{"id":1492,"date":"2026-10-17T22:30:04","date_gmt":"2026-10-17T22:30:04","guid":{"rendered":"https:\/\/atolyer10.com\/?p=1492"},"modified":"2026-10-17T23:00:07","modified_gmt":"2026-10-17T23:00:07","slug":"kavramsal-sanatin-zihinsel-ve-dilbilimsel-seruveni","status":"publish","type":"post","link":"https:\/\/atolyer10.com\/?p=1492","title":{"rendered":"Kavramsal Sanat\u0131n Zihinsel ve Dilbilimsel Ser\u00fcveni"},"content":{"rendered":"\n

Kavramsal sanat, geleneksel bi\u00e7imleri a\u015fan ve “nesne sonras\u0131 sanat” olarak bilinen zihinsel bir k\u0131r\u0131lmad\u0131r. Mant\u0131k \u00fczerine yo\u011funla\u015fan bu yakla\u015f\u0131m, s\u00fcregelen sanat tan\u0131mlar\u0131n\u0131 reddeder ve sanat\u0131 nesneden ba\u011f\u0131ms\u0131z bir d\u00fc\u015f\u00fcnce alan\u0131na ta\u015f\u0131r. Art\u0131k odak noktas\u0131 fiziksel bir yap\u0131t de\u011fil d\u00fc\u015f\u00fcnsel, zihinsel ve anlamsal bir s\u00fcre\u00e7tir.<\/p>\n\n\n\n

Marcel Duchamp ve Nesnenin Kimliksizle\u015fmesi<\/h3>\n\n\n\n

Kavramsal sanat\u0131n temelleri, kendini “bireyci bir anar\u015fist” olarak tan\u0131mlayan Marcel Duchamp ile at\u0131lm\u0131\u015ft\u0131r. Duchamp, sadece g\u00f6ze hitap eden ve estetik haz uyand\u0131rmay\u0131 hedefleyen “retinal” (g\u00f6ze dayal\u0131) sanat\u0131n bitti\u011fine, sanat\u0131n zihnin hizmetine sunulmas\u0131 gerekti\u011fine inan\u0131r. Nesneyi kimliksizle\u015ftirerek \u00f6zel sanat alg\u0131s\u0131n\u0131 k\u0131rm\u0131\u015f ve nesneler aras\u0131nda yepyeni bir dil olu\u015fturmu\u015ftur. Onun yakla\u015f\u0131m\u0131yla birlikte sanatta zaman kavram\u0131 sorgulanmaya ba\u015flanm\u0131\u015f ve esteti\u011fin tan\u0131m\u0131 k\u00f6kten de\u011fi\u015fmi\u015ftir.<\/p>\n\n\n\n

Duchamp bu felsefesini eserleriyle somutla\u015ft\u0131r\u0131r:<\/p>\n\n\n\n

\u015ei\u015fe Raf\u0131: <\/em>\u0130\u00e7ki \u015fi\u015felerini kurutmak i\u00e7in kullan\u0131lan end\u00fcstriyel bir ask\u0131l\u0131\u011fa hi\u00e7bir m\u00fcdahalede bulunmadan sadece imzas\u0131n\u0131 atarak, haz\u0131r-nesneyi (ready-made) sanat ba\u011flam\u0131na ta\u015f\u0131m\u0131\u015ft\u0131r.<\/p>\n\n\n\n

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Bottle Rack (\u015ei\u015fe Raf\u0131) Marcel Duchamp, 1914<\/figcaption><\/figure>\n<\/div>\n\n\n

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L.H.O.O.Q.<\/em>: Leonardo da Vinci\u2019nin \u00fcnl\u00fc Mona Lisa<\/em> tablosunun bir \u00fcretime b\u0131y\u0131k ve sakal eklemi\u015ftir. Eserin ismi Frans\u0131zca okundu\u011funda “Kad\u0131n\u0131n kal\u00e7alar\u0131 alevliydi” anlam\u0131na gelen bir kelime oyunudur. Klasik kad\u0131n imgesine ve bu imgenin kad\u0131nl\u0131\u011f\u0131 betimlemeyen y\u00fczeysel sunumuna bir tepkidir. Topluma yabanc\u0131la\u015fmay\u0131 i\u015fler ve var olan ger\u00e7e\u011fi yeni ba\u011flamlar kurarak g\u00f6sterir.<\/p>\n\n\n\n

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\"mona\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
L.H.O.O.Q. , Marcel Duchamp, 1919<\/figcaption><\/figure>\n<\/div>\n\n\n

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Bekarlar\u0131 Taraf\u0131ndan \u00c7\u0131r\u0131l\u00e7\u0131plak Soyulan Gelin, (B\u00fcy\u00fck Cam)<\/em>: Duchamp\u2019\u0131n sekiz y\u0131ll\u0131k karma\u015f\u0131k bir s\u00fcre\u00e7te tasarlad\u0131\u011f\u0131 bu eser, iki b\u00fcy\u00fck cam panel aras\u0131na ya\u011fl\u0131 boya, kur\u015fun tel ve hatta st\u00fcdyoda toplanan tozlar\u0131n biriktirilmesiyle olu\u015fturulmu\u015ftur. \u00dcst b\u00f6l\u00fcmde “Gelin”i, alt b\u00f6l\u00fcmde ise “Bekarlar”\u0131 mek\u00e2nsal bir makine d\u00fczeni i\u00e7inde kurgular. Ad\u0131n\u0131n vadetti\u011fi erotik beklentiyi veya geleneksel betimlemeyi izleyiciye sunmayarak zihinsel bir sorgulama yarat\u0131r. Eser sergilenme ve ta\u015f\u0131ma s\u00fcrecinde k\u0131r\u0131ld\u0131\u011f\u0131nda Duchamp bu simetrik \u00e7atlaklar\u0131 eseri bozan bir kaza de\u011fil, s\u00fcrece dahil olan m\u00fckemmel bir tesad\u00fcf olarak kabul etmi\u015f ve \u00e7al\u0131\u015fman\u0131n bir par\u00e7as\u0131 saym\u0131\u015ft\u0131r.<\/p>\n\n\n\n

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\"Duchamp_LargeGlass-664x1024\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Bekarlar\u0131 Taraf\u0131ndan \u00c7\u0131r\u0131l\u00e7\u0131plak Soyulan Gelin, (B\u00fcy\u00fck Cam)<\/em>, Marcel Duchamp, 1915-1923<\/figcaption><\/figure>\n<\/div>\n\n\n

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\u00c7e\u015fme (Fountain)<\/em>: Bir pisuvar\u0131 ters \u00e7evirip imzalayarak sergiledi\u011fi bu yap\u0131t, sanat tarihinin en pop\u00fcler ve devrimci kavramsal eserlerinden biri olmu\u015ftur. “Sanat eseri g\u00f6ze hitap etmeli mi? M\u00fczede sergilenen her \u015fey sanat m\u0131d\u0131r? sorular\u0131n\u0131 izleyiciye sorgulat\u0131r.<\/p>\n\n\n\n

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\"Marcel_Duchamp_1917_Fountain_photograph_by_Alfred_Stieglitz-784x1024\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Fountain (Pisuvar), Marcel Duchamp, 1917<\/figcaption><\/figure>\n<\/div>\n\n\n

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Bu Ba\u011flamda Immanuel Kant\u2019\u0131n G\u00f6r\u00fc\u015f\u00fc<\/strong><\/p>\n\n\n\n

Sanat\u0131n nesneden zihne kaymas\u0131yla birlikte estetik deneyim de d\u00f6n\u00fc\u015f\u00fcr. Immanuel Kant\u2019\u0131n estetik kuram\u0131na g\u00f6re anlama g\u00fcc\u00fc, estetik deneyimle \u00e7o\u011fal\u0131r. Kavramsal sanatta bu durum, eserin nas\u0131l<\/em> yap\u0131ld\u0131\u011f\u0131n\u0131 de\u011fil, niye<\/em> yap\u0131ld\u0131\u011f\u0131n\u0131 sorgulamakla ve bu sorgulamadan haz almakla ba\u015flar. Dolay\u0131s\u0131yla esteti\u011fin tan\u0131m\u0131, sadece g\u00f6r\u00fclen bir bi\u00e7imden haz almaktan, kavranan ve anla\u015f\u0131lan bir d\u00fc\u015f\u00fcnceden haz almaya evrilir.<\/p>\n\n\n\n

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Sanatta Dil ve Kuramsal Ayr\u0131\u015fmalar<\/h2>\n\n\n\n

Kavramsal sanat\u00e7\u0131lar, eylemsel tutumlar\u0131yla s\u0131n\u0131rlar\u0131 zorlayan Dadaistlerden ve nesneyi ki\u015fisizle\u015ftirme \u00fcslubuyla Pop Art ak\u0131m\u0131ndan derin bir \u015fekilde etkilenmi\u015flerdir. Ancak sanat\u0131n ne oldu\u011fu konusunda teorisyenler ve sanat\u00e7\u0131lar aras\u0131nda belirgin fikir ayr\u0131l\u0131klar\u0131 do\u011fmu\u015ftur:<\/p>\n\n\n\n

Clement Greenberg ve Joseph Kosuth Z\u0131tl\u0131\u011f\u0131<\/strong><\/p>\n\n\n\n

Greenberg, sanat\u0131 olu\u015fturan ana unsurun tuval ve boya gibi fiziksel nesneler oldu\u011funu savunurken Kosuth nesneyi tamamen reddeder. Kosuth’a g\u00f6re sanat\u0131 var eden \u015fey yaln\u0131zca ak\u0131l ve bilin\u00e7tir.<\/p>\n\n\n\n

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\"pollock-1024x669\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Clement Greenberg’\u00fcn teorilerini \u00fczerine kurdu\u011fu ve tuval ile boyan\u0131n fiziksel ger\u00e7ekli\u011fini en u\u00e7 noktaya ta\u015f\u0131yan sanat\u00e7\u0131lardan biri Jackson Pollock’tur.

Number 1A, 1948, Jackson Pollock, 1948<\/figcaption><\/figure>\n<\/div>\n\n\n

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One and Three Chairs (Bir ve \u00dc\u00e7 Sandalye), Joseph Kosuth, 1965<\/figcaption><\/figure>\n<\/div>\n\n\n

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Dilbilimsel Aray\u0131\u015flar ve Art & Language<\/em><\/strong><\/p>\n\n\n\n

Ludwig Wittgenstein\u2019\u0131n dil felsefesinden beslenen Art & Language<\/em> grubu, sanat\u0131 dilbilimsel \u00e7al\u0131\u015fmalar \u00fczerinden anlamland\u0131rmaya \u00e7al\u0131\u015f\u0131r. Dille yeniden bir varolu\u015f arayan bu grup, dilin indirgemeci bir yap\u0131da oldu\u011funu ve s\u0131kl\u0131kla suistimal edildi\u011fini savunur. Kendi zihinlerindeki alg\u0131lar\u0131 kitlelere dayatmaya \u00e7al\u0131\u015fan yap\u0131lar\u0131n, dili ara\u00e7salla\u015ft\u0131rarak insanlar\u0131 tek tip d\u00fc\u015f\u00fcnmeye y\u00f6nlendirdi\u011fini ve birbirine kar\u015f\u0131 k\u0131\u015fk\u0131rt\u0131p d\u00fc\u015fmanla\u015ft\u0131rd\u0131\u011f\u0131n\u0131 ileri s\u00fcrerler.<\/p>\n\n\n\n

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Art-Language dergisinin 3. cilt, 1. say\u0131s\u0131n\u0131n (1974)

kapa\u011f\u0131n\u0131n \u00e7izilmi\u015f foto\u011fraf\u0131.<\/figcaption><\/figure>\n<\/div>\n\n\n

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Bu s\u00fcre\u00e7te sanat, salt izlenen bir nesne olmaktan \u00e7\u0131k\u0131p bireyler ve d\u00fc\u015f\u00fcnceler aras\u0131 yeni bir ileti\u015fim diline d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fcr. Sol LeWitt\u2019in “Fikir, sanat\u0131 \u00fcreten bir makinedir”<\/em> s\u00f6ylemi, Joseph Beuys\u2019un insan eylemini sanata d\u00f6n\u00fc\u015ft\u00fcren toplumsal heykel anlay\u0131\u015f\u0131, Yoko Ono ve Marina Abramovi\u0107\u2019in izleyiciyi s\u00fcrecin par\u00e7as\u0131 k\u0131lan performans odakl\u0131 kavramsal yakla\u015f\u0131mlar\u0131 bu yeni ileti\u015fim dilinin d\u00fcnya sanat\u0131ndaki g\u00fc\u00e7l\u00fc yans\u0131malar\u0131d\u0131r.<\/p>\n\n\n\n

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\"lewitt-2
Variations of Incomplete Open Cubes (Tamamlanmam\u0131\u015f A\u00e7\u0131k K\u00fcp \u00c7e\u015fitlemeleri), Sol Lewitt, 1974<\/figcaption><\/figure>\n<\/div>\n\n\n

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Sol LeWitt duvar \u00e7al\u0131\u015fmalar\u0131n\u0131 bizzat kendisi yapmaz. O sadece eserin nas\u0131l yap\u0131lmas\u0131 gerekti\u011fini anlatan yaz\u0131l\u0131 bir talimat listesi haz\u0131rlar. M\u00fcze \u00e7al\u0131\u015fanlar\u0131 veya asistanlar talimatlar\u0131 takip ederek \u00e7izimi duvara uygularlar. Dolay\u0131s\u0131yla eser, duvardaki resim de\u011fil sanat\u00e7\u0131n\u0131n zihninde tasarlad\u0131\u011f\u0131 fikirsel \u015femad\u0131r.

Wall Drawing #1136, Sol Lewitt, 2004<\/figcaption><\/figure>\n<\/div>\n\n\n

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I Like America and America Likes Me (Amerika’y\u0131 Seviyorum, Amerika da Beni), Joseph Beuys, Performans Sanat\u0131, 1974<\/figcaption><\/figure>\n<\/div>\n\n\n

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Wie man dem toten Hasen die Bilder erkl\u00e4rt (\u00d6l\u00fc Bir Tav\u015fana Resimleri Nas\u0131l A\u00e7\u0131klars\u0131n\u0131z), Joseph Beuys, Performans Sanat\u0131, 1965<\/figcaption><\/figure>\n<\/div>\n\n\n

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Cut Piece (Kesilmi\u015f Par\u00e7a), Yoko Ono, Performans Sanat\u0131, 1964<\/figcaption><\/figure>\n<\/div>\n\n\n

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Rhythm 0, Marina Abramovi\u0107, Performans Sanat\u0131, 1974<\/figcaption><\/figure>\n<\/div>\n\n\n

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T\u00fcrk Sanat\u0131nda Kavramsal Aray\u0131\u015flar ve Feminist Yakla\u015f\u0131mlar<\/h2>\n\n\n\n

T\u00fcrkiye’de kavramsal sanat\u0131n geli\u015fimi ve yerle\u015fmesinde \u00f6nemli isimler \u00f6ne \u00e7\u0131kar. Ak\u0131m\u0131n T\u00fcrkiye\u2019deki \u00f6nc\u00fc ve kurucu isimleri aras\u0131nda Serhat Kiraz, Avni Yamaner ve Ahmet \u00d6kten yer al\u0131rken, \u015e\u00fckr\u00fc Aysal da bu alanda \u00fcretti\u011fi yap\u0131tlarla dikkat \u00e7eken \u00f6rnek bir sanat\u00e7\u0131d\u0131r.<\/p>\n\n\n\n

Ayr\u0131ca toplumsal cinsiyet, kimlik, beden ve bellek kavramlar\u0131n\u0131 nesne sonras\u0131 bir dille sorgulayan F\u00fcsun Onur, \u0130pek D\u00fcben ve Nil Yalter gibi isimler ise Feminist Kavramsal Sanat\u0131n T\u00fcrkiye’deki son derece g\u00fc\u00e7l\u00fc ve yetkin temsilcileridir.<\/p>\n\n\n\n

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\"fusun-onur-hayati-eserleri-ve-bilinmeyenleri-6\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
\u00c7i\u00e7ekli Kontrpuan, F\u00fcsun Onur, 1982<\/figcaption><\/figure>\n<\/div>\n\n\n

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Ten, Beden, Ben (2021) kapsam\u0131nda sergilenen mek\u00e2nsal yerle\u015ftirme
Hikaye Anlat\u0131c\u0131l\u0131\u011f\u0131<\/em>, \u0130pek D\u00fcben, 2012<\/figcaption><\/figure>\n<\/div>\n\n\n

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Kaynak\u00e7a<\/h4>\n\n\n\n

Marmara \u00dcniversitesi Atat\u00fcrk E\u011fitim Fak\u00fcltesi Resim \u0130\u015f \u00d6\u011fretmenli\u011fi B\u00f6l\u00fcm\u00fc 2024-2025 d\u00f6nemi m\u00fcfredat\u0131nda, Prof. Dr. \u0130nsel \u0130nal\u2019\u0131n Modern Sanat isimli dersinde ald\u0131\u011f\u0131m notlarla derlenmi\u015ftir.<\/p>\n\n\n\n

https:\/\/massmoca.org\/wp-content\/uploads\/2021\/01\/Sol-LeWitt-Sentences-on-Conceptual-Art.pdf<\/a><\/p>\n\n\n\n

https:\/\/www.tate.org.uk\/art\/art-terms\/s\/social-sculpture<\/a><\/p>\n\n\n\n

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Foto\u011fraflar<\/h4>\n\n\n\n

https:\/\/tr.wikipedia.org\/wiki\/L.H.O.O.Q.#\/media\/Dosya:Marcel_Duchamp_Mona_Lisa_LHOOQ.jpg<\/a><\/p>\n\n\n\n

https:\/\/en.wikipedia.org\/wiki\/Marcel_Duchamp#\/media\/File:Marcel_Duchamp,_1917,_Fountain,_photograph_by_Alfred_Stieglitz.jpg<\/a><\/p>\n\n\n\n

https:\/\/www.moma.org\/collection\/works\/78699<\/a><\/p>\n\n\n\n

https:\/\/en.wikipedia.org\/wiki\/Art_%26_Language#\/media\/File:Art-LanguageV3No1-1974.jpg<\/a><\/p>\n\n\n\n

https:\/\/www.scribd.com\/document\/817251427\/kavramsal-sanat<\/a><\/p>\n\n\n\n

https:\/\/www.nationalgalleries.org\/art-and-artists\/89028<\/a><\/p>\n\n\n\n

https:\/\/socks-studio.com\/2016\/06\/15\/irrational-thoughts-should-be-followed-absolutely-and-logically-sol-lewitts-variations-of-incomplete-open-cubes-1974\/<\/a><\/p>\n\n\n\n

https:\/\/kontrastdergi.com\/bir-olu-tavsana-resimleri-nasil-anlatirsiniz\/#pgcSgb-sl-2_sl_28306<\/a><\/p>\n\n\n\n

https:\/\/www.moma.org\/audio\/playlist\/15\/373<\/a><\/p>\n\n\n\n

https:\/\/www.oggusto.com\/sanat\/sanatci\/fusun-onur-hayati-eserleri-ve-bilinmeyenleri#Fusun_Onur%E2%80%99un_En_Onemli_Eserleri<\/a><\/p>\n\n\n\n

https:\/\/saltonline.org\/tr\/ten-beden-ben-ipek-duben-2386<\/a><\/p>\n\n\n\n

https:\/\/dergipark.org.tr\/en\/download\/article-file\/5184697<\/a><\/p>\n\n\n\n

https:\/\/en.wikipedia.org\/wiki\/The_Bride_Stripped_Bare_by_Her_Bachelors,_Even#\/media\/File:Duchamp_LargeGlass.jpg<\/a><\/p>\n\n\n\n

https:\/\/www.sanatinoykusu.com\/marcel-duchamp\/<\/a><\/p>\n\n\n\n

https:\/\/www.moma.org\/collection\/works\/81435<\/a><\/p>\n\n\n\n

https:\/\/art21.org\/gallery\/marina-abramovic-artwork-survey-1970s<\/a><\/p>\n\n\n\n

https:\/\/blog.artsper.com\/en\/a-closer-look\/an-analysis-of-a-masterpiece-of-contemporary-art-the-physical-impossibility-of-death-in-the-mind-of-someone-living-by-d-hirst\/<\/a><\/p>\n\n\n\n

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Kavramsal sanat, geleneksel bi\u00e7imleri a\u015fan ve “nesne sonras\u0131 sanat” olarak bilinen zihinsel bir k\u0131r\u0131lmad\u0131r. Mant\u0131k \u00fczerine yo\u011funla\u015fan bu yakla\u015f\u0131m, s\u00fcregelen sanat tan\u0131mlar\u0131n\u0131 reddeder ve sanat\u0131 nesneden ba\u011f\u0131ms\u0131z bir d\u00fc\u015f\u00fcnce alan\u0131na ta\u015f\u0131r. Art\u0131k odak noktas\u0131 fiziksel bir yap\u0131t de\u011fil d\u00fc\u015f\u00fcnsel, zihinsel ve anlamsal bir s\u00fcre\u00e7tir. Marcel Duchamp ve Nesnenin Kimliksizle\u015fmesi Kavramsal sanat\u0131n temelleri, kendini “bireyci bir […]<\/p>\n","protected":false},"author":7,"featured_media":1513,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[84],"tags":[222,219,220,221,98,217],"class_list":["post-1492","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-gorsel-sanatlar","tag-joseph-kosuth","tag-kavramsal-sanat","tag-marcel-duchamp","tag-ready-made","tag-sanat","tag-sanat-tarihi"],"_links":{"self":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts\/1492","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1492"}],"version-history":[{"count":14,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts\/1492\/revisions"}],"predecessor-version":[{"id":1533,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts\/1492\/revisions\/1533"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/media\/1513"}],"wp:attachment":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1492"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1492"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1492"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}