{"id":3377,"date":"2026-05-26T09:19:11","date_gmt":"2026-05-26T06:19:11","guid":{"rendered":"https:\/\/ivasanat.com\/blog\/?p=3377"},"modified":"2026-05-26T09:19:12","modified_gmt":"2026-05-26T06:19:12","slug":"suluboya-ile-resim-yapma-7-adimda-temel-teknikler","status":"publish","type":"post","link":"https:\/\/ivasanat.com\/blog\/suluboya-ile-resim-yapma-7-adimda-temel-teknikler\/","title":{"rendered":"Suluboya ile Resim Yapma: 7 Ad\u0131mda Temel Teknikler"},"content":{"rendered":"\n

G\u00fcn\u00fcm\u00fczde pek \u00e7ok ki\u015finin \u00e7ocukluk y\u0131llar\u0131nda tan\u0131\u015ft\u0131\u011f\u0131 ilk sanatsal materyal olan suluboya, asl\u0131na bak\u0131l\u0131rsa resim sanat\u0131nda ustala\u015fmas\u0131 en fazla pratik ve sab\u0131r gerektiren tekniklerden birini temsil eder. Suyun ka\u011f\u0131t \u00fczerindeki serbest ak\u0131\u015f\u0131, kuruma h\u0131z\u0131 ve pigmentlerin ortamdaki neme verdi\u011fi anl\u0131k tepkimeler, sanat\u00e7\u0131y\u0131 planl\u0131 ama ayn\u0131 zamanda tesad\u00fcflere a\u00e7\u0131k olmaya zorlar. Bu yaz\u0131da, suluboya ile resim yapma prati\u011finin temel prensiplerini, ka\u011f\u0131t \u00fczerinde hakimiyet kurmay\u0131 sa\u011flayan metotlar\u0131 ve malzemenin kimyas\u0131n\u0131 inceleyece\u011fiz.<\/p>\n\n\n\n

Suluboyan\u0131n Do\u011fas\u0131: Suyu ve Pigmenti Anlamak<\/strong><\/h2>\n\n\n\n
\"\"<\/figure>\n\n\n\n

Suluboya ba\u015flang\u0131\u00e7 a\u015famas\u0131ndaki bireylerin s\u0131kl\u0131kla ya\u015fad\u0131\u011f\u0131 zorluk, boyan\u0131n kontrol d\u0131\u015f\u0131 hareket etmesidir. Ya\u011fl\u0131 boya ile akrilik boya aras\u0131ndaki farklar<\/a><\/strong> incelendi\u011finde her iki malzemenin de kapat\u0131c\u0131 (opak) yap\u0131da oldu\u011fu g\u00f6r\u00fcl\u00fcr; sanat\u00e7\u0131 yapt\u0131\u011f\u0131 hatalar\u0131n \u00fczerini yeni bir boya katman\u0131yla kolayca \u00f6rtebilir. Hatta yap\u0131s\u0131 gere\u011fi suya tepki veren guaj boya bile mat dokusu sayesinde alt katmanlar\u0131 tamamen gizler. Suluboyada ise \u015feffafl\u0131k ana kurald\u0131r ve boyan\u0131n a\u00e7\u0131k tonlar\u0131n\u0131 elde etmek i\u00e7in beyaz pigment eklemek yerine su miktar\u0131 art\u0131r\u0131larak ka\u011f\u0131d\u0131n kendi beyazl\u0131\u011f\u0131ndan faydalan\u0131l\u0131r.<\/p>\n\n\n\n

Boyan\u0131n kimyasal yap\u0131s\u0131ndaki arap zamk\u0131 (gum arabic), renk pigmentlerini bir arada tutar ve su ile seyreltildi\u011finde \u0131\u015f\u0131\u011f\u0131n ka\u011f\u0131da \u00e7arp\u0131p do\u011frudan g\u00f6z\u00fcm\u00fcze yans\u0131mas\u0131n\u0131 sa\u011flar. Saydam tabakalar halinde \u00fcst \u00fcste binen renkler, resmin geneline derin bir optik parlakl\u0131k katar. Kullan\u0131lan ka\u011f\u0131d\u0131n pamuk oran\u0131, suyun miktar\u0131 ve f\u0131r\u00e7an\u0131n bas\u0131nc\u0131 bir araya gelerek her bir f\u0131r\u00e7a darbesinin g\u00f6rsel karakterini belirler.<\/p>\n\n\n\n

Yeni Ba\u015flayanlar \u0130\u00e7in 7 Temel Suluboya Tekni\u011fi<\/strong><\/h2>\n\n\n\n
\"\"<\/figure>\n\n\n\n

En iyi suluboya teknikleri, suyun ka\u011f\u0131t lifleri \u00fczerindeki fiziksel davran\u0131\u015flar\u0131n\u0131 anlamakla ba\u015flar. \u0130ster detayl\u0131 bir mimari \u00e7izim ister soyut bir manzara \u00e7al\u0131\u015f\u0131n, f\u0131r\u00e7ay\u0131 boyaya de\u011fdirmeden \u00f6nce a\u015fa\u011f\u0131daki yedi temel y\u00f6ntemi kavramak sa\u011flam bir teknik altyap\u0131 olu\u015fturur.<\/p>\n\n\n\n

    \n
  • 1. D\u00fcz Y\u0131kama (Flat Wash): G\u00f6ky\u00fcz\u00fc veya durgun bir g\u00f6l y\u00fczeyi \u00e7izerken ka\u011f\u0131d\u0131n geni\u015f b\u00f6l\u00fcmlerini tek, e\u015fit ve p\u00fcr\u00fczs\u00fcz bir renk tonuyla kaplamak i\u00e7in kullan\u0131l\u0131r. Geni\u015f u\u00e7lu bir f\u0131r\u00e7a haz\u0131rlanan s\u0131v\u0131 boya kar\u0131\u015f\u0131m\u0131na bat\u0131r\u0131l\u0131r. Ka\u011f\u0131t hafif e\u011fimli tutularak yukar\u0131dan a\u015fa\u011f\u0131ya do\u011fru yatay \u015feritler halinde boyan\u0131r. Boya yer\u00e7ekiminin etkisiyle ka\u011f\u0131d\u0131n alt\u0131nda ince bir \u00e7izgi halinde birikir, f\u0131r\u00e7a her yeni yatay ge\u00e7i\u015fte bu s\u0131v\u0131 birikintisini yava\u015f\u00e7a a\u015fa\u011f\u0131 ta\u015f\u0131r.<\/li>\n\n\n\n
  • 2. Kademeli Y\u0131kama (Graded Wash): Tek bir rengin koyu tondan a\u00e7\u0131k tona do\u011fru dereceli olarak seyrelmesini ifade eder. G\u00fcn bat\u0131m\u0131 g\u00f6ky\u00fcz\u00fcn\u00fc veya silindirik bir nesnenin \u00fczerindeki \u0131\u015f\u0131k k\u0131r\u0131lmas\u0131n\u0131 betimlerken olduk\u00e7a i\u015flevseldir. F\u0131r\u00e7aya \u00f6nce yo\u011fun pigment al\u0131n\u0131r ve ka\u011f\u0131d\u0131n \u00fcst k\u0131sm\u0131na yatay bir hat \u00e7ekilir. Ard\u0131ndan f\u0131r\u00e7a temiz suya bat\u0131r\u0131l\u0131p nemi hafif\u00e7e al\u0131n\u0131r ve ilk \u00e7izginin hemen alt\u0131ndan ge\u00e7ilerek pigmentin a\u015fa\u011f\u0131ya do\u011fru a\u00e7\u0131larak inmesi sa\u011flan\u0131r.<\/li>\n\n\n\n
  • 3. Islak \u00dczerine Islak (Wet-on-Wet): Suluboya ile resim yapma s\u00fcrecinin en tahmin edilemez, organik ve serbest k\u0131sm\u0131d\u0131r. \u0130lk olarak ka\u011f\u0131t y\u00fczeyi kal\u0131n bir f\u0131r\u00e7a yard\u0131m\u0131yla tamamen temiz su ile \u0131slat\u0131l\u0131r. Y\u00fczey hala parlak ve nemliyken, boyal\u0131 f\u0131r\u00e7a ka\u011f\u0131da hafif\u00e7e dokundurulur. Su, pigmenti saniyeler i\u00e7inde ka\u011f\u0131t lifleri boyunca da\u011f\u0131t\u0131r ve yumu\u015fak, bulan\u0131k kenarlar olu\u015fturur. Uzaktaki sisli da\u011f manzaralar\u0131, bulut k\u00fcmeleri veya \u00e7i\u00e7ek yapraklar\u0131ndaki do\u011fal renk ge\u00e7i\u015fleri \u0131slak \u00fczerine \u0131slak tekni\u011fiyle yarat\u0131l\u0131r. Renkler ka\u011f\u0131t \u00fczerinde kendili\u011finden kar\u0131\u015farak f\u0131r\u00e7ayla manuel olarak yap\u0131lmas\u0131 imkans\u0131z dokular ortaya \u00e7\u0131kar\u0131r.<\/li>\n\n\n\n
  • 4. Kuru \u00dczerine Islak (Wet-on-Dry): Keskin hatlar, ince detaylar ve belirgin formlar yaratmak istendi\u011finde, tamamen kuru ka\u011f\u0131t \u00fczerine \u0131slak boya uygulan\u0131r. F\u0131r\u00e7adaki su miktar\u0131 kontroll\u00fcd\u00fcr, boya sadece f\u0131r\u00e7an\u0131n temas etti\u011fi s\u0131n\u0131rlar\u0131n i\u00e7inde kal\u0131r ve etrafa yay\u0131lmaz. Portrelerdeki g\u00f6z \u00e7izgileri, a\u011fa\u00e7 dallar\u0131 veya mimari yap\u0131lardaki pencere pervazlar\u0131 bu y\u00f6ntemle i\u015flenir. Alt katmanda daha \u00f6nceden s\u00fcr\u00fclm\u00fc\u015f bir boya varsa, yeni i\u015flem yap\u0131lmadan \u00f6nce o katman\u0131n tamamen kurumu\u015f olmas\u0131 \u015fartt\u0131r; aksi takdirde yeni s\u00fcr\u00fclen pigment alt katmandaki boyay\u0131 \u00e7\u00f6zerek renklerin \u00e7amurla\u015fmas\u0131na neden olur.<\/li>\n\n\n\n
  • 5. Kuru F\u0131r\u00e7a Tekni\u011fi (Dry Brush): Sert dokular elde etmek, ya\u015fl\u0131 a\u011fa\u00e7 kabuklar\u0131n\u0131, p\u00fcr\u00fczl\u00fc kayal\u0131k y\u00fczeyleri veya g\u00fcne\u015f \u0131\u015f\u0131\u011f\u0131n\u0131n deniz \u00fczerindeki par\u0131lt\u0131lar\u0131n\u0131 yans\u0131tmak i\u00e7in kuru f\u0131r\u00e7a tekni\u011fi uygulan\u0131r. F\u0131r\u00e7adaki suyun b\u00fcy\u00fck k\u0131sm\u0131 ka\u011f\u0131t havlu yard\u0131m\u0131yla emilir, f\u0131r\u00e7a k\u0131llar\u0131nda sadece yo\u011fun pigment kal\u0131r. F\u0131r\u00e7a ka\u011f\u0131da hafif\u00e7e ve yatay bir a\u00e7\u0131yla s\u00fcrt\u00fcld\u00fc\u011f\u00fcnde, boya sadece ka\u011f\u0131d\u0131n \u00fcst dokusundaki t\u00fcmseklere tutunur, minik \u00e7ukurlar beyaz kal\u0131r. Bu optik durum, resme g\u00f6rsel bir p\u00fcr\u00fczl\u00fcl\u00fck kazand\u0131r\u0131r.<\/li>\n\n\n\n
  • 6. Boya Kald\u0131rma (Lifting): Hata d\u00fczeltmek veya kas\u0131tl\u0131 \u0131\u015f\u0131k oyunlar\u0131 yapmak i\u00e7in ka\u011f\u0131t \u00fczerindeki pigment fiziki olarak geri al\u0131nabilir. Boya hen\u00fcz \u0131slakken temiz ve kuru bir f\u0131r\u00e7a veya ka\u011f\u0131t havlu y\u00fczeye hafif\u00e7e bast\u0131r\u0131larak fazla pigment emilir. Bu y\u00f6ntem p\u00fcr\u00fczs\u00fcz bir g\u00f6ky\u00fcz\u00fcnde aniden beyaz bulutlar olu\u015fturmak veya bir cam nesnenin \u00fczerindeki parlak yans\u0131may\u0131 (highlight) vurgulamak i\u00e7in s\u0131k\u00e7a kullan\u0131l\u0131r.<\/li>\n\n\n\n
  • 7. Katmanlama (Glazing \/ S\u0131rlama): Renkleri plastik bir palette kar\u0131\u015ft\u0131rmak yerine, ka\u011f\u0131t \u00fczerinde \u00fcst \u00fcste bindirerek yeni optik tonlar elde etme i\u015flemine s\u0131rlama ad\u0131 verilir. Kurumu\u015f bir sar\u0131 boya katman\u0131n\u0131n \u00fczerine ince, bol sulu ve \u015feffaf bir mavi katman s\u00fcr\u00fcld\u00fc\u011f\u00fcnde, alttaki sar\u0131 \u0131\u015f\u0131\u011f\u0131 yans\u0131tmaya devam eder ve insan g\u00f6z\u00fc bu iki rengin fiziki birle\u015fimini ye\u015fil alg\u0131lar. Suluboya teknikleri i\u00e7inde derinlik ve \u0131\u015f\u0131k hissini en ba\u015far\u0131l\u0131 \u015fekilde veren y\u00f6ntemdir.<\/li>\n<\/ul>\n\n\n\n

    Renklerin Anatomisi: \u015eeffaf, Opak ve Gran\u00fclasyonlu Pigmentler<\/strong><\/h2>\n\n\n\n

    Ba\u015far\u0131l\u0131 bir resim s\u00fcreci sadece f\u0131r\u00e7a tekniklerine de\u011fil, t\u00fcp\u00fcn i\u00e7indeki boyan\u0131n karakterini tan\u0131maya dayan\u0131r. Piyasada bulunan profesyonel pigmentler davran\u0131\u015f bi\u00e7imlerine g\u00f6re \u00fc\u00e7 ana gruba ayr\u0131l\u0131r. \u015eeffaf (transparent) boyalar, ka\u011f\u0131d\u0131n beyazl\u0131\u011f\u0131n\u0131 tamamen yans\u0131t\u0131r ve katmanlama tekni\u011fi i\u00e7in idealdir. Opak (opaque) pigmentler ise i\u00e7erdikleri yo\u011fun maddeler nedeniyle ka\u011f\u0131d\u0131n dokusunu \u00f6rter; bu boyalar suland\u0131r\u0131lsa bile alt katmandaki rengi matla\u015ft\u0131r\u0131r.<\/p>\n\n\n\n

    Sanat\u00e7\u0131lar\u0131n do\u011fa \u00e7izimlerinde s\u0131kl\u0131kla tercih etti\u011fi \u00fc\u00e7\u00fcnc\u00fc t\u00fcr ise gran\u00fclasyonlu (granulating) pigmentlerdir. Bu boyalar suyla kar\u0131\u015ft\u0131\u011f\u0131nda ka\u011f\u0131d\u0131n \u00e7ukurlar\u0131nda biriken a\u011f\u0131r partik\u00fcller i\u00e7erir. Kuruduklar\u0131nda ka\u011f\u0131t \u00fczerinde kendili\u011finden kumlu, damarl\u0131 ve eski bir ta\u015f y\u00fczeyini and\u0131ran fiziksel dokular b\u0131rak\u0131rlar. Hangi pigmentin ne oranda gran\u00fclasyon i\u00e7erdi\u011fini bilmek, suluboya ile resim yapma eylemini do\u011frudan etkiler.<\/p>\n\n\n\n

    Ustalardan \u0130lham: Suluboyay\u0131 Zirveye Ta\u015f\u0131yan \u0130simler<\/strong><\/h2>\n\n\n\n
    \"\"<\/figure>\n\n\n\n

    On dokuzuncu y\u00fczy\u0131lda \u0130ngiltere’de alt\u0131n \u00e7a\u011f\u0131n\u0131 ya\u015fayan suluboya, sanayile\u015fen d\u00fcnyan\u0131n grile\u015fen yap\u0131s\u0131na kar\u015f\u0131 sanat\u00e7\u0131lar\u0131n do\u011fay\u0131 kaydetme arac\u0131 oldu. J.M.W. Turner, suyu \u00f6ylesine cesur ve asi kullan\u0131yordu ki ka\u011f\u0131d\u0131 tamamen suya bat\u0131r\u0131yor, boyay\u0131 sert f\u0131r\u00e7alarla kaz\u0131yor, bazen t\u0131rnaklar\u0131yla pigmenti yerinden s\u00f6kerek dramatik \u0131\u015f\u0131k efektleri elde ediyordu. Turner’\u0131n f\u0131rt\u0131nal\u0131 denizleri betimledi\u011fi eserleri, suyun ve boyan\u0131n s\u0131n\u0131rlar\u0131n\u0131n ne kadar esnetilebilece\u011finin a\u00e7\u0131k bir kan\u0131t\u0131d\u0131r.<\/p>\n\n\n\n

    Di\u011fer yandan Amerikal\u0131 ressam John Singer Sargent, Venedik kanallar\u0131n\u0131 veya yak\u0131n dostlar\u0131n\u0131 \u00e7izerken \u015feffaf boya katmanlar\u0131n\u0131 tek bir f\u0131r\u00e7a darbesiyle \u00f6ylesine net uyguluyordu ki, ka\u011f\u0131d\u0131n bo\u015f b\u0131rak\u0131lan beyaz k\u0131s\u0131mlar\u0131 suyun \u00fczerindeki g\u00fcne\u015f par\u0131lt\u0131lar\u0131na d\u00f6n\u00fc\u015f\u00fcyordu. G\u00fcn\u00fcm\u00fczde m\u00fcze koleksiyonlar\u0131nda yer alan en iyi sulu boya tablolar\u0131 incelendi\u011finde, ortak noktan\u0131n malzemenin organik yap\u0131s\u0131na duyulan derin sayg\u0131 oldu\u011fu a\u00e7\u0131k\u00e7a g\u00f6r\u00fcl\u00fcr. Usta bir suluboya ressam\u0131 ka\u011f\u0131tla ve suyla asla inatla\u015fmaz; aksine suyun y\u00f6n\u00fcn\u00fc belirler ve gerisini s\u0131v\u0131n\u0131n kendi kimyasal dinami\u011fine b\u0131rak\u0131r. Pratik yaparak kendi g\u00f6rsel dilini olu\u015fturmak isteyenler, resim nas\u0131l yap\u0131l\u0131r sorusunun yan\u0131tlar\u0131n\u0131 ararken suyun bu ba\u011f\u0131ms\u0131z karakterini her zaman g\u00f6z \u00f6n\u00fcnde bulundurmal\u0131d\u0131r.<\/p>\n\n\n\n

    S\u0131k\u00e7a Sorulan Sorular<\/strong><\/h2>\n\n\n\n

    Suluboya ka\u011f\u0131d\u0131 ka\u00e7 gram olmal\u0131?<\/strong><\/h3>\n\n\n\n

    Suluboya ka\u011f\u0131tlar\u0131 suyu \u00e7ektiklerinde dalgalanma yapmamalar\u0131 ve y\u00fczey gerilimini korumalar\u0131 i\u00e7in en az 300 gram (300 gsm) kal\u0131nl\u0131\u011f\u0131nda olmal\u0131d\u0131r. Bol su kullan\u0131lan \u0131slak \u00fczerine \u0131slak tekniklerinde 600 grama kadar \u00e7\u0131kan y\u00fczde y\u00fcz pamuklu ka\u011f\u0131tlar tercih edilir.<\/p>\n\n\n\n

    Sulu boyada beyaz renk kullan\u0131l\u0131r m\u0131?<\/strong><\/h3>\n\n\n\n

    Geleneksel suluboya prati\u011finde beyaz renk pigmenti (titanyum beyaz\u0131 veya \u00e7inko beyaz\u0131) nadiren kullan\u0131l\u0131r, beyaz alanlar i\u00e7in ka\u011f\u0131d\u0131n kendi orijinal rengi bo\u015f b\u0131rak\u0131l\u0131r. Boya kar\u0131\u015f\u0131mlar\u0131na kapat\u0131c\u0131 beyaz boya eklendi\u011finde malzemenin \u015feffaf karakteri de\u011fi\u015fir ve yap\u0131s\u0131 opakla\u015f\u0131r.<\/p>\n\n\n\n

    Suluboya tablolarda hatalar nas\u0131l d\u00fczeltilir?<\/strong><\/h3>\n\n\n\n

    Boya hala \u0131slakken temiz ve nemli bir f\u0131r\u00e7a veya yumu\u015fak bir ka\u011f\u0131t havlu kullan\u0131larak fazla pigment ka\u011f\u0131t y\u00fczeyinden nazik\u00e7e emilip al\u0131nabilir. Boya tamamen kuruduktan sonra hata d\u00fczeltmek olduk\u00e7a g\u00fc\u00e7t\u00fcr, ancak sentetik u\u00e7lu sert ve nemli bir f\u0131r\u00e7ayla boya yava\u015f\u00e7a yerinden oynat\u0131l\u0131p tekrar pe\u00e7eteyle temizlenebilir.<\/p>\n\n\n\n

    Kaliteli bir sulu boya f\u0131r\u00e7as\u0131 nas\u0131l anla\u015f\u0131l\u0131r?<\/strong><\/h3>\n\n\n\n

    Kaliteli bir f\u0131r\u00e7a suyu ve pigmenti g\u00f6vdesinde uzun s\u00fcre tutabilmeli, ka\u011f\u0131da bask\u0131 uyguland\u0131\u011f\u0131nda k\u0131llar y\u00fczeye uyum sa\u011flay\u0131p esnemeli ve ka\u011f\u0131ttan kalkt\u0131\u011f\u0131nda f\u0131r\u00e7a ucu tekrar eski sivri formuna (snap) h\u0131zla geri d\u00f6nebilmelidir.<\/p>\n","protected":false},"excerpt":{"rendered":"

    G\u00fcn\u00fcm\u00fczde pek \u00e7ok ki\u015finin \u00e7ocukluk y\u0131llar\u0131nda tan\u0131\u015ft\u0131\u011f\u0131 ilk sanatsal materyal olan suluboya, asl\u0131na bak\u0131l\u0131rsa resim sanat\u0131nda ustala\u015fmas\u0131 en fazla pratik ve sab\u0131r gerektiren tekniklerden birini temsil eder. Suyun ka\u011f\u0131t \u00fczerindeki serbest ak\u0131\u015f\u0131, kuruma h\u0131z\u0131 ve pigmentlerin ortamdaki neme verdi\u011fi anl\u0131k tepkimeler, sanat\u00e7\u0131y\u0131 planl\u0131 ama ayn\u0131 zamanda tesad\u00fcflere a\u00e7\u0131k olmaya zorlar. Bu yaz\u0131da, suluboya ile resim […]<\/p>\n","protected":false},"author":2,"featured_media":3381,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_gspb_post_css":"","footnotes":""},"categories":[42],"tags":[],"class_list":["post-3377","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-teknik-rehber"],"blocksy_meta":[],"_links":{"self":[{"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/posts\/3377","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=3377"}],"version-history":[{"count":1,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/posts\/3377\/revisions"}],"predecessor-version":[{"id":3382,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/posts\/3377\/revisions\/3382"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/media\/3381"}],"wp:attachment":[{"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/media?parent=3377"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/categories?post=3377"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/tags?post=3377"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}