{"id":3566,"date":"2026-07-20T10:36:03","date_gmt":"2026-07-20T07:36:03","guid":{"rendered":"https:\/\/ivasanat.com\/blog\/?p=3566"},"modified":"2026-07-20T10:36:05","modified_gmt":"2026-07-20T07:36:05","slug":"diego-velazquez-kimdir-hayati-sanati-ve-eserleri","status":"publish","type":"post","link":"https:\/\/ivasanat.com\/blog\/diego-velazquez-kimdir-hayati-sanati-ve-eserleri\/","title":{"rendered":"Diego Velazquez Kimdir? Hayat\u0131, Sanat\u0131 ve Eserleri"},"content":{"rendered":"\n
1<\/span>Diego Vel\u00e1zquez Kimdir?<\/a><\/span><\/div>
2<\/span>Diego Vel\u00e1zquez’in Hayat\u0131<\/a><\/span><\/div>
3<\/span>Diego Vel\u00e1zquez’in Sanat Anlay\u0131\u015f\u0131 ve Tarz\u0131<\/a><\/span><\/div>
4<\/span>\u0130spanyol Saray\u0131’nda Saray Ressam\u0131 Olarak Vel\u00e1zquez<\/a><\/span><\/div>
5<\/span>Vel\u00e1zquez’in \u0130spanyol Barok’una Etkisi<\/a><\/span><\/div>
6<\/span>Diego Vel\u00e1zquez’in Sanat Tarihindeki Yeri<\/a><\/span><\/div>
7<\/span>Diego Vel\u00e1zquez’in En Pop\u00fcler Eserleri<\/a><\/span><\/div>
8<\/span>Diego Vel\u00e1zquez Hakk\u0131nda Bilinmeyenler<\/a><\/span><\/div><\/div><\/div>\n\n\n\n

Diego Vel\u00e1zquez, \u0130spanyol Alt\u0131n \u00c7a\u011f\u0131’n\u0131n tart\u0131\u015fmas\u0131z en b\u00fcy\u00fck temsilcisidir. Bat\u0131 sanat tarihinin en kusursuz f\u0131r\u00e7a ustalar\u0131ndan biri olan bu deha, kraliyet portrelerinden mitolojik sahnelere kadar geni\u015f bir yelpazede e\u015fsiz eserler \u00fcretmi\u015ftir. Nesneleri ve insanlar\u0131, atmosferin, havan\u0131n ve \u0131\u015f\u0131\u011f\u0131n i\u00e7indeki organik varl\u0131klar olarak resmetmesi, onu \u00e7a\u011fda\u015flar\u0131ndan kesin \u00e7izgilerle ay\u0131rm\u0131\u015ft\u0131r. Bu kapsaml\u0131 rehberde, usta ressam\u0131n ya\u015fam \u00f6yk\u00fcs\u00fc, sanat tarihini \u015fekillendiren benzersiz tekni\u011fi ve g\u00fcn\u00fcm\u00fczde m\u00fczelerin ba\u015fk\u00f6\u015felerini s\u00fcsleyen unutulmaz ba\u015fyap\u0131tlar\u0131 nesnel bir yakla\u015f\u0131mla ele al\u0131nmaktad\u0131r.<\/p>\n\n\n\n

Diego Vel\u00e1zquez Kimdir?<\/strong><\/h2>\n\n\n\n

Diego velazquez kimdir<\/strong> sorusunun sanat tarihindeki kar\u015f\u0131l\u0131\u011f\u0131 olarak, 17. y\u00fczy\u0131l \u0130spanyol Barok<\/a><\/strong> d\u00f6neminin en b\u00fcy\u00fck ressam\u0131 ve g\u00f6rsel ger\u00e7ekli\u011fin en yetkin g\u00f6zlemcisidir. Tam ad\u0131yla Diego Rodr\u00edguez de Silva y Vel\u00e1zquez, d\u00f6nemin idealize edilmi\u015f, abart\u0131l\u0131 ve yapay sanatsal kal\u0131plar\u0131n\u0131 reddederek; g\u00f6rd\u00fc\u011f\u00fcn\u00fc oldu\u011fu gibi, t\u00fcm do\u011fal kusurlar\u0131 ve psikolojik derinli\u011fiyle tuvale aktarmay\u0131 ba\u015farm\u0131\u015f bir vizyonerdir. Hem g\u00fc\u00e7l\u00fc aristokratlar\u0131n so\u011fuk otoritesini hem de saray soytar\u0131lar\u0131n\u0131n, c\u00fccelerin ve s\u0131radan insanlar\u0131n insani dram\u0131n\u0131 ayn\u0131 sayg\u0131 ve optik hassasiyetle yans\u0131tabilmesi, onun sanatsal dehas\u0131n\u0131n temelini olu\u015fturur. I\u015f\u0131\u011f\u0131, havay\u0131 ve mekan\u0131n derinli\u011fini adeta modern bir foto\u011fraf makinesi objektifi gibi kurgulamas\u0131, onu kendi \u00e7a\u011f\u0131n\u0131n \u00e7ok \u00f6tesine ta\u015f\u0131m\u0131\u015ft\u0131r.<\/p>\n\n\n\n

Diego Vel\u00e1zquez’in Hayat\u0131<\/strong><\/h2>\n\n\n\n

Velazquez hayat\u0131<\/strong> incelendi\u011finde, sanat\u00e7\u0131n\u0131n 1599 y\u0131l\u0131nda \u0130spanya’n\u0131n k\u00fclt\u00fcrel a\u00e7\u0131dan en canl\u0131 \u015fehirlerinden biri olan Sevilla’da d\u00fcnyaya geldi\u011fi g\u00f6r\u00fclmektedir. Erken ya\u015flarda resim sanat\u0131na b\u00fcy\u00fck bir ilgi duyan sanat\u00e7\u0131, usta ressam Francisco Pacheco’nun at\u00f6lyesinde \u00e7\u0131rakl\u0131k yapm\u0131\u015f ve e\u011fitimini burada tamamlayarak hocas\u0131n\u0131n k\u0131z\u0131yla evlenmi\u015ftir. Kariyerinin ba\u015flar\u0131nda Sevilla’n\u0131n g\u00fcnl\u00fck ya\u015fant\u0131s\u0131n\u0131 betimleyen “bodeg\u00f3n” (mutfak veya taverna sahneleri) tarz\u0131 eserler \u00fcreterek ustala\u015fm\u0131\u015ft\u0131r. 1622 y\u0131l\u0131nda Madrid’e yapt\u0131\u011f\u0131 ilk seyahatin ard\u0131ndan becerileri saray \u00e7evrelerinde h\u0131zla fark edilmi\u015f ve gen\u00e7 ya\u015fta Kral IV. Felipe’nin dikkatini \u00e7ekmeyi ba\u015farm\u0131\u015ft\u0131r. Hayat\u0131n\u0131n geri kalan\u0131n\u0131 Madrid’deki kraliyet saray\u0131nda son derece prestijli g\u00f6revlerde ge\u00e7irmi\u015f, \u0130talya’ya yapt\u0131\u011f\u0131 iki b\u00fcy\u00fck seyahat sayesinde hem R\u00f6nesans ustalar\u0131n\u0131 yak\u0131ndan incelemi\u015f hem de diplomatik g\u00f6revler \u00fcstlenerek 1660 y\u0131l\u0131ndaki \u00f6l\u00fcm\u00fcne dek kral\u0131n en g\u00fcvendi\u011fi isimlerden biri olarak kalm\u0131\u015ft\u0131r.<\/p>\n\n\n\n

Diego Vel\u00e1zquez’in Sanat Anlay\u0131\u015f\u0131 ve Tarz\u0131<\/strong><\/h2>\n\n\n\n

Velazquez sanat\u0131<\/strong>, d\u00f6nemin kat\u0131 akademik kurallar\u0131n\u0131n d\u0131\u015f\u0131na \u00e7\u0131karak, formlar\u0131 keskin \u00e7izgiler yerine \u0131\u015f\u0131k ve renk dalgalanmalar\u0131yla in\u015fa eden devrimci bir yap\u0131ya sahiptir. Sanat\u00e7\u0131n\u0131n \u00fcslubu, kariyerinin ba\u015flar\u0131ndaki Caravaggio<\/a><\/strong> etkisinden kaynaklanan keskin \u0131\u015f\u0131k-g\u00f6lge kar\u015f\u0131tl\u0131klar\u0131ndan (tenebrism), zamanla \u00e7ok daha serbest, atmosferik ve yumu\u015fak f\u0131r\u00e7a vuru\u015flar\u0131na do\u011fru evrilmi\u015ftir. Nesnelerin s\u0131n\u0131rlar\u0131n\u0131 sert konturlarla \u00e7izmek yerine, renk lekelerini ustaca yan yana getirerek izleyicinin g\u00f6z\u00fcnde \u015fekillenen optik bir ill\u00fczyon yaratm\u0131\u015ft\u0131r. Bu benzersiz teknik, tablodaki fig\u00fcrlerin etraf\u0131nda dola\u015fan havay\u0131 ve mekan\u0131n derinli\u011fini somut bir ger\u00e7ekli\u011fe d\u00f6n\u00fc\u015ft\u00fcr\u00fcrken, eserlerine adeta nefes alan bir canl\u0131l\u0131k kazand\u0131rm\u0131\u015ft\u0131r.<\/p>\n\n\n\n

\u0130spanyol Saray\u0131’nda Saray Ressam\u0131 Olarak Vel\u00e1zquez<\/strong><\/h2>\n\n\n\n

Velazquez saray ressam\u0131<\/strong> unvan\u0131n\u0131 hen\u00fcz 24 ya\u015f\u0131ndayken, Kral IV. Felipe’nin himayesine girerek elde etmi\u015f ve hayat\u0131n\u0131n sonuna kadar bu ayr\u0131cal\u0131kl\u0131 g\u00f6revi kusursuz bir disiplinle s\u00fcrd\u00fcrm\u00fc\u015ft\u00fcr. \u0130spanyol kraliyet ailesinin resmi imaj\u0131n\u0131 \u015fekillendirme sorumlulu\u011funu \u00fcstlenen sanat\u00e7\u0131, geleneksel devlet portrelerinin donuk ve kaskat\u0131 yap\u0131s\u0131n\u0131 k\u0131rarak monar\u015fiye hem bir asalet hem de insani bir derinlik kazand\u0131rm\u0131\u015ft\u0131r. Yaln\u0131zca kral\u0131n ve ailesinin portrelerini yapmakla kalmam\u0131\u015f; ayn\u0131 zamanda saray\u0131n sanat koleksiyonunu geni\u015fletmek, dekorasyonunu y\u00f6netmek ve \u0130talya’dan ba\u015fyap\u0131tlar sat\u0131n almak gibi \u00f6nemli k\u00fcrat\u00f6ryel sorumluluklar da \u00fcstlenmi\u015ftir. Saraydaki bu konumu, ona eserleri \u00fczerinde finansal kayg\u0131lardan uzak, tamamen \u00f6zg\u00fcr bir sanatsal ara\u015ft\u0131rma ve geli\u015fme imkan\u0131 sunmu\u015ftur.<\/p>\n\n\n\n

Vel\u00e1zquez’in \u0130spanyol Barok’una Etkisi<\/strong><\/h2>\n\n\n\n

\u0130spanyol barok sanat\u0131<\/strong>, b\u00fcy\u00fck \u00f6l\u00e7\u00fcde Velazquez\u2019in \u0130talya seyahatleri d\u00f6n\u00fc\u015f\u00fcnde edindi\u011fi atmosferik vizyon ve gev\u015fek f\u0131r\u00e7a darbeleri sayesinde tamamen yepyeni bir boyuta ta\u015f\u0131nm\u0131\u015ft\u0131r. D\u00f6nemin \u0130spanyol sanat\u0131nda hakim olan karanl\u0131k, kasvetli ve yo\u011fun dini a\u011f\u0131rl\u0131kl\u0131 kompozisyonlar\u0131n aksine, onun f\u0131r\u00e7as\u0131 \u00e7ok daha ayd\u0131nl\u0131k, g\u00fcm\u00fc\u015fi gri tonlar\u0131n ve serin \u0131\u015f\u0131klar\u0131n hakim oldu\u011fu bir ger\u00e7ek\u00e7ilik sunmu\u015ftur. Mitolojik konular\u0131 veya tarihi sava\u015flar\u0131 g\u00f6klerden indirip tamamen d\u00fcnyevi ve s\u0131radan bir ger\u00e7ekli\u011fin i\u00e7ine yerle\u015ftirmesi, \u0130spanyol resmine emsalsiz bir modernlik katm\u0131\u015f; bu yakla\u015f\u0131m\u0131 kendisinden sonra gelen Murillo ve Goya gibi dev isimlerin sanatsal yollar\u0131n\u0131 ayd\u0131nlatm\u0131\u015ft\u0131r.<\/p>\n\n\n\n

Diego Vel\u00e1zquez’in Sanat Tarihindeki Yeri<\/strong><\/h2>\n\n\n\n

Velazquez biyografi<\/strong> verilerinin ve kariyer kilometre ta\u015flar\u0131n\u0131n \u00e7ok \u00f6tesine ge\u00e7en sanatsal miras\u0131, onu Edouard Manet’den Pablo Picasso’ya kadar say\u0131s\u0131z modern ustaya ilham veren bir “ressamlar\u0131n ressam\u0131” haline getirmi\u015ftir. \u00d6zellikle 19. y\u00fczy\u0131lda Empresyonist (\u0130zlenimci) ressamlar taraf\u0131ndan yeniden ke\u015ffedilmesi, sanat tarihinin en \u00f6nemli d\u00f6n\u00fcm noktalar\u0131ndan biri olmu\u015ftur. I\u015f\u0131\u011f\u0131 formdan ba\u011f\u0131ms\u0131z olarak renkle ifade etme becerisi ve akademik kuralc\u0131l\u0131ktan uzak duran f\u0131r\u00e7a tekni\u011fi, modern sanat\u0131n optik ve estetik temellerinin y\u00fczlerce y\u0131l \u00f6nceden at\u0131ld\u0131\u011f\u0131n\u0131n en somut kan\u0131t\u0131 olarak kabul edilmektedir.<\/p>\n\n\n\n

Diego Vel\u00e1zquez’in En Pop\u00fcler Eserleri<\/strong><\/h2>\n\n\n\n

Velazquez eserleri<\/strong>, aristokrasinin ihti\u015fam\u0131ndan s\u0131radan insan\u0131n dram\u0131na kadar uzanan geni\u015f bir tematik zenginli\u011fe ve e\u015fsiz bir optik ger\u00e7ek\u00e7ili\u011fe sahiptir. G\u00fcn\u00fcm\u00fczde Prado M\u00fczesi ba\u015fta olmak \u00fczere d\u00fcnyan\u0131n en prestijli sanat kurumlar\u0131nda sergilenen ve sanat tarihine y\u00f6n veren ba\u015fl\u0131ca \u015faheserleri a\u015fa\u011f\u0131da s\u0131ralanmaktad\u0131r.<\/p>\n\n\n\n

Las Meninas \u2013 Nedimeler (1656)<\/strong><\/h3>\n\n\n\n
\"\"<\/figure>\n\n\n\n

Bat\u0131 sanat tarihinin en \u00e7ok analiz edilen, tart\u0131\u015f\u0131lan ve \u00fczerine teoriler \u00fcretilen ba\u015fyap\u0131t\u0131d\u0131r. Eserde, Kral IV. Felipe’nin k\u0131z\u0131 Margarita Teresa ve nedimeleri resmedilirken, tablonun sol taraf\u0131nda sanat\u00e7\u0131n\u0131n kendisi devasa bir tuvalin ba\u015f\u0131nda \u00e7al\u0131\u015f\u0131rken g\u00f6r\u00fclmektedir. Arka plandaki aynada kral ve krali\u00e7enin yans\u0131mas\u0131n\u0131n yer almas\u0131, izleyiciyi de tablonun bir par\u00e7as\u0131 haline getirerek mekan, ger\u00e7eklik ve yan\u0131lsama \u00fczerine e\u015fsiz bir felsefi g\u00f6rsel bulmaca sunar.<\/p>\n\n\n\n

Nedimeler Tablosu Hikayesi<\/a><\/strong><\/p>\n\n\n\n

Aynadaki Ven\u00fcs (1647-1651)<\/strong><\/h3>\n\n\n\n
\"\"<\/figure>\n\n\n\n

\u0130spanyol Engizisyonu’nun kat\u0131 ahlaki kurallar\u0131 nedeniyle kad\u0131n \u00e7\u0131plakl\u0131\u011f\u0131n\u0131n kesinlikle yasak oldu\u011fu bir d\u00f6nemde \u00fcretilmi\u015f, sanat\u00e7\u0131n\u0131n bilinen tek kad\u0131n n\u00fcs\u00fcd\u00fcr. Roma mitolojisindeki a\u015fk tanr\u0131\u00e7as\u0131 Ven\u00fcs, yatakta s\u0131rt\u0131 d\u00f6n\u00fck bir \u015fekilde yatarken ve o\u011flu Cupid’in tuttu\u011fu aynadan kendi yans\u0131mas\u0131na bakarken tasvir edilmi\u015ftir. Bedene vuran yumu\u015fak \u0131\u015f\u0131k ve k\u0131rm\u0131z\u0131-gri tonlar\u0131n kusursuz dengesi, esere zarafet ve gizem katar.<\/p>\n\n\n\n

Papa X. Innocentius’un Portresi (1650)<\/strong><\/h3>\n\n\n\n
\"\"<\/figure>\n\n\n\n

\u0130talya seyahati s\u0131ras\u0131nda resmetti\u011fi bu portre, psikolojik derinli\u011fi ve renk kullan\u0131m\u0131yla portre sanat\u0131n\u0131n zirvelerinden biri kabul edilir. Papan\u0131n delici, \u015f\u00fcpheci ve otoriter bak\u0131\u015flar\u0131 ile c\u00fcbbesindeki k\u0131rm\u0131z\u0131n\u0131n onlarca farkl\u0131 tonu \u00f6ylesine ger\u00e7ek\u00e7idir ki, Papa’n\u0131n tabloyu ilk g\u00f6rd\u00fc\u011f\u00fcnde “\u00c7ok fazla ger\u00e7ek!” (Troppo vero!) \u015feklinde tepki verdi\u011fi rivayet edilmektedir.<\/p>\n\n\n\n

Breda’n\u0131n Teslimi (1634-1635)<\/strong><\/h3>\n\n\n\n
\"\"<\/figure>\n\n\n\n

\u0130spanyol ordusunun Hollanda’n\u0131n Breda kentini ele ge\u00e7irmesini konu alan bu b\u00fcy\u00fck tarihi tabloda, klasik sava\u015f sahnelerindeki kan, y\u0131k\u0131m ve abart\u0131l\u0131 kahramanl\u0131k \u00f6geleri tamamen reddedilmi\u015ftir. Bunun yerine, \u0130spanyol komutan\u0131n ma\u011flup Hollandal\u0131 komutan\u0131 teselli etti\u011fi ve anahtar\u0131 nazik\u00e7e teslim ald\u0131\u011f\u0131 o onurlu an merkeze al\u0131narak, sava\u015f\u0131n ortas\u0131nda bile insani erdemin ve \u015f\u00f6valyeli\u011fin y\u00fcceltildi\u011fi bar\u0131\u015f\u00e7\u0131l bir atmosfer yarat\u0131lm\u0131\u015ft\u0131r.<\/p>\n\n\n\n

Bacchus’un Zaferi \u2013 Sarho\u015flar (1628-1629)<\/strong><\/h3>\n\n\n\n
\"\"<\/figure>\n\n\n\n

Mitolojik \u015farap tanr\u0131s\u0131 Bacchus’un (Dionysos) klasik, idealize edilmi\u015f bir tanr\u0131 olarak de\u011fil, s\u0131radan, y\u0131pranm\u0131\u015f ve yoksul \u0130spanyol k\u00f6yl\u00fcleriyle birlikte \u015farap i\u00e7ti\u011fi bir atmosferde resmedildi\u011fi eserdir. Mitolojinin soka\u011f\u0131n ger\u00e7ekli\u011fiyle bu denli \u00e7arp\u0131c\u0131 bir \u015fekilde harmanlanmas\u0131, sanat\u00e7\u0131n\u0131n nat\u00fcralist yakla\u015f\u0131m\u0131n\u0131n en erken ve g\u00fc\u00e7l\u00fc kan\u0131tlar\u0131ndand\u0131r.<\/p>\n\n\n\n

\u015eehzade Baltasar Carlos At \u00dcst\u00fcnde (1635)<\/strong><\/h3>\n\n\n\n
\"\"<\/figure>\n\n\n\n

\u0130spanya taht\u0131n\u0131n varisi olan gen\u00e7 prensi, \u015fahlanm\u0131\u015f bir at\u0131n \u00fczerinde ve u\u00e7suz bucaks\u0131z Guadarrama Da\u011flar\u0131 manzaras\u0131 \u00f6n\u00fcnde tasvir eden eserdir. Tablodaki at\u0131n abart\u0131l\u0131 g\u00f6vdesi, eserin sarayda kap\u0131 \u00fczerine as\u0131lacak \u015fekilde a\u015fa\u011f\u0131dan yukar\u0131ya do\u011fru bak\u0131lmak \u00fczere \u00f6zel bir perspektifle (sotto in su) hesapland\u0131\u011f\u0131n\u0131 g\u00f6stermektedir.<\/p>\n\n\n\n

Diego Vel\u00e1zquez Hakk\u0131nda Bilinmeyenler<\/strong><\/h2>\n\n\n\n

Diego velazquez tablolar\u0131<\/strong> ve ya\u015fam \u00f6yk\u00fcs\u00fc \u00fczerine yap\u0131lan akademik ara\u015ft\u0131rmalar, onun f\u0131r\u00e7as\u0131n\u0131n \u00f6tesinde, sosyal stat\u00fc tutkusuyla da s\u0131ra d\u0131\u015f\u0131 bir fig\u00fcr oldu\u011funu ortaya koymaktad\u0131r. Sanat\u00e7\u0131, soylu bir aileden gelmemesine ra\u011fmen t\u00fcm hayat\u0131 boyunca aristokratik bir unvan olan “Santiago \u015e\u00f6valyesi” (Order of Santiago) ni\u015fan\u0131n\u0131 alabilmek i\u00e7in m\u00fccadele etmi\u015f ve kral\u0131n araya girmesiyle \u00f6l\u00fcm\u00fcnden \u00e7ok k\u0131sa bir s\u00fcre \u00f6nce bu unvana kavu\u015fmu\u015ftur. Hatta Las Meninas tablosundaki g\u00f6\u011fs\u00fcnde yer alan k\u0131rm\u0131z\u0131 ha\u00e7 i\u015faretinin, bu unvan\u0131 ald\u0131ktan sonra tabloya bizzat kral taraf\u0131ndan veya kral\u0131n emriyle sonradan eklendi\u011fine dair g\u00fc\u00e7l\u00fc sanat tarihi teorileri bulunmaktad\u0131r. Eserlerindeki f\u0131r\u00e7a darbelerinin yak\u0131ndan bak\u0131ld\u0131\u011f\u0131nda tamamen soyut birer leke gibi g\u00f6r\u00fcnmesi, fakat uzaktan bak\u0131ld\u0131\u011f\u0131nda kusursuz bir ger\u00e7ekli\u011fe d\u00f6n\u00fc\u015fmesi, onun \u00e7a\u011f\u0131n\u0131n y\u00fczlerce y\u0131l \u00f6tesinde bir g\u00f6rsel dehaya sahip oldu\u011funun en net g\u00f6stergesidir.<\/p>\n","protected":false},"excerpt":{"rendered":"

Diego Vel\u00e1zquez, \u0130spanyol Alt\u0131n \u00c7a\u011f\u0131’n\u0131n tart\u0131\u015fmas\u0131z en b\u00fcy\u00fck temsilcisidir. Bat\u0131 sanat tarihinin en kusursuz f\u0131r\u00e7a ustalar\u0131ndan biri olan bu deha, kraliyet portrelerinden mitolojik sahnelere kadar geni\u015f bir yelpazede e\u015fsiz eserler \u00fcretmi\u015ftir. Nesneleri ve insanlar\u0131, atmosferin, havan\u0131n ve \u0131\u015f\u0131\u011f\u0131n i\u00e7indeki organik varl\u0131klar olarak resmetmesi, onu \u00e7a\u011fda\u015flar\u0131ndan kesin \u00e7izgilerle ay\u0131rm\u0131\u015ft\u0131r. Bu kapsaml\u0131 rehberde, usta ressam\u0131n ya\u015fam \u00f6yk\u00fcs\u00fc, […]<\/p>\n","protected":false},"author":2,"featured_media":3568,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_gspb_post_css":".gs-autolist{margin:15px 0 30px;border:1px solid #dddddd7d}.gs-autolist-item{padding:15px 15px 15px 5px;display:flex;align-items:center}.gs-autolist-title,.gs-autolist-title a{font-size:18px;line-height:24px;text-decoration:none}#gspb_toc-id-gsbp-e0ebcf2 .gs-autolist-item{background-color:#fff}#gspb_toc-id-gsbp-e0ebcf2 .gs-autolist-item:nth-child(2n){background-color:#eee}#gspb_toc-id-gsbp-e0ebcf2 .gs-autolist-title a{color:#000}#gspb_toc-id-gsbp-e0ebcf2 .gs-autolist-number{border-radius:50%;margin:0 20px 0 15px;text-align:center;font-weight:700;background-color:#de1414;color:#fff;height:25px;line-height:25px;width:25px;font-size:16px;min-width:25px}#gspb_toc-id-gsbp-e0ebcf2 .gs_sub_heading .gs-autolist-number{font-size:70%}","footnotes":""},"categories":[36],"tags":[],"class_list":["post-3566","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ilham-verenler"],"blocksy_meta":[],"_links":{"self":[{"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/posts\/3566","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=3566"}],"version-history":[{"count":1,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/posts\/3566\/revisions"}],"predecessor-version":[{"id":3575,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/posts\/3566\/revisions\/3575"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/media\/3568"}],"wp:attachment":[{"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/media?parent=3566"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/categories?post=3566"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/tags?post=3566"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}