{"id":2565,"date":"2026-11-03T11:56:06","date_gmt":"2026-11-03T11:56:06","guid":{"rendered":"https:\/\/atolyer10.com\/?p=2565"},"modified":"2026-11-03T11:56:07","modified_gmt":"2026-11-03T11:56:07","slug":"tarkovskinin-zerkalo-filminde-kompozisyon-gosterge-ve-otor-dili","status":"publish","type":"post","link":"https:\/\/atolyer10.com\/?p=2565","title":{"rendered":"Tarkovski\u2019nin Zerkalo Filminde Kompozisyon, G\u00f6sterge ve Ot\u00f6r Dili"},"content":{"rendered":"\n

Andrei Tarkovski\u2019nin Zerkalo (Ayna, 1975) filmi, geleneksel bir olay \u00f6rg\u00fcs\u00fcnden \u00e7ok bellek par\u00e7alar\u0131, r\u00fcyalar ve i\u00e7sel \u00e7a\u011fr\u0131\u015f\u0131mlar \u00fczerinden ilerleyen bir sinema dili kurar. Bu nedenle filmi anlamaya \u00e7al\u0131\u015f\u0131rken yaln\u0131zca anlat\u0131ya de\u011fil, g\u00f6r\u00fcnt\u00fcn\u00fcn nas\u0131l d\u00fczenlendi\u011fine de bakmak gerekir. Kompozisyon, nesneler, \u0131\u015f\u0131k, do\u011fa unsurlar\u0131 ve tekrar eden g\u00f6stergeler, filmin duygusal ve d\u00fc\u015f\u00fcnsel yap\u0131s\u0131n\u0131 ta\u015f\u0131yan temel ara\u00e7lard\u0131r.<\/p>\n\n\n\n

Tarkovski\u2019nin sinemas\u0131nda kadraj yaln\u0131zca estetik bir tercih de\u011fildir; ki\u015fisel haf\u0131zan\u0131n, aile ili\u015fkilerinin ve manevi aray\u0131\u015f\u0131n g\u00f6r\u00fcn\u00fcr h\u00e2le geldi\u011fi bir anlat\u0131m alan\u0131d\u0131r. Ot\u00f6r kuram\u0131, y\u00f6netmenin bu bireysel anlat\u0131m dilini anlamland\u0131rmak a\u00e7\u0131s\u0131ndan \u00f6nemli bir yakla\u015f\u0131m sunar. Wollen\u2019\u0131n (1969) de\u011ferlendirmeleri do\u011frultusunda, filmin anlam\u0131n\u0131 yaln\u0131zca y\u00f6netmenin niyetine indirgemek yerine g\u00f6r\u00fcnt\u00fcler aras\u0131ndaki ili\u015fkileri ve izleyicinin yorumunu birlikte d\u00fc\u015f\u00fcnmek m\u00fcmk\u00fcnd\u00fcr.<\/p>\n\n\n\n

Kompozisyon ve G\u00f6stergelerin Anlam\u0131<\/h3>\n\n\n\n

Filmin dikkat \u00e7ekici sahnelerinden biri, Maria\u2019n\u0131n ah\u015fap bir \u00e7it \u00fczerinde oturdu\u011fu ve doktorla kar\u015f\u0131la\u015ft\u0131\u011f\u0131 b\u00f6l\u00fcmd\u00fcr. Yatay \u00e7izgilerin h\u00e2kim oldu\u011fu kompozisyon, bir yandan ufka a\u00e7\u0131lan derinlik hissi yarat\u0131rken di\u011fer yandan fig\u00fcr\u00fc s\u0131n\u0131rlayan bir yap\u0131 olu\u015fturur. \u00c7it, evin ve ailenin s\u0131n\u0131rlar\u0131n\u0131 temsil eden metaforik bir unsur olarak yorumlanabilir.<\/p>\n\n\n\n

Doktorun Maria\u2019n\u0131n yan\u0131na oturmas\u0131n\u0131n ard\u0131ndan \u00e7itin k\u0131r\u0131lmas\u0131 ve Maria\u2019n\u0131n sa\u00e7\u0131n\u0131n \u00e7\u00f6z\u00fclmesi, bu s\u0131n\u0131rlar\u0131n par\u00e7alanmas\u0131n\u0131 d\u00fc\u015f\u00fcnd\u00fcr\u00fcr. Burada fiziksel bir olay, karakterin i\u00e7 d\u00fcnyas\u0131na ili\u015fkin farkl\u0131 anlamlar\u0131n ortaya \u00e7\u0131kmas\u0131na olanak sa\u011flar. Sahne, \u00e7aresizlik ve s\u0131k\u0131\u015fm\u0131\u015fl\u0131\u011f\u0131n yan\u0131 s\u0131ra toplumsal s\u0131n\u0131rlar, su\u00e7luluk ve ahlaki yarg\u0131lar a\u00e7\u0131s\u0131ndan da yorumlanabilir.<\/p>\n\n\n\n

\"Zerkalo_PDF_s07_g01
G\u00f6rsel 1 ve 2:\u00a0Maria\u2019n\u0131n \u00e7it \u00fczerinde bulundu\u011fu sahne ve kompozisyon \u00e7\u00f6z\u00fcmlemeleri. Zerkalo (1975), y\u00f6netmen: Andrei Tarkovski. Ekran g\u00f6r\u00fcnt\u00fcs\u00fc, kare se\u00e7imi ve \u015fematik \u00e7\u00f6z\u00fcmleme: Zekeriya Ezelhan.<\/figcaption><\/figure>\n\n\n\n

<\/p>\n\n\n\n

Tarkovski\u2019nin nesne kullan\u0131m\u0131 da benzer bir \u00e7okanlaml\u0131l\u0131k ta\u015f\u0131r. Masadaki s\u00fct, ekmek, kedi, ayna, mum ve cam gibi unsurlar yaln\u0131zca dekorun par\u00e7alar\u0131 de\u011fildir. Barthes\u2019\u0131n (1985) nesnelerin anlam \u00fcretimine ili\u015fkin yakla\u015f\u0131m\u0131yla de\u011ferlendirildi\u011finde, bu unsurlar\u0131n g\u00fcndelik i\u015flevlerinin \u00f6tesinde simgesel kar\u015f\u0131l\u0131klar ta\u015f\u0131d\u0131\u011f\u0131 g\u00f6r\u00fcl\u00fcr.<\/p>\n\n\n\n

\u00d6zellikle d\u00f6k\u00fclen s\u00fct, masumiyetin kayb\u0131yla; aynalar ise b\u00f6l\u00fcnm\u00fc\u015f benlik ve ge\u00e7mi\u015fle hesapla\u015fma d\u00fc\u015f\u00fcncesiyle ili\u015fkilendirilebilir. Ancak bu yorumlar kesin anlamlar olarak de\u011ferlendirilmemelidir. Tarkovski\u2019nin anlat\u0131m\u0131nda nesneler, izleyicinin deneyimleriyle farkl\u0131 anlamlar kazanabilir.<\/p>\n\n\n\n

\"zerkalo-gorsel-03-zekeriya-ezelhan
G\u00f6rsel 3:\u00a0Yemek masas\u0131ndaki nesnelerin \u015fematik \u00e7\u00f6z\u00fcmlemesi. Zerkalo (1975), y\u00f6netmen: Andrei Tarkovski. Ekran g\u00f6r\u00fcnt\u00fcs\u00fc, kare se\u00e7imi ve \u015fematik \u00e7\u00f6z\u00fcmleme: Zekeriya Ezelhan.<\/figcaption><\/figure>\n\n\n\n

<\/p>\n\n\n\n

Do\u011fa, Bellek ve Y\u0131k\u0131m<\/h3>\n\n\n\n

Zerkalo filminde do\u011fa unsurlar\u0131, karakterlerin i\u00e7 d\u00fcnyalar\u0131n\u0131 yans\u0131tman\u0131n \u00f6nemli ara\u00e7lar\u0131ndan biridir. R\u00fczg\u00e2r, ya\u011fmur, ate\u015f ve a\u011fa\u00e7lar yaln\u0131zca atmosfer olu\u015fturmaz; ayn\u0131 zamanda g\u00f6r\u00fcnmeyen duygular\u0131 g\u00f6r\u00fcn\u00fcr h\u00e2le getirir.<\/p>\n\n\n\n

Doktorun ayr\u0131lmas\u0131n\u0131n ard\u0131ndan y\u00fckselen sert r\u00fczg\u00e2r, do\u011fan\u0131n s\u0131radan hareketinden daha fazlas\u0131 olarak yorumlanabilir. Bu sahne, g\u00f6r\u00fcnmeyen bir g\u00fcc\u00fcn varl\u0131\u011f\u0131n\u0131 d\u00fc\u015f\u00fcnd\u00fcr\u00fcrken do\u011fa ile insan aras\u0131nda duygusal bir ili\u015fki kurar.<\/p>\n\n\n\n

Yang\u0131n sahnesinde ise y\u00fcksek alevler ve ya\u011fmur damlalar\u0131 bir arada kullan\u0131l\u0131r. Ate\u015fin y\u0131k\u0131c\u0131 g\u00fcc\u00fc ile suyun ar\u0131nd\u0131r\u0131c\u0131 \u00e7a\u011fr\u0131\u015f\u0131mlar\u0131 aras\u0131nda bir kar\u015f\u0131tl\u0131k olu\u015fur. Maria\u2019n\u0131n olaylar\u0131 izlerken sergiledi\u011fi sakin ve tepkisiz beden dili, bu kar\u015f\u0131tl\u0131\u011f\u0131 daha da belirginle\u015ftirir.<\/p>\n\n\n\n

\"zerkalo-gorsel-04-zekeriya-ezelhan
G\u00f6rsel 4<\/figcaption><\/figure>\n\n\n\n
\"zerkalo-gorsel-05-zekeriya-ezelhan
G\u00f6rsel 4 ve 5:\u00a0Yang\u0131n sekans\u0131ndaki kompozisyon \u00e7izgileri ve fig\u00fcrlerin konumlar\u0131. Zerkalo (1975), y\u00f6netmen: Andrei Tarkovski. Ekran g\u00f6r\u00fcnt\u00fcs\u00fc, kare se\u00e7imi ve \u015fematik \u00e7\u00f6z\u00fcmleme: Zekeriya Ezelhan.<\/figcaption><\/figure>\n\n\n\n

<\/p>\n\n\n\n

Filmin ilerleyen sahnelerinde su, ba\u015fka bir anlam ili\u015fkisi i\u00e7erisinde yeniden ortaya \u00e7\u0131kar. Sa\u00e7 y\u0131kama sahnesi, ar\u0131nma ve yeniden do\u011fu\u015f d\u00fc\u015f\u00fcnceleriyle ili\u015fkilendirilebilece\u011fi gibi, ki\u015fisel ve ailevi \u00e7\u00f6z\u00fclmenin bir g\u00f6stergesi olarak da okunabilir.<\/p>\n\n\n\n

Benzer bi\u00e7imde tavan\u0131n d\u00f6k\u00fclmesi, duvarlardan sular\u0131n akmas\u0131 ve mek\u00e2n\u0131n par\u00e7alanmas\u0131, yaln\u0131zca fiziksel bir y\u0131k\u0131m\u0131 de\u011fil, aile yap\u0131s\u0131ndaki k\u0131r\u0131lganl\u0131\u011f\u0131 da d\u00fc\u015f\u00fcnd\u00fcr\u00fcr.<\/p>\n\n\n\n

\n
\n
\"zerkalo-gorsel-06-zekeriya-ezelhan
G\u00f6rsel 6.<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
\"zerkalo-gorsel-07-zekeriya-ezelhan
G\u00f6rsel 6 ve 7:\u00a0Sa\u00e7 y\u0131kama sahnesi ve par\u00e7alanan evin kompozisyon \u00e7\u00f6z\u00fcmlemeleri. Zerkalo (1975), y\u00f6netmen: Andrei Tarkovski. Ekran g\u00f6r\u00fcnt\u00fcs\u00fc, kare se\u00e7imi ve \u015fematik \u00e7\u00f6z\u00fcmleme: Zekeriya Ezelhan.<\/figcaption><\/figure>\n\n\n\n

<\/p>\n\n\n\n

Ot\u00f6r Kuram\u0131 Ba\u011flam\u0131nda Zerkalo<\/h3>\n\n\n\n

Ot\u00f6r kuram\u0131 a\u00e7\u0131s\u0131ndan de\u011ferlendirildi\u011finde Zerkalo, Tarkovski\u2019nin ki\u015fisel d\u00fcnyas\u0131yla g\u00fc\u00e7l\u00fc ili\u015fkiler ta\u015f\u0131yan bir filmdir. Y\u00f6netmenin \u00e7ocukluk an\u0131lar\u0131, annesiyle ili\u015fkisi, babas\u0131 Arseniy Tarkovski\u2019nin \u015fiirleri ve ge\u00e7mi\u015fe duydu\u011fu \u00f6zlem, anlat\u0131n\u0131n \u00f6nemli par\u00e7alar\u0131n\u0131 olu\u015fturur (Torun, 2014).<\/p>\n\n\n\n

Tarkovski, an\u0131lar\u0131n\u0131 kronolojik bir anlat\u0131 i\u00e7inde sunmak yerine birbirine ba\u011flanan g\u00f6r\u00fcnt\u00fcler arac\u0131l\u0131\u011f\u0131yla yeniden kurar. Koridorlar, kap\u0131lar, aynalar ve i\u00e7 i\u00e7e ge\u00e7mi\u015f kadrajlar, ge\u00e7mi\u015f ile \u015fimdi aras\u0131ndaki s\u0131n\u0131rlar\u0131 belirsizle\u015ftirir.<\/p>\n\n\n\n

\"zerkalo-gorsel-08-zekeriya-ezelhan
G\u00f6rsel 8:\u00a0Koridor i\u00e7erisindeki farkl\u0131 \u00e7er\u00e7evelerin ve derinlik ili\u015fkilerinin analizi. Zerkalo (1975), y\u00f6netmen: Andrei Tarkovski. Ekran g\u00f6r\u00fcnt\u00fcs\u00fc, kare se\u00e7imi ve \u015fematik \u00e7\u00f6z\u00fcmleme: Zekeriya Ezelhan.<\/figcaption><\/figure>\n\n\n\n

<\/p>\n\n\n\n

Filmin a\u00e7\u0131k alanlar\u0131nda da benzer bir yakla\u015f\u0131m bulunur. Geni\u015f manzaralar, tek ba\u015f\u0131na duran fig\u00fcrler ve ufuk \u00e7izgileri, \u00f6zg\u00fcrl\u00fck duygusuyla birlikte yaln\u0131zl\u0131k ve belirsizli\u011fi de ortaya \u00e7\u0131kar\u0131r.<\/p>\n\n\n\n

\"zerkalo-gorsel-09-zekeriya-ezelhan
G\u00f6rsel 9:\u00a0K\u0131\u015f manzaras\u0131nda fig\u00fcr\u00fcn konumu ve kompozisyon \u00e7izgileri. Zerkalo (1975), y\u00f6netmen: Andrei Tarkovski. Ekran g\u00f6r\u00fcnt\u00fcs\u00fc, kare se\u00e7imi ve \u015fematik \u00e7\u00f6z\u00fcmleme: Zekeriya Ezelhan.<\/figcaption><\/figure>\n\n\n\n

<\/p>\n\n\n\n

Havada s\u00fcz\u00fclen bedenin g\u00f6r\u00fcld\u00fc\u011f\u00fc sahne ise Tarkovski\u2019nin ger\u00e7eklikle r\u00fcya aras\u0131ndaki s\u0131n\u0131rlar\u0131 nas\u0131l d\u00f6n\u00fc\u015ft\u00fcrd\u00fc\u011f\u00fcn\u00fcn \u00f6nemli \u00f6rneklerinden biridir. Kompozisyondaki diyagonal ili\u015fkiler ve hareketin yava\u015fl\u0131\u011f\u0131, \u00f6zg\u00fcrle\u015fme ile tekinsizlik aras\u0131nda de\u011fi\u015fen bir duygu olu\u015fturur.<\/p>\n\n\n\n

\"zerkalo-gorsel-10-zekeriya-ezelhan
G\u00f6rsel 10:\u00a0Havada s\u00fcz\u00fclen bedenin kompozisyon \u00e7\u00f6z\u00fcmlemesi. Zerkalo (1975), y\u00f6netmen: Andrei Tarkovski. Ekran g\u00f6r\u00fcnt\u00fcs\u00fc, kare se\u00e7imi ve \u015fematik \u00e7\u00f6z\u00fcmleme: Zekeriya Ezelhan.<\/figcaption><\/figure>\n\n\n\n

<\/p>\n\n\n\n

Sonu\u00e7<\/h3>\n\n\n\n

Zerkalo, yaln\u0131zca olay \u00f6rg\u00fcs\u00fc \u00fczerinden de\u011ferlendirildi\u011finde anla\u015f\u0131lmas\u0131 g\u00fc\u00e7 bir film olarak g\u00f6r\u00fclebilir. Ancak kompozisyon, g\u00f6stergeler, nesneler ve y\u00f6netmenin ki\u015fisel anlat\u0131m dili birlikte incelendi\u011finde \u00e7ok katmanl\u0131 bir yap\u0131 ortaya \u00e7\u0131kar.<\/p>\n\n\n\n

\u00c7itin k\u0131r\u0131lmas\u0131, d\u00f6k\u00fclen s\u00fct, yang\u0131n, aynalar, su ve havada s\u00fcz\u00fclen beden gibi imgeler; bellek, su\u00e7luluk, \u00f6zlem, y\u0131k\u0131m ve ar\u0131nma d\u00fc\u015f\u00fcncelerini farkl\u0131 bi\u00e7imlerde g\u00f6r\u00fcn\u00fcr k\u0131lar.<\/p>\n\n\n\n

Tarkovski\u2019nin sinemas\u0131n\u0131 \u00f6zg\u00fcn k\u0131lan temel \u00f6zelliklerden biri, bu g\u00f6r\u00fcnt\u00fclerin tek ve de\u011fi\u015fmez bir anlam ta\u015f\u0131mamas\u0131d\u0131r. Y\u00f6netmen, izleyiciyi yaln\u0131zca olaylara tan\u0131kl\u0131k etmeye de\u011fil, kendi deneyimleri arac\u0131l\u0131\u011f\u0131yla g\u00f6r\u00fcnt\u00fcleri yeniden anlamland\u0131rmaya da davet eder.<\/p>\n\n\n\n

<\/h3>\n\n\n\n

Kaynak\u00e7a <\/h3>\n\n\n\n

Barthes, R. (1985). G\u00f6stergebilimsel ser\u00fcven (M. Rifat & S. Rifat, \u00c7ev.). Yap\u0131 Kredi Yay\u0131nlar\u0131.<\/p>\n\n\n\n

Tarkovski, A. (Y\u00f6netmen). (1975). Zerkalo [Film]. Mosfilm.<\/p>\n\n\n\n

Tarkovski, A. (2006). \u015eiirsel sinema (J. Gianvito, Der.; E. K\u0131l\u0131\u00e7, \u00c7ev.). Agora Yay\u0131nlar\u0131.<\/p>\n\n\n\n

Torun, A. (2014). Ayna\u2019ya yeniden bakmak: Andrei Tarkovsky\u2019nin Ayna (Zerkalo) filmi ve zaman-bas\u0131n\u00e7 kuram\u0131. Uluslararas\u0131 Hakemli \u0130leti\u015fim ve Edebiyat Ara\u015ft\u0131rmalar\u0131 Dergisi, 2, 137\u2013139.<\/p>\n\n\n\n

Wollen, P. (1969). Signs and meaning in the cinema. Secker & Warburg.<\/p>\n\n\n\n

English Translation<\/h3>\n\n\n\n

Composition, Signs and Auteur Language in Tarkovsky\u2019s ZerkaloAndrei Tarkovsky\u2019s Zerkalo (Mirror, 1975) develops a cinematic language built upon fragments of memory, dreams and personal associations rather than a conventional narrative structure. Understanding the film therefore requires examining not only its story but also the composition of its images. Objects, lighting, natural elements and recurring visual signs become essential components of its emotional and intellectual structure.From the perspective of auteur theory, Tarkovsky\u2019s framing is more than an aesthetic decision. It becomes a means of expressing personal memory, family relationships and spiritual inquiry. In the scene where Maria sits on a wooden fence, horizontal compositional lines simultaneously create depth and establish boundaries around the figure. The fence can be interpreted as a metaphorical representation of home, family and moral limitations.When the fence breaks during Maria\u2019s encounter with the doctor and her hair becomes loose, the scene suggests the collapse of these boundaries. Such visual details allow the audience to construct different interpretations involving vulnerability, guilt and social expectations.Objects also carry meanings beyond their immediate functions. Milk, bread, mirrors, candles and glass may evoke innocence, memory, fragmentation or loss. Spilled milk can be associated with the disappearance of innocence, while mirrors suggest divided identity and confrontation with the past. Nevertheless, these meanings remain open to interpretation rather than functioning as fixed symbolic formulas.Nature plays an equally significant role in the film. Wind, rain, fire and trees frequently reflect emotional states without relying on dialogue. In the fire sequence, the contrast between flames and falling water produces a powerful visual tension. The destruction of domestic spaces, collapsing ceilings and flowing water may also be understood as expressions of fragile family relationships.Tarkovsky\u2019s personal experiences are closely connected to the film\u2019s structure. Childhood memories, the presence of his mother and the poetry of his father, Arseny Tarkovsky, contribute to its autobiographical dimension. Rather than presenting these experiences chronologically, the director reconstructs them through interconnected images.Doors, corridors, mirrors and layered compositions blur the boundaries between past and present. Wide landscapes and isolated figures create feelings of both freedom and uncertainty, while the image of a floating body transforms physical reality into a dreamlike experience.Zerkalo demonstrates how cinematic meaning emerges through the relationship between composition, visual signs and personal experience. The broken fence, spilled milk, fire, mirrors and floating figures communicate emotions associated with memory, longing, guilt, destruction and purification.Ultimately, Tarkovsky does not impose a single interpretation on the audience. His images invite viewers to participate in the process of meaning-making through their own memories and experiences. This openness is one of the defining qualities of his cinematic language.<\/p>\n","protected":false},"excerpt":{"rendered":"

Andrei Tarkovski\u2019nin Zerkalo (Ayna, 1975) filmi, geleneksel bir olay \u00f6rg\u00fcs\u00fcnden \u00e7ok bellek par\u00e7alar\u0131, r\u00fcyalar ve i\u00e7sel \u00e7a\u011fr\u0131\u015f\u0131mlar \u00fczerinden ilerleyen bir sinema dili kurar. Bu nedenle filmi anlamaya \u00e7al\u0131\u015f\u0131rken yaln\u0131zca anlat\u0131ya de\u011fil, g\u00f6r\u00fcnt\u00fcn\u00fcn nas\u0131l d\u00fczenlendi\u011fine de bakmak gerekir. Kompozisyon, nesneler, \u0131\u015f\u0131k, do\u011fa unsurlar\u0131 ve tekrar eden g\u00f6stergeler, filmin duygusal ve d\u00fc\u015f\u00fcnsel yap\u0131s\u0131n\u0131 ta\u015f\u0131yan temel ara\u00e7lard\u0131r. Tarkovski\u2019nin sinemas\u0131nda kadraj […]<\/p>\n","protected":false},"author":19,"featured_media":2563,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[370,366,361,369,292,364,363,372,365,368,367,360],"class_list":["post-2565","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sinema","tag-andrei-tarkovski","tag-auteur-theory","tag-ayna-filmi","tag-film-cozumlemesi","tag-gorsel-anlatim","tag-gostergebilim","tag-otor-kurami","tag-sinema-estetigi","tag-sinema-ve-resim-sanati","tag-sinemada-sembolizm","tag-sinemasal-kompozisyon","tag-tarkovski-sinemasi"],"_links":{"self":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts\/2565","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\/19"}],"replies":[{"embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2565"}],"version-history":[{"count":2,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts\/2565\/revisions"}],"predecessor-version":[{"id":2578,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/posts\/2565\/revisions\/2578"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=\/wp\/v2\/media\/2563"}],"wp:attachment":[{"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2565"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2565"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/atolyer10.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2565"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}