{"id":3740,"date":"2026-08-10T14:32:17","date_gmt":"2026-08-10T11:32:17","guid":{"rendered":"https:\/\/ivasanat.com\/blog\/?p=3740"},"modified":"2026-08-10T14:32:31","modified_gmt":"2026-08-10T11:32:31","slug":"neo-empresyonizm-sanat-akimi-tarihi-temsilcileri-eserleri","status":"publish","type":"post","link":"https:\/\/ivasanat.com\/blog\/neo-empresyonizm-sanat-akimi-tarihi-temsilcileri-eserleri\/","title":{"rendered":"Neo Empresyonizm Sanat Ak\u0131m\u0131 Tarihi, Temsilcileri ve Eserleri"},"content":{"rendered":"\n

Neo Empresyonizm<\/strong>, 19. y\u00fczy\u0131l\u0131n sonlar\u0131nda sanat d\u00fcnyas\u0131nda f\u0131rt\u0131nalar estiren \u0130zlenimcilik (Empresyonizm) ak\u0131m\u0131n\u0131n sezgisel, anl\u0131k ve kurals\u0131z yap\u0131s\u0131na kar\u015f\u0131; tamamen bilimsel, rasyonel ve analitik bir ba\u015fkald\u0131r\u0131 olarak do\u011fmu\u015ftur. Sanat\u0131, rastgele f\u0131r\u00e7a darbelerinin duygusal d\u0131\u015favurumundan \u00e7\u0131kar\u0131p optik yasalar\u0131n ve matematiksel hesaplamalar\u0131n merkezine oturtan bu ak\u0131m, renklerin tuval \u00fczerinde de\u011fil, do\u011frudan izleyicinin zihninde birle\u015fmesini sa\u011flam\u0131\u015ft\u0131r. Formlar\u0131n \u0131\u015f\u0131k alt\u0131nda eriyip kaybolmas\u0131n\u0131 reddederek onlara yeniden hacim ve an\u0131tsall\u0131k kazand\u0131ran bu disiplinli yakla\u015f\u0131m, modern sanat\u0131n laboratuvar\u0131 i\u015flevini g\u00f6rerek kendisinden sonraki t\u00fcm 20. y\u00fczy\u0131l avangart hareketlerinin yap\u0131ta\u015flar\u0131n\u0131 \u00f6zenle d\u00f6\u015femi\u015ftir.<\/p>\n\n\n\n

Neo Empresyonizm Nedir?<\/strong><\/h2>\n\n\n\n
\"\"<\/figure>\n\n\n\n

Neo Empresyonizm nedir<\/strong> sorusunun en yal\u0131n ve teknik yan\u0131t\u0131; resim sanat\u0131nda pigmentlerin palet \u00fczerinde fiziksel olarak kar\u0131\u015ft\u0131r\u0131lmak yerine, saf halleriyle tuvale milimetrik noktalar veya k\u00fc\u00e7\u00fck, d\u00fczenli f\u0131r\u00e7a vuru\u015flar\u0131 halinde yan yana uygulanmas\u0131d\u0131r. Bu devrimci y\u00f6ntem, z\u0131t ve tamamlay\u0131c\u0131 renklerin (\u00f6rne\u011fin mavi ve turuncunun) yan yana getirildi\u011finde insan g\u00f6z\u00fcn\u00fcn retinas\u0131nda optik olarak kayna\u015fmas\u0131 esas\u0131na dayan\u0131r. Geleneksel resimde boyalar birbirine kar\u0131\u015ft\u0131r\u0131ld\u0131\u011f\u0131nda matla\u015f\u0131p \u00e7amurla\u015f\u0131rken, bu yeni bilimsel metot sayesinde tablo y\u00fczeyi, adeta i\u00e7inden \u0131\u015f\u0131k sa\u00e7\u0131yormu\u015f\u00e7as\u0131na benzersiz bir parlakl\u0131k, titre\u015fim ve safl\u0131k kazan\u0131r.<\/p>\n\n\n\n

Neo Empresyonizm Ak\u0131m\u0131n\u0131n Tarihi Ve Ortaya \u00c7\u0131k\u0131\u015f\u0131<\/strong><\/h2>\n\n\n\n
\"\"<\/figure>\n\n\n\n

Neo Empresyonizm<\/strong>, 1884 y\u0131l\u0131nda Ba\u011f\u0131ms\u0131z Sanat\u00e7\u0131lar Derne\u011fi’nin (Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants) Paris’te d\u00fczenledi\u011fi j\u00fcrisiz sergide Georges Seurat ve Paul Signac’\u0131n tan\u0131\u015fmas\u0131yla resmi olarak filizlenmi\u015f ve sanat tarihine k\u00f6k salm\u0131\u015ft\u0131r. Klasik akademik kurallar\u0131 reddeden ancak Empresyonistlerin de formlar\u0131 fazla da\u011f\u0131tt\u0131\u011f\u0131n\u0131, sanat\u0131 fazla kaba ve anl\u0131k hale getirdi\u011fini savunan Seurat, vizyonunu Signac ile birle\u015ftirerek bu yeni felsefeyi temellendirmi\u015ftir. Terim olarak ise ilk kez sanat ele\u015ftirmeni F\u00e9lix F\u00e9n\u00e9on taraf\u0131ndan 1886 y\u0131l\u0131nda, bu grubun Empresyonizm’in sadece bir devam\u0131 de\u011fil, onun bilimsel bir evrimi (yeni bir a\u015famas\u0131) oldu\u011funu vurgulamak amac\u0131yla kullan\u0131lm\u0131\u015ft\u0131r.<\/p>\n\n\n\n

Neo Empresyonizm Ak\u0131m\u0131n\u0131n \u00d6zellikleri<\/strong><\/h2>\n\n\n\n

Noktac\u0131l\u0131k ak\u0131m\u0131<\/strong> olarak da s\u0131kl\u0131kla an\u0131lan bu hareketin en belirleyici \u00f6zelli\u011fi, sanat\u00e7\u0131n\u0131n duygusal sezgilerinin yerini tamamen rasyonel bir renk m\u00fchendisli\u011finin almas\u0131d\u0131r. Frans\u0131z kimyager Michel Eug\u00e8ne Chevreul’\u00fcn “Renklerin E\u015fzamanl\u0131 Kontrast\u0131 Yasas\u0131” (optik renk kuram\u0131) ve fizik\u00e7i Ogden Rood’un \u0131\u015f\u0131k teorileri, bu sanatsal disiplinin yaz\u0131l\u0131 olmayan anayasas\u0131n\u0131 olu\u015fturur. Eserlerde spontane ve h\u0131zl\u0131 boyama teknikleri kesinlikle yasaklanm\u0131\u015f; bunun yerine kompozisyonun yatay ve dikey hatlarla s\u0131k\u0131 s\u0131k\u0131ya hesapland\u0131\u011f\u0131, fig\u00fcrlerin Antik M\u0131s\u0131r ve Yunan r\u00f6lyeflerindeki gibi donuk, hareketsiz ve an\u0131tsal bir sil\u00fcete kavu\u015fturuldu\u011fu statik bir g\u00f6rsel dil yarat\u0131lm\u0131\u015ft\u0131r.<\/p>\n\n\n\n

Neo Empresyonizm Ve Empresyonizm Aras\u0131ndaki Farklar<\/strong><\/h2>\n\n\n\n
\"\"<\/figure>\n\n\n\n

Divizyonizm<\/strong> ve Empresyonizm<\/a><\/strong> aras\u0131ndaki en keskin \u00e7izgi, \u00fcretim s\u00fcrecindeki h\u0131z, metodoloji ve sanat\u0131n icra edildi\u011fi mekan fark\u0131nda yatmaktad\u0131r. Empresyonistler, a\u00e7\u0131k havada (en plein air) h\u0131zla de\u011fi\u015fen g\u00fcne\u015f \u0131\u015f\u0131\u011f\u0131n\u0131 an\u0131nda yakalayabilmek i\u00e7in h\u0131zl\u0131, karma\u015f\u0131k ve i\u00e7g\u00fcd\u00fcsel f\u0131r\u00e7a darbeleri kullanm\u0131\u015flard\u0131r. Buna kar\u015f\u0131l\u0131k, Neo-Empresyonistler do\u011fada sadece k\u00fc\u00e7\u00fck eskizler yapm\u0131\u015f, as\u0131l eserlerini at\u00f6lye ortam\u0131na geri d\u00f6nerek aylar, hatta y\u0131llar s\u00fcren yava\u015f, hesapl\u0131 ve milimetrik bir m\u00fchendislik \u00e7al\u0131\u015fmas\u0131yla, kusursuz bir matematiksel \u0131zgara sistemi (grid) \u00fczerinde in\u015fa etmi\u015flerdir. Bir taraf anl\u0131k romantizmi, di\u011fer taraf ise kal\u0131c\u0131 bilimi temsil eder.<\/p>\n\n\n\n

Neo Empresyonizmin \u00d6nemli Sanat\u00e7\u0131lar\u0131<\/strong><\/h2>\n\n\n\n

Neo Empresyonizm sanat\u00e7\u0131lar\u0131<\/strong>, f\u0131r\u00e7ay\u0131 bir bilim insan\u0131n\u0131n ne\u015fteri gibi kullanarak modern sanat\u0131n renk alg\u0131s\u0131n\u0131 k\u00f6k\u00fcnden de\u011fi\u015ftiren, renk pigmentlerini zihinlerde eritmeyi ba\u015faran vizyoner ustalardan olu\u015fmaktad\u0131r. Bu k\u00fc\u00e7\u00fck ve birbirine s\u0131k\u0131 s\u0131k\u0131ya ba\u011fl\u0131 grubun her bir \u00fcyesi, optik teoriyi kendi ki\u015fisel esteti\u011fiyle harmanlayarak ak\u0131ma farkl\u0131 bir nefes katm\u0131\u015ft\u0131r.<\/p>\n\n\n\n

Georges Seurat<\/strong><\/h3>\n\n\n\n

Georges Seurat<\/strong>, hen\u00fcz 31 ya\u015f\u0131nda hayata erken veda etmesine ra\u011fmen bu devrimci optik ak\u0131m\u0131n tart\u0131\u015fmas\u0131z kurucusu, ba\u015f teorisyeni ve sars\u0131lmaz lideridir. Sanat\u0131 bir “uyum” (harmoni) bilimi olarak tan\u0131mlayan ressam; a\u00e7\u0131k ve koyu tonlar\u0131, s\u0131cak ve so\u011fuk renkleri, yukar\u0131 ve a\u015fa\u011f\u0131 y\u00f6nl\u00fc \u00e7izgileri kesin matematiksel form\u00fcllerle birle\u015ftirerek sanat tarihine devasa an\u0131tsal kompozisyonlar arma\u011fan etmi\u015ftir.<\/p>\n\n\n\n

Paul Signac<\/strong><\/h3>\n\n\n\n

Paul Signac<\/strong>, Seurat’\u0131n ani \u00f6l\u00fcm\u00fcn\u00fcn ard\u0131ndan hareketin s\u00f6zc\u00fcl\u00fc\u011f\u00fcn\u00fc, bayraktarl\u0131\u011f\u0131n\u0131 ve teorik savunuculu\u011funu \u00fcstlenen, denizci ruhlu, maceraperest bir ustad\u0131r. Seurat’\u0131n o minik, dura\u011fan, so\u011fuk noktalar\u0131n\u0131 zamanla daha geni\u015f, mozaik benzeri, dikd\u00f6rtgenimsi tu\u011fla f\u0131r\u00e7a vuru\u015flar\u0131na d\u00f6n\u00fc\u015ft\u00fcrerek ak\u0131ma daha dinamik, ayd\u0131nl\u0131k ve hareketli bir karakter kazand\u0131rm\u0131\u015ft\u0131r.<\/p>\n\n\n\n

Camille Pissarro<\/strong><\/h3>\n\n\n\n

Pointillism<\/strong> prensiplerini ilerleyen ya\u015f\u0131na ra\u011fmen b\u00fcy\u00fck bir cesaretle benimseyen Pissarro, orijinal Empresyonist grubun kurucu babalar\u0131ndan olmas\u0131na ra\u011fmen bu yeni ve bilimsel yakla\u015f\u0131ma kay\u0131ts\u0131z kalamam\u0131\u015ft\u0131r. Kendisinden ya\u015f\u00e7a \u00e7ok daha gen\u00e7 olan Seurat ve Signac’tan bu tekni\u011fi al\u00e7akg\u00f6n\u00fcll\u00fcl\u00fckle \u00f6\u011frenmi\u015f, \u00f6zellikle k\u0131rsal manzaralar\u0131 ve k\u00f6yl\u00fc fig\u00fcrlerini bu noktasal ayr\u0131\u015ft\u0131rma y\u00f6ntemiyle y\u0131llarca resmederek ak\u0131ma ciddi bir akademik sayg\u0131nl\u0131k katm\u0131\u015ft\u0131r.<\/p>\n\n\n\n

Henri-Edmond Cross<\/strong><\/h3>\n\n\n\n

Neo Empresyonizm<\/strong> hareketinin ikinci jenerasyonunu ve daha renkli y\u00fcz\u00fcn\u00fc temsil eden Cross, saf renklerin kontrast g\u00fcc\u00fcn\u00fc en \u00fcst d\u00fczeye \u00e7\u0131karan ressamlardan biridir. Renkleri klasik minik noktalar yerine k\u00fc\u00e7\u00fck, k\u00fct bloklar halinde kullanmas\u0131 ve paletindeki s\u0131n\u0131rlar\u0131 zorlayan parlakl\u0131\u011f\u0131, eserlerine adeta bir Orta \u00c7a\u011f vitray cam\u0131ndan s\u00fcz\u00fclen \u0131\u015f\u0131k ill\u00fczyonu kazand\u0131rm\u0131\u015ft\u0131r.<\/p>\n\n\n\n

Maximilien Luce<\/strong><\/h3>\n\n\n\n

Noktac\u0131l\u0131k ak\u0131m\u0131<\/strong> i\u00e7erisinde manzaralar ve burjuva e\u011flenceleri yerine sanayiyi, fabrika dumanlar\u0131n\u0131, \u00e7elik i\u015f\u00e7ilerini ve gece vardiyalar\u0131n\u0131n zorluklar\u0131n\u0131 tuvale ta\u015f\u0131yan Luce, bu estetik tarz\u0131 toplumsal bir ger\u00e7eklikle harmanlam\u0131\u015ft\u0131r. Kusursuz ve so\u011fuk optik tekni\u011fi, proletaryan\u0131n terli ve s\u0131cak d\u00fcnyas\u0131na entegre ederek sanat\u0131n\u0131 anar\u015fist-sosyalist bir politik alt metinle birle\u015ftirmeyi ba\u015faran nadir isimlerdendir.<\/p>\n\n\n\n

Neo Empresyonizm Ak\u0131m\u0131n\u0131n En \u00d6nemli Eserleri<\/strong><\/h2>\n\n\n\n

Neo Empresyonizm eserleri<\/strong>, sadece bir resim olmaktan \u00f6te, sanat\u00e7\u0131n\u0131n tuval ba\u015f\u0131nda aylar\u0131n\u0131 harcad\u0131\u011f\u0131, her bir in\u00e7 karesinde on binlerce saf renk noktas\u0131n\u0131n bar\u0131nd\u0131\u011f\u0131 paha bi\u00e7ilemez optik laboratuvarlard\u0131r. D\u00fcnyan\u0131n en sayg\u0131n m\u00fczelerinde korunan bu eserler, sanat\u0131n bilime d\u00f6n\u00fc\u015ft\u00fc\u011f\u00fc d\u00f6n\u00fcm noktalar\u0131d\u0131r.<\/p>\n\n\n\n

Grande Jatte Adas\u0131nda Bir Pazar \u00d6\u011fleden Sonras\u0131 (Seurat)<\/strong><\/h3>\n\n\n\n
\"\"<\/figure>\n\n\n\n

Georges Seurat<\/strong> taraf\u0131ndan yakla\u015f\u0131k iki y\u0131ll\u0131k bir mesaiyle tamamlanan bu devasa boyutlu (2×3 metre) \u015faheser, sadece mensup oldu\u011fu ak\u0131m\u0131n de\u011fil, t\u00fcm modern resim tarihinin en ikonik ve d\u00f6n\u00fc\u015ft\u00fcr\u00fcc\u00fc tablolar\u0131ndan biridir. Paris burjuvazisinin Seine nehri k\u0131y\u0131s\u0131ndaki pazar e\u011flencesini antik \u00e7a\u011f heykellerindeki o sars\u0131lmaz an\u0131tsall\u0131kla kurgulayan eser, renk teorisinin tuval \u00fczerindeki en kusursuz ve tart\u0131\u015fmas\u0131z zaferidir.<\/p>\n\n\n\n

Asni\u00e8res’de Banyo (Seurat)<\/strong><\/h3>\n\n\n\n
\"\"<\/figure>\n\n\n\n

Neo Empresyonizm eserleri<\/strong> aras\u0131nda, Seurat’\u0131n tam anlam\u0131yla kat\u0131 noktalama tekni\u011fine ge\u00e7meden \u00f6nce k\u00f6pr\u00fc i\u015flevi g\u00f6ren ve f\u0131r\u00e7a ge\u00e7i\u015flerinin izlerini hala k\u0131smen bar\u0131nd\u0131ran ilk b\u00fcy\u00fck \u00f6l\u00e7ekli m\u00fcze \u00e7al\u0131\u015fmas\u0131d\u0131r. Sanayi b\u00f6lgesinin bacalar\u0131ndan t\u00fcten dumanlar e\u015fli\u011finde nehirde y\u0131kanan i\u015f\u00e7i s\u0131n\u0131f\u0131 gen\u00e7lerini donuk bir profil a\u00e7\u0131s\u0131yla resmeden tablo, \u0131\u015f\u0131\u011f\u0131n renk \u00fczerindeki etkisini bilimsel olarak test eden ilk prototip kabul edilir.<\/p>\n\n\n\n

Sirk (Seurat)<\/strong><\/h3>\n\n\n\n
\"\"<\/figure>\n\n\n\n

Neo Empresyonizm nedir<\/strong> sorusuna dura\u011fanl\u0131k de\u011fil, dinamizm ve hareket \u00fczerinden cevap veren Seurat’\u0131n bu son ve ne yaz\u0131k ki tamamlanmam\u0131\u015f eseri, \u00e7izgisel teorilerin zirvesidir. \u0130zleyiciye ne\u015fe, aksiyon ve co\u015fku hissini verebilmek i\u00e7in kompozisyondaki t\u00fcm ana hatlar\u0131 (kollar, bacaklar, sa\u00e7lar, at\u0131n yelesi) yukar\u0131 do\u011fru y\u00fckselen a\u00e7\u0131larla ve yo\u011fun sar\u0131\/k\u0131rm\u0131z\u0131 s\u0131cak tonlarla kurgulayarak psikolojik bir ill\u00fczyon yaratm\u0131\u015ft\u0131r.<\/p>\n\n\n\n

Saint-Tropez Liman\u0131 (Signac)<\/strong><\/h3>\n\n\n\n
\"\"<\/figure>\n\n\n\n

Paul Signac<\/strong> f\u0131r\u00e7as\u0131ndan \u00e7\u0131kan bu b\u00fcy\u00fcleyici manzara, sanat\u00e7\u0131n\u0131n yelkenlisiyle y\u0131llarca s\u00fcren Akdeniz seyahatlerinin lirik ve estetik bir \u00f6zetidir. G\u00fcne\u015fin vurdu\u011fu binalardaki s\u0131cak turuncu ve sar\u0131lar\u0131n, sudaki serin mavi ve morlarla olu\u015fturdu\u011fu o titre\u015fen kontrast, tu\u011fla dizilimini and\u0131ran mozaik f\u0131r\u00e7a vuru\u015flar\u0131yla \u0131\u015f\u0131\u011f\u0131 hapsedip g\u00f6z kama\u015ft\u0131r\u0131c\u0131 bir \u015fekilde d\u0131\u015far\u0131 yans\u0131t\u0131r.<\/p>\n\n\n\n

Kad\u0131nlar Kuyu Ba\u015f\u0131nda (Signac)<\/strong><\/h3>\n\n\n\n
\"\"<\/figure>\n\n\n\n

Divizyonizm<\/strong> (renk b\u00f6lmecili\u011fi) tekni\u011finin fig\u00fcratif ve mekansal alandaki en ba\u015far\u0131l\u0131 uygulamalar\u0131ndan biri olan bu eser, k\u0131rsal ya\u015fam\u0131 s\u0131radanl\u0131\u011f\u0131ndan kopararak adeta mistik, dekoratif ve \u00fctopik bir tiyatro sahnesinde sunar. Birbirini kesen dikey a\u011fa\u00e7 g\u00f6vdeleri ve yatay su hatlar\u0131, tamamen mozaikvari renk bloklar\u0131yla \u00f6r\u00fclerek resme d\u00fcz ve modern bir duvar ka\u011f\u0131d\u0131 esteti\u011fi kazand\u0131r\u0131r.<\/p>\n\n\n\n

Neo Empresyonizm Ak\u0131m\u0131n\u0131n Modern Sanata Etkisi<\/strong><\/h2>\n\n\n\n

Neo Empresyonizm sanat\u00e7\u0131lar\u0131<\/strong>, renkleri tuval \u00fczerinde \u00e7amurla\u015ft\u0131rmadan do\u011frudan zihinde kar\u0131\u015ft\u0131ran bu optik devrimleriyle, 20. y\u00fczy\u0131l\u0131n ba\u015flar\u0131nda ortaya \u00e7\u0131kacak olan bir\u00e7ok ate\u015fli avangart ak\u0131m\u0131n yolunu bizzat ayd\u0131nlatm\u0131\u015flard\u0131r. Henri Matisse<\/a><\/strong> liderli\u011findeki Fovizm<\/a><\/strong>‘in (Fauvism) s\u0131n\u0131rlar\u0131 zorlayan, vah\u015fi ve \u00e7i\u011f renk kullan\u0131mlar\u0131 do\u011frudan Signac ve Cross’un parlak kare vuru\u015flar\u0131ndan ilham alm\u0131\u015f; Piet Mondrian<\/a><\/strong> ve K\u00fcbistler ise Seurat’\u0131n geometrik d\u00fczeninden ve kompozisyonu matematiksel bir \u0131zgaraya oturtma fikrinden beslenerek soyut sanat\u0131 in\u015fa etmi\u015flerdir.<\/p>\n\n\n\n

Neo Empresyonizm Ak\u0131m\u0131n\u0131n Miras\u0131<\/strong><\/h2>\n\n\n\n

Pointillism<\/strong> miras\u0131, resim sanat\u0131n\u0131n sadece romantik bir ilham krizinden ibaret olmad\u0131\u011f\u0131n\u0131; kimya, fizik, optik ve geometri gibi pozitif bilimlerle de ayn\u0131 masaya oturabilece\u011fini kan\u0131tlam\u0131\u015f, sanat tarihindeki en g\u00fc\u00e7l\u00fc entelekt\u00fcel duru\u015flardan biridir. Bug\u00fcn hayat\u0131m\u0131z\u0131n ayr\u0131lmaz bir par\u00e7as\u0131 olan dijital ekranlar\u0131n (piksellerin RGB dizilimi) veya matbaa bask\u0131 teknolojilerindeki CMYK (camg\u00f6be\u011fi, macenta, sar\u0131, siyah) nokta vuru\u015flar\u0131n\u0131n temel \u00e7al\u0131\u015fma mant\u0131\u011f\u0131, y\u00fczy\u0131l\u0131 a\u015fk\u0131n bir s\u00fcre \u00f6nce bu sanat\u00e7\u0131lar\u0131n tuvallerinde f\u0131r\u00e7an\u0131n ucuyla manuel olarak ke\u015ffedilmi\u015f, test edilmi\u015f ve tarihe kaz\u0131nm\u0131\u015ft\u0131r.<\/p>\n","protected":false},"excerpt":{"rendered":"

Neo Empresyonizm, 19. y\u00fczy\u0131l\u0131n sonlar\u0131nda sanat d\u00fcnyas\u0131nda f\u0131rt\u0131nalar estiren \u0130zlenimcilik (Empresyonizm) ak\u0131m\u0131n\u0131n sezgisel, anl\u0131k ve kurals\u0131z yap\u0131s\u0131na kar\u015f\u0131; tamamen bilimsel, rasyonel ve analitik bir ba\u015fkald\u0131r\u0131 olarak do\u011fmu\u015ftur. Sanat\u0131, rastgele f\u0131r\u00e7a darbelerinin duygusal d\u0131\u015favurumundan \u00e7\u0131kar\u0131p optik yasalar\u0131n ve matematiksel hesaplamalar\u0131n merkezine oturtan bu ak\u0131m, renklerin tuval \u00fczerinde de\u011fil, do\u011frudan izleyicinin zihninde birle\u015fmesini sa\u011flam\u0131\u015ft\u0131r. Formlar\u0131n \u0131\u015f\u0131k alt\u0131nda […]<\/p>\n","protected":false},"author":7,"featured_media":3741,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_gspb_post_css":"","footnotes":""},"categories":[40],"tags":[],"class_list":["post-3740","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sanat-akimlari"],"blocksy_meta":[],"_links":{"self":[{"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/posts\/3740","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\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/comments?post=3740"}],"version-history":[{"count":1,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/posts\/3740\/revisions"}],"predecessor-version":[{"id":3750,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/posts\/3740\/revisions\/3750"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/media\/3741"}],"wp:attachment":[{"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/media?parent=3740"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/categories?post=3740"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ivasanat.com\/blog\/wp-json\/wp\/v2\/tags?post=3740"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}