd\u00fcr\u00fclebilir bir \u015fekilde var olup olmad\u0131klar\u0131 sorgulanmaya gayet a\u00e7\u0131k.<\/p>\n\n\n\n

Bakar Hoca\u2019n\u0131n, \u0130slam\u0131n varl\u0131\u011f\u0131n\u0131n \u201c\u00e7oklukta birlik\u201d vurgusu \u0130slam sanatlar\u0131n\u0131n hem i\u00e7eri\u011fini ve hem de kitleleri davet etti\u011fi alana dair \u00f6nemli bir kavramsalla\u015ft\u0131rmayd\u0131.<\/p>\n\n\n\n

Bu yakla\u015f\u0131mlar\u0131n d\u0131\u015f\u0131nda, genel itibar\u0131yla \u0130slam sanatlar\u0131 ve\/ya \u0130slami m\u00fczelerde sergilenen eserlere s\u0131ra geldi\u011finde uzun tarihi ge\u00e7mi\u015fte kalm\u0131\u015f ve \u00f6zellikle de, sultanlar ve aileleri (\u00e7ok\u00e7a da e\u015fleri!), vezirler, alimler ile s\u0131n\u0131rl\u0131 bir sosyolojik boyutun akla geldi\u011fi ve bunlara vurgu yap\u0131ld\u0131\u011f\u0131 g\u00f6zlemleniyor.<\/p>\n\n\n\n

Bu noktada, bu eserlerin talep edilmesinin ve ortaya konulmas\u0131n\u0131n ne t\u00fcr s\u00fcre\u00e7leri i\u00e7inde bar\u0131nd\u0131rd\u0131\u011f\u0131na dair, tarihsel ve sosyolojik verilere ihtiya\u00e7 var.<\/p>\n\n\n\n

B\u00f6ylesine \u00f6nemli \u00fcr\u00fcnlerin sadece, tarihsel olarak \u0130slam d\u00fc\u015f\u00fcncesi i\u00e7erisinde geli\u015ftirilmi\u015f olan sanat, sanatsal ifade formalar\u0131 ile ili\u015fkileri kadar, acaba sadece -\u00f6rne\u011fin, sivil, b\u00fcrokratik ve askeri elitler gibi- belirli sosyolojik gruplarla ba\u011flant\u0131l\u0131 y\u00f6n\u00fcn\u00fcn vurgulan\u0131yor olu\u015funda ne denli bir hakl\u0131l\u0131k pay\u0131 olup olmad\u0131\u011f\u0131n\u0131 sorgulamak gerekiyor.<\/p>\n\n\n\n

Oysa, bu sanat eserlerinin ortaya konulmas\u0131nda kurumsal yap\u0131n\u0131n, bu kurumlarda yer alan ustalar\u0131n, \u00e7\u0131raklar\u0131n kimler olduklar\u0131, nas\u0131l ya\u015fad\u0131klar\u0131 bu zanaatlar\u0131 ne \u015fekilde edindikleri gibi pek \u00e7ok soruyu birbiri ard\u0131na s\u0131ralamak m\u00fcmk\u00fcn.<\/p>\n\n\n\n

Yoksa, \u0130slam sanatlar\u0131 ve m\u00fczelerinin te\u015fkilinin sanki bir anlamda, \u0130slam\u0131 veya \u0130slam\u0131 temsil eden toplumlar\u0131n ad\u0131na, sanat ve zanaatk\u00e2rl\u0131k denilen alanlarda ortaya koyduklar\u0131 \u00fcr\u00fcnleri, modern parametrelerde sunma yar\u0131\u015f\u0131n\u0131n bir g\u00f6stergesi olarak, \u00f6rne\u011fin t\u0131pk\u0131, Londra\u2019daki National Museum, Paris\u2019teki Louvre gibi m\u00fczelerle yar\u0131\u015facak bir k\u00fclt\u00fcrel programlamaya tabi tutmak gibi itilmi\u015f-kak\u0131lm\u0131\u015fl\u0131k psikolojisini (inferiority complexity<\/em>) yans\u0131t\u0131p yans\u0131tmad\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnmek ve tart\u0131\u015fmak gerekiyor.<\/p>\n\n\n\n

IAMM\u2019\u0131n kurulu\u015funun 25. y\u0131l d\u00f6n\u00fcm\u00fc vesilesiyle yap\u0131lan etkinlikler i\u00e7erisinde tan\u0131k oldu\u011fumuz panelin post-modern s\u00f6ylemi i\u00e7selle\u015ftirmi\u015f d\u00fc\u015f\u00fcnceleri yans\u0131tanlar yerine, \u00f6rne\u011fin Kuzey Sumatra\u2019dan ba\u015flayarak Do\u011fu Timor\u2019a, G\u00fcney Hindistan\u2019dan ba\u015flayarak G\u00fcney Filipinler\u2019e kadar olan co\u011frafyadaki M\u00fcsl\u00fcman toplumlar\u0131n ge\u00e7mi\u015fleriyle ve bu geni\u015f co\u011frafyan\u0131n \u00fcretti\u011fi sanatlar ve zanaatlar ile bunlar\u0131 \u00fcreten va hala \u00fcretmeye devam eden temsilcilerinin biraraya getirildi\u011fi bir etkinlik \u00e7ok daha anlaml\u0131 olurdu.<\/p>\n\n\n\n

Bu vesileyle, IAMM\u2019\u0131n 25. kurulu\u015f y\u0131ld\u00f6n\u00fcm\u00fcn\u00fc kutlar ve ba\u015fta geni\u015f Malay d\u00fcnyas\u0131 olmak \u00fczere \u0130slam co\u011frafyas\u0131n\u0131n farkl\u0131 b\u00f6lgeleriyle anlaml\u0131 ili\u015fkiler geli\u015ftirmeye \u00f6ncelik vermesini i\u00e7ten temenni ederim.<\/p>\n","protected":false},"excerpt":{"rendered":"

Mehmet \u00d6zay                                                                                                            16.12.2023 Malezya\u2019n\u0131n \u00f6nemli m\u00fczelerinden biri olan \u0130slami Art M\u00fczesi\u2019nin (Islamic Art Museum of Malaysia-IAMM) kurulu\u015funun 25. y\u0131l\u0131 vesilesiyle, bu g\u00fcnlerde bir dizi etkinlik ger\u00e7ekle\u015ftiriliyor. Bu \u00e7er\u00e7evede, 13 Aral\u0131k g\u00fcn\u00fc, \u201c\u0130slami Sanat M\u00fczeleri ve Galerileri\u2019nin Gelece\u011fi, Farkl\u0131l\u0131k ve Kapsay\u0131c\u0131l\u0131\u011f\u0131n \u00d6nemi\u201d (The Future of Islamic Art Museums and Galleries, Celebrating Diversity and Inclusivity) ba\u015fl\u0131kl\u0131 […]<\/p>\n","protected":false},"author":3,"featured_media":5005,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-5004","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/guneydoguasyacalismalari.com\/tr_tr\/wp-json\/wp\/v2\/posts\/5004","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/guneydoguasyacalismalari.com\/tr_tr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/guneydoguasyacalismalari.com\/tr_tr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/guneydoguasyacalismalari.com\/tr_tr\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/guneydoguasyacalismalari.com\/tr_tr\/wp-json\/wp\/v2\/comments?post=5004"}],"version-history":[{"count":1,"href":"https:\/\/guneydoguasyacalismalari.com\/tr_tr\/wp-json\/wp\/v2\/posts\/5004\/revisions"}],"predecessor-version":[{"id":5006,"href":"https:\/\/guneydoguasyacalismalari.com\/tr_tr\/wp-json\/wp\/v2\/posts\/5004\/revisions\/5006"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/guneydoguasyacalismalari.com\/tr_tr\/wp-json\/wp\/v2\/media\/5005"}],"wp:attachment":[{"href":"https:\/\/guneydoguasyacalismalari.com\/tr_tr\/wp-json\/wp\/v2\/media?parent=5004"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/guneydoguasyacalismalari.com\/tr_tr\/wp-json\/wp\/v2\/categories?post=5004"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/guneydoguasyacalismalari.com\/tr_tr\/wp-json\/wp\/v2\/tags?post=5004"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}