{"id":3252,"date":"2026-04-27T16:47:23","date_gmt":"2026-04-27T13:47:23","guid":{"rendered":"https:\/\/ivasanat.com\/blog\/?p=3252"},"modified":"2026-04-28T12:23:32","modified_gmt":"2026-04-28T09:23:32","slug":"claude-monetin-en-unlu-10-tablosu-ve-hikayeleri","status":"publish","type":"post","link":"https:\/\/ivasanat.com\/blog\/claude-monetin-en-unlu-10-tablosu-ve-hikayeleri\/","title":{"rendered":"Claude Monet’in En \u00dcnl\u00fc 10 Tablosu ve Hikayeleri"},"content":{"rendered":"\n

Claude Monet, modern sanat\u0131n ak\u0131\u015f\u0131n\u0131 de\u011fi\u015ftiren Empresyonizm sanat ak\u0131m\u0131n\u0131<\/a>n temelini sars\u0131lmaz bir \u015fekilde at\u0131yor. Sanat\u00e7\u0131, \u0131\u015f\u0131\u011f\u0131n ve renklerin anl\u0131k de\u011fi\u015fimlerini yakalamak i\u00e7in kapal\u0131 st\u00fcdyolardan \u00e7\u0131karak do\u011fay\u0131 do\u011frudan g\u00f6zlemliyor. Do\u011fan\u0131n sundu\u011fu anl\u0131k titre\u015fimleri tuvale aktaran Monet, geleneksel perspektif kurallar\u0131n\u0131 y\u0131karak kendi benzersiz g\u00f6rsel dilini yarat\u0131yor.<\/p>\n\n\n\n

Bu i\u00e7eri\u011fimizde Claude Monet’nin en \u00fcnl\u00fc 10 eserini inceliyoruz.<\/p>\n\n\n\n

1. \u0130zlenim: G\u00fcn Do\u011fumu (Impression, Soleil Levant) – 1872<\/strong><\/h3>\n\n\n\n
\"\"<\/figure>\n\n\n\n

Monet, \u0130zlenim: G\u00fcn Do\u011fumu adl\u0131 ikonik eserini 1872 y\u0131l\u0131nda Le Havre liman\u0131ndaki sabah sisini pencerden g\u00f6zlemleyerek yarat\u0131yor. Liman\u0131n \u00fczerindeki puslu atmosferi betimleyen sanat\u00e7\u0131, turuncu g\u00fcne\u015fin so\u011fuk sulara yans\u0131mas\u0131n\u0131 h\u0131zl\u0131 ve belirgin f\u0131r\u00e7a darbeleriyle vurguluyor. Geleneksel net \u00e7izgiler yerine renklerin do\u011frudan birbirine kar\u0131\u015ft\u0131\u011f\u0131 bu teknik, izleyiciye tamamlanmam\u0131\u015f bir anl\u0131k g\u00f6r\u00fcnt\u00fc hissi veriyor. Sanat ele\u015ftirmeni Louis Leroy, tablonun sergilendi\u011fi d\u00f6nemde eserin ad\u0131ndan yola \u00e7\u0131karak ak\u0131ma alayc\u0131 bir \u015fekilde “Empresyonizm” ad\u0131n\u0131 tak\u0131yor. Leroy’un bu ele\u015ftirisi, sanat tarihinin en b\u00fcy\u00fck g\u00f6rsel devrimlerinden birinin resmi ismine d\u00f6n\u00fc\u015f\u00fcyor.<\/p>\n\n\n\n

2. Nil\u00fcferler Serisi (Les Nymph\u00e9as) – 1896-1926<\/strong><\/h3>\n\n\n\n
\"\"<\/figure>\n\n\n\n

Ressam, Giverny’deki evinin bah\u00e7esine \u00f6zel olarak in\u015fa etti\u011fi su bah\u00e7esini hayat\u0131n\u0131n son otuz y\u0131l\u0131nda ana sanatsal odak noktas\u0131 haline getiriyor. Nil\u00fcferler serisi, suyun y\u00fczeyindeki yans\u0131malar\u0131, g\u00f6ky\u00fcz\u00fcn\u00fcn suyla b\u00fct\u00fcnle\u015fmesini ve g\u00fcn\u00fcn farkl\u0131 saatlerindeki \u0131\u015f\u0131k oyunlar\u0131n\u0131 derinlemesine inceliyor. Ufuk \u00e7izgisini tamamen ortadan kald\u0131ran Monet, izleyiciyi do\u011frudan g\u00f6letin sular\u0131na batm\u0131\u015f gibi hissettiren benzersiz bir perspektif sunuyor. G\u00f6rme yetisini kaybetmeye ba\u015flad\u0131\u011f\u0131 katarakt d\u00f6neminde bile resim yapmaya devam eden sanat\u00e7\u0131, renkleri giderek daha soyut ve cesur formlarda kullan\u0131yor. Nil\u00fcferler serisi, do\u011fa g\u00f6zleminin s\u0131n\u0131rlar\u0131n\u0131 a\u015farak sanat\u00e7\u0131n\u0131n i\u00e7 d\u00fcnyas\u0131n\u0131 yans\u0131tan devasa bir g\u00f6rsel deneyim yarat\u0131yor.<\/p>\n\n\n\n

3. Gezinti (La Femme \u00e0 l’Ombrelle) – 1875<\/strong><\/h3>\n\n\n\n
\"\"<\/figure>\n\n\n\n

Monet, Gezinti adl\u0131 eserinde e\u015fi Camille ve k\u00fc\u00e7\u00fck o\u011flu Jean’\u0131 r\u00fczgarl\u0131 bir yaz g\u00fcn\u00fcnde Argenteuil \u00e7ay\u0131rlar\u0131nda resmediyor. Eser, ailenin do\u011fadaki g\u00fcndelik bir y\u00fcr\u00fcy\u00fc\u015f\u00fcn\u00fc foto\u011frafik bir anl\u0131k yakalama ustal\u0131\u011f\u0131yla donduruyor. A\u015fa\u011f\u0131dan yukar\u0131ya do\u011fru kurgulanan bak\u0131\u015f a\u00e7\u0131s\u0131, Camille’i mavi g\u00f6ky\u00fcz\u00fcne kar\u015f\u0131 an\u0131tsal ve g\u00fc\u00e7l\u00fc bir fig\u00fcr olarak konumland\u0131r\u0131yor. U\u00e7u\u015fan beyaz elbise, r\u00fczgarda \u015fiddetle e\u011filen otlar ve h\u0131zla hareket eden bulutlar, Gezinti tablosuna dinamik bir canl\u0131l\u0131k kat\u0131yor. Sanat\u00e7\u0131, karakterlerin detayl\u0131 y\u00fcz hatlar\u0131ndan ziyade etraflar\u0131n\u0131 saran r\u00fczgar\u0131n ve g\u00fcne\u015f \u0131\u015f\u0131\u011f\u0131n\u0131n hissiyat\u0131n\u0131 \u00f6n plana \u00e7\u0131kar\u0131yor.<\/p>\n\n\n\n

4. Rouen Katedrali Serisi (S\u00e9rie des Cath\u00e9drales de Rouen) – 1892-1894<\/strong><\/h3>\n\n\n\n
\"\"<\/figure>\n\n\n\n

Rouen Katedrali serisi, ayn\u0131 devasa yap\u0131n\u0131n g\u00fcn\u00fcn farkl\u0131 saatlerinde ve \u00e7e\u015fitli hava ko\u015fullar\u0131nda g\u00f6rsel olarak nas\u0131l de\u011fi\u015fti\u011fini sistemli bir \u015fekilde belgeliyor. Monet, katedralin hemen kar\u015f\u0131s\u0131ndaki bir odadan gotik mimarinin ta\u015f cephesine vuran g\u00fcne\u015f \u0131\u015f\u0131\u011f\u0131n\u0131, g\u00f6lgeleri ve sis tabakalar\u0131n\u0131 analitik bir yakla\u015f\u0131mla inceliyor. Ta\u015f\u0131n sertli\u011fini ve fiziksel a\u011f\u0131rl\u0131\u011f\u0131n\u0131 tamamen unutturan ressam, tarihi yap\u0131y\u0131 sadece \u0131\u015f\u0131\u011f\u0131n ge\u00e7ici bir oyun alan\u0131 olarak yeniden \u015fekillendiriyor. Kal\u0131n boya katmanlar\u0131 kullanarak olu\u015fturdu\u011fu impasto doku, katedralin y\u00fczeyine \u00fc\u00e7 boyutlu ve s\u00fcrekli titre\u015fen bir nitelik kazand\u0131r\u0131yor. Rouen Katedrali, fiziksel nesnelerin kal\u0131c\u0131l\u0131\u011f\u0131na kar\u015f\u0131 optik alg\u0131n\u0131n s\u00fcrekli de\u011fi\u015fkenli\u011fini kan\u0131tlayan bir ara\u015ft\u0131rma i\u015flevi g\u00f6r\u00fcyor.<\/p>\n\n\n\n

5. Japon K\u00f6pr\u00fcs\u00fc (Le Bassin aux Nymph\u00e9as, harmonie verte) – 1899<\/strong><\/h3>\n\n\n\n
\"\"<\/figure>\n\n\n\n

Sanat\u00e7\u0131, Giverny’deki bah\u00e7esinde yer alan su zambaklar\u0131 g\u00f6letinin tam \u00fczerine in\u015fa etti\u011fi ah\u015fap k\u00f6pr\u00fcy\u00fc ye\u015fil tonlar\u0131n hakimiyetiyle resmediyor. Japon K\u00f6pr\u00fcs\u00fc eseri, salk\u0131m s\u00f6\u011f\u00fctlerin ve \u00e7e\u015fitli egzotik bitkilerin g\u00f6leti s\u0131k\u0131ca sard\u0131\u011f\u0131 yemye\u015fil ve dingin bir cenneti tasvir ediyor. Suyun \u00fczerindeki par\u00e7al\u0131 yans\u0131malar ve bitkilerin yo\u011fun dokusu, k\u00f6pr\u00fcn\u00fcn zarif kemerli yap\u0131s\u0131yla kusursuz bir simetri olu\u015fturuyor. Monet, Japon ah\u015fap bask\u0131 sanat\u0131na (Ukiyo-e) duydu\u011fu derin hayranl\u0131\u011f\u0131 bu kompozisyonun dikey ve yatay hatlar\u0131yla do\u011frudan d\u0131\u015fa vuruyor. Ye\u015filin say\u0131s\u0131z tonunu katmanland\u0131ran ressam, izleyiciye kapal\u0131 bir bah\u00e7enin iyile\u015ftirici ve sessiz g\u00fcc\u00fcn\u00fc do\u011frudan hissettiriyor.<\/p>\n\n\n\n

6. Gelincik Tarlas\u0131 (Les Coquelicots) – 1873<\/strong><\/h3>\n\n\n\n
\"\"<\/figure>\n\n\n\n

Gelincik Tarlas\u0131, Monet’nin Argenteuil’de ya\u015fad\u0131\u011f\u0131 d\u00f6nemin en canl\u0131, iyimser ve taze k\u0131r manzaralar\u0131ndan birini olu\u015fturuyor. Tablonun sol taraf\u0131n\u0131 yo\u011fun bir \u015fekilde kaplayan parlak k\u0131rm\u0131z\u0131 gelincikler, ye\u015fil \u00e7ay\u0131rlarla \u00e7arp\u0131c\u0131 bir renk kontrast\u0131 kurarak izleyicinin g\u00f6z\u00fcn\u00fc belirli bir ritimle a\u015fa\u011f\u0131ya do\u011fru y\u00f6nlendiriyor. \u00d6n planda y\u00fcr\u00fcyen \u015femsiyeli kad\u0131n ve \u00e7ocuk fig\u00fcrleri, arka planda tekrar eden benzer fig\u00fcrlerle birle\u015ferek tablonun derinlik alg\u0131s\u0131n\u0131 g\u00fc\u00e7lendiriyor. Monet, \u00e7i\u00e7ekleri detayl\u0131 bir botanik \u00e7izimi yerine sadece birka\u00e7 h\u0131zl\u0131 k\u0131rm\u0131z\u0131 f\u0131r\u00e7a darbesiyle \u00f6zetleyerek r\u00fczgar\u0131n hareket hissini yakal\u0131yor. Gelincik Tarlas\u0131, k\u0131rsal ya\u015fam\u0131n huzurunu ve g\u00fcne\u015fli bir bahar \u00f6\u011fleden sonras\u0131n\u0131n ge\u00e7ici \u0131s\u0131s\u0131n\u0131 kal\u0131c\u0131 bir g\u00f6rsel haf\u0131zaya d\u00f6n\u00fc\u015ft\u00fcr\u00fcyor.<\/p>\n\n\n\n

7. Saint-Lazare Gar\u0131 (La Gare Saint-Lazare) – 1877<\/strong><\/h3>\n\n\n\n
\"\"<\/figure>\n\n\n\n

End\u00fcstriyel devrimin mekanik enerjisini tuvale aktaran Monet, Saint-Lazare Gar\u0131 serisiyle k\u0131rsal do\u011fadan kopup modern \u015fehir hayat\u0131n\u0131n merkezine giriyor. Gar\u0131n \u00e7elik kemerli cam tavan\u0131ndan s\u00fcz\u00fclen g\u00fcne\u015f \u0131\u015f\u0131\u011f\u0131, buharl\u0131 trenlerin bacalar\u0131ndan y\u00fckselen yo\u011fun mavi ve pembe duman k\u00fcmelerine kar\u0131\u015farak dramatik bir atmosfer yarat\u0131yor. Metal konstr\u00fcksiyonlar\u0131n sert hatlar\u0131 ile duman\u0131n \u015fekilsiz u\u00e7uculu\u011fu aras\u0131ndaki tezat, eserin temel g\u00f6rsel gerilimini in\u015fa ediyor. Sanat\u00e7\u0131, lokomotiflerin teknik detaylar\u0131na odaklanmak yerine duman\u0131n ortam \u0131\u015f\u0131\u011f\u0131n\u0131 nas\u0131l k\u0131rd\u0131\u011f\u0131n\u0131 ve kapal\u0131 mekan\u0131 nas\u0131l d\u00f6n\u00fc\u015ft\u00fcrd\u00fc\u011f\u00fcn\u00fc inceliyor. Saint-Lazare Gar\u0131, modern ya\u015fam\u0131n karma\u015fas\u0131n\u0131 ve makine \u00e7a\u011f\u0131n\u0131n dinamizmini devrimci bir renk paleti arac\u0131l\u0131\u011f\u0131yla estetik bir deneyime \u00e7eviriyor.<\/p>\n\n\n\n

8. Argenteuil’deki K\u00f6pr\u00fc (Le Pont d’Argenteuil) – 1874<\/strong><\/h3>\n\n\n\n
\"\"<\/figure>\n\n\n\n

Sanat\u00e7\u0131, Paris yak\u0131nlar\u0131ndaki Argenteuil kasabas\u0131nda ge\u00e7irdi\u011fi yenilik\u00e7i y\u0131llarda Seine Nehri \u00fczerindeki modern mimariyi ve su \u00fczerindeki tatil hayat\u0131n\u0131 g\u00f6zlemliyor. Argenteuil’deki K\u00f6pr\u00fc tablosu, yelkenli teknelerin suda yaratt\u0131\u011f\u0131 dalgalanmalar\u0131 ve g\u00fcne\u015fin su y\u00fczeyindeki par\u00e7al\u0131 yans\u0131malar\u0131n\u0131 matematiksel bir kesinlikle yakal\u0131yor. K\u00f6pr\u00fcn\u00fcn sa\u011flam ta\u015f ayaklar\u0131 ile suyun s\u00fcrekli hareket eden ak\u0131\u015fkan yap\u0131s\u0131 aras\u0131ndaki kontrast, kompozisyonun dengesini ola\u011fan\u00fcst\u00fc bir \u015fekilde sa\u011fl\u0131yor. Mavi g\u00f6ky\u00fcz\u00fc ve sar\u0131 g\u00fcne\u015f \u0131\u015f\u0131klar\u0131n\u0131n a\u011f\u0131rl\u0131kta oldu\u011fu eser, izlenimci tekni\u011fin parlak ve a\u00e7\u0131k hava renk paletini t\u00fcm g\u00fcc\u00fcyle sergiliyor. Monet, end\u00fcstriyel yap\u0131lar\u0131 do\u011fan\u0131n i\u00e7ine kusursuzca entegre ederek d\u00f6nemin h\u0131zla de\u011fi\u015fen Frans\u0131z peyzaj\u0131n\u0131 iyimser bir bak\u0131\u015f a\u00e7\u0131s\u0131yla belgeliyor.<\/p>\n\n\n\n

9. Saman Y\u0131\u011f\u0131nlar\u0131 Serisi (Les Meules) – 1890-1891<\/strong><\/h3>\n\n\n\n
\"\"<\/figure>\n\n\n\n

Saman Y\u0131\u011f\u0131nlar\u0131 serisi, k\u0131rsal alanlardaki s\u0131radan tar\u0131m objelerini an\u0131tsal ve b\u00fcy\u00fcleyici sanat eserlerine d\u00f6n\u00fc\u015ft\u00fcrme fikrini merkeze al\u0131yor. Sanat\u00e7\u0131, evinin yak\u0131nlar\u0131ndaki bir tarlada duran saman y\u0131\u011f\u0131nlar\u0131n\u0131 sabah\u0131n ilk \u0131\u015f\u0131klar\u0131, g\u00fcn bat\u0131m\u0131, yo\u011fun kar veya sis alt\u0131nda aylarca defalarca resmediyor. Serinin amac\u0131 objenin fiziksel detaylar\u0131n\u0131 de\u011fil, objeyi saran zarf\u0131, yani \u0131\u015f\u0131\u011f\u0131n ve atmosferin nesne \u00fczerindeki d\u00f6n\u00fc\u015ft\u00fcr\u00fcc\u00fc etkisini kan\u0131tlamaya dayan\u0131yor. Saman Y\u0131\u011f\u0131nlar\u0131, tamamlay\u0131c\u0131 renklerin birbiriyle nas\u0131l titre\u015fti\u011fini g\u00f6stererek soyut sanat\u0131n temellerini atan radikal ve bilimsel bir g\u00f6rsel deney sunuyor. Farkl\u0131 mevsimlerin d\u00f6ng\u00fcs\u00fcn\u00fc yakalayan bu eser, zaman\u0131n ac\u0131mas\u0131z ge\u00e7i\u015fini do\u011fan\u0131n kendi ritmi \u00fczerinden izleyiciye somut bir \u015fekilde aktar\u0131yor.<\/p>\n\n\n\n

10. Kamelyal\u0131 Kad\u0131n (Camille, La Femme \u00e0 la Robe Verte) – 1866<\/strong><\/h3>\n\n\n\n
\"\"<\/figure>\n\n\n\n

Monet, hen\u00fcz izlenimci tarz\u0131n\u0131 tam olarak geli\u015ftirmeden ve manzaralara y\u00f6nelmeden \u00f6nce, e\u015fi Camille Doncieux’y\u00fc olduk\u00e7a ger\u00e7ek\u00e7i bir yakla\u015f\u0131mla portreliyor. Kamelyal\u0131 Kad\u0131n tablosu, d\u00f6nemin moda anlay\u0131\u015f\u0131n\u0131 yans\u0131tan z\u00fcmr\u00fct ye\u015fili, a\u011f\u0131r ipek bir elbisenin kuma\u015f dokusunu ola\u011fan\u00fcst\u00fc bir detayla vurguluyor. Geleneksel poz veren portre kurallar\u0131n\u0131n aksine, fig\u00fcr izleyiciye arkas\u0131n\u0131 d\u00f6n\u00fcp giderken ani ve do\u011fal bir an\u0131 donduruyor. I\u015f\u0131\u011f\u0131n ye\u015fil ipek kuma\u015f\u0131n k\u0131vr\u0131mlar\u0131 \u00fczerindeki parlak oyunlar\u0131, sanat\u00e7\u0131n\u0131n ilerleyen y\u0131llarda geli\u015ftirece\u011fi \u0131\u015f\u0131k ve renk tak\u0131nt\u0131s\u0131n\u0131n ilk g\u00fc\u00e7l\u00fc sinyallerini veriyor. Kamelyal\u0131 Kad\u0131n, sanat\u00e7\u0131n\u0131n gen\u00e7lik kariyerinde Paris Salonu’nda b\u00fcy\u00fck ba\u015far\u0131 kazanan ve teknik yetene\u011fini kan\u0131tlayan kritik bir d\u00f6n\u00fcm noktas\u0131n\u0131 temsil ediyor.<\/p>\n\n\n\n

Claude Monet<\/a>‘nin b\u0131rakt\u0131\u011f\u0131 bu sanatsal miras, sanat tarihinin kal\u0131pla\u015fm\u0131\u015f s\u0131n\u0131rlar\u0131n\u0131 a\u015farak d\u00fcnyay\u0131 g\u00f6rsel olarak alg\u0131lama bi\u00e7imimizi k\u00f6kten de\u011fi\u015ftiriyor. Hayat\u0131 boyunca \u0131\u015f\u0131\u011f\u0131n pe\u015finden ko\u015fan sanat\u00e7\u0131, an\u0131n u\u00e7uculu\u011funu sonsuz bir g\u00f6rsel ziyafete d\u00f6n\u00fc\u015ft\u00fcrerek modern resmin kurallar\u0131n\u0131 kelimenin tam anlam\u0131yla yeniden yaz\u0131yor. Renkleri \u00e7izgilerin esaretinden ve f\u0131r\u00e7a darbelerini p\u00fcr\u00fczs\u00fcz y\u00fczey zorunlulu\u011fundan kurtaran Monet, kendisinden sonra gelen say\u0131s\u0131z modern ak\u0131ma ilham kayna\u011f\u0131 oluyor. Do\u011fan\u0131n saf enerjisini kavramak isteyenler i\u00e7in bu e\u015fsiz ba\u015fyap\u0131tlar, g\u00f6rsel k\u00fclt\u00fcr\u00fcn en ufuk a\u00e7\u0131c\u0131 k\u00f6\u015fe ta\u015flar\u0131 olarak varl\u0131klar\u0131n\u0131 s\u00fcrd\u00fcr\u00fcyor. Analitik renk teorileriyle desteklenen bu \u00fcnl\u00fc sanat eserleri<\/a>, zaman\u0131n \u00f6tesindeki tart\u0131\u015f\u0131lmaz estetik g\u00fc\u00e7lerini sanatseverlere her \u00e7a\u011fda yeniden kan\u0131tl\u0131yor.<\/p>\n","protected":false},"excerpt":{"rendered":"

Claude Monet, modern sanat\u0131n ak\u0131\u015f\u0131n\u0131 de\u011fi\u015ftiren Empresyonizm sanat ak\u0131m\u0131n\u0131n temelini sars\u0131lmaz bir \u015fekilde at\u0131yor. Sanat\u00e7\u0131, \u0131\u015f\u0131\u011f\u0131n ve renklerin anl\u0131k de\u011fi\u015fimlerini yakalamak i\u00e7in kapal\u0131 st\u00fcdyolardan \u00e7\u0131karak do\u011fay\u0131 do\u011frudan g\u00f6zlemliyor. Do\u011fan\u0131n sundu\u011fu anl\u0131k titre\u015fimleri tuvale aktaran Monet, geleneksel perspektif kurallar\u0131n\u0131 y\u0131karak kendi benzersiz g\u00f6rsel dilini yarat\u0131yor. Bu i\u00e7eri\u011fimizde Claude Monet’nin en \u00fcnl\u00fc 10 eserini inceliyoruz. 1. \u0130zlenim: […]<\/p>\n","protected":false},"author":2,"featured_media":3253,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_gspb_post_css":"","footnotes":""},"categories":[41],"tags":[],"class_list":["post-3252","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-basyapitlar"],"blocksy_meta":[],"_links":{"self":[{"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/posts\/3252","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/comments?post=3252"}],"version-history":[{"count":1,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/posts\/3252\/revisions"}],"predecessor-version":[{"id":3264,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/posts\/3252\/revisions\/3264"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/media\/3253"}],"wp:attachment":[{"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/media?parent=3252"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/categories?post=3252"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/tags?post=3252"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}