{"id":22646,"date":"2024-02-26T13:00:00","date_gmt":"2024-02-26T10:00:00","guid":{"rendered":"https:\/\/iletim.istanbul.edu.tr\/?p=22646"},"modified":"2024-02-27T20:36:34","modified_gmt":"2024-02-27T17:36:34","slug":"camilerde-mimar-sinan-dokunusu","status":"publish","type":"post","link":"https:\/\/iletim.istanbul.edu.tr\/index.php\/2024\/02\/26\/camilerde-mimar-sinan-dokunusu\/","title":{"rendered":"Camilerde Mimar Sinan Dokunu\u015fu"},"content":{"rendered":"\n

Muhabir: Bet\u00fcl Gedik<\/strong><\/p>\n\n\n\n

Edit\u00f6r: Cemil \u0130lg\u00f6r<\/strong><\/p>\n\n\n\n

Mimar F. B. ile Mimar Sinan ve eserleri hakk\u0131nda s\u00f6yle\u015fi ger\u00e7ekle\u015ftirildi. S\u00f6yle\u015fiye Mimar Sinan’\u0131n \u00e7\u0131rakl\u0131k ve kalfal\u0131k eseri olan camiler ve N. \u00c7i\u00e7ek Ak\u00e7\u0131l Harmankaya\u2019n\u0131n “Mimar Sinan Camilerinde Sembolizm \u00dczerine Bir De\u011ferlendirme” adl\u0131 ara\u015ft\u0131rma makalesi kaynakl\u0131k etti. <\/p>\n\n\n\n

Camilerde Mimar Sinan Ruhunu Yans\u0131tan \u00d6zellikler<\/strong><\/p>\n\n\n\n

Mimar Sinan, camilerini halk\u0131n kullanmas\u0131 ve devlete hizmet amac\u0131yla in\u015fa etmi\u015ftir. Sinan, eserlerinde malzeme kullan\u0131m\u0131yla kendince bir hiyerar\u015fi kurmu\u015ftur. Camii, camii \u00e7evresini \u00a0\u00e7evreleyen duvarlar ve avlu revaklar\u0131 ta\u015ftan yap\u0131l\u0131rken; medrese, kervansaray gibi yap\u0131lar tu\u011fla ve ta\u015f\u0131n bir arada kullan\u0131lmas\u0131yla yap\u0131lm\u0131\u015ft\u0131r. Bu bilgilere ek olarak Mimar F. B., \u201cTa\u015f\u0131n kal\u0131c\u0131l\u0131\u011f\u0131 simgelemesinden yola \u00e7\u0131karak Allah\u2019\u0131n evi olarak g\u00f6r\u00fclen cami ve s\u00f6z konusu camiyi in\u015fa ettiren baninin \u00f6l\u00fcms\u00fczl\u00fc\u011f\u00fc vurgulan\u0131rken \u00f6te yanda medrese, imaret, tabhane ve kervansaray gibi d\u00fcnyeviyeti simgeleyen binalarda ise bu anlamsal \u00f6zellikler farkl\u0131 malzemeler kullan\u0131lmak suretiyle temsil edilmi\u015ftir.\u201d \u015feklinde konu\u015ftu. <\/p>\n\n\n

\n
\"\"
S\u00fcleymaniye camii \u00e7evre duvarlar\u0131.<\/figcaption><\/figure><\/div>\n\n\n

Mimar; camilerinde bronz \u015febekeler, minber aynal\u0131klar\u0131, ah\u015fap kap\u0131 ve pencere kantlar\u0131n\u0131n \u00e7o\u011funda geometrik motifler kullanm\u0131\u015ft\u0131r.<\/p>\n\n\n\n

\n
\"\"
S\u00fcleymaniye camii pencere kanad\u0131.                      <\/figcaption><\/figure>\n\n\n\n
\"\"
\u015eehzade camii pencere kanatlar\u0131.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

Mimar Sinan\u2019\u0131n camilerinin \u00e7o\u011funda kulland\u0131\u011f\u0131 motiflerden biri M\u00fchr-i S\u00fcleyman\u2019d\u0131r. M\u00fchr-i S\u00fcleyman, Kral S\u00fcleyman\u2019a atfedilen bir damgad\u0131r. Davut Y\u0131ld\u0131z\u0131 olarak da bilinir. Mirmar F. B. \u201cBir\u00e7ok Sinan camisinin ayd\u0131nlatma sisteminde ana kubbe ya da yar\u0131m kubbelerin kilit ta\u015f\u0131ndan sark\u0131t\u0131lan M\u00fchr-i S\u00fcleyman\u2019a benzer alt\u0131 kollu y\u0131ld\u0131z \u015feklinde kandillikler yer almaktad\u0131r. Hz. S\u00fcleyman\u2019\u0131n ve onun tabiat\u00fcst\u00fc g\u00fcc\u00fcn\u00fcn sembol\u00fc olup Tanr\u0131 manas\u0131na da gelen M\u00fchr-i S\u00fcleyman, yap\u0131da koruyucu bir dua-t\u0131ls\u0131m yerine de kullan\u0131lm\u0131\u015ft\u0131r.\u201d dedi.<\/p>\n\n\n\n

Mimar Sinan’\u0131n \u00c7\u0131rakl\u0131k Eseri: \u015eehzade Cami<\/strong><\/p>\n\n\n\n

\u0130stanbul Fatih\u2019te bulunan \u015eehzade Camii, Kanuni Sultan S\u00fcleyman taraf\u0131ndan gen\u00e7 ya\u015fta vefat eden o\u011flu \u015eehzade Mehmet ad\u0131na 1543-1548 y\u0131llar\u0131nda yapt\u0131r\u0131lm\u0131\u015ft\u0131r. \u015eehzade Camii avlusunda kullan\u0131lan tasar\u0131m dili Sinan\u2019\u0131n camilerine g\u00f6re daha sadedir. Mimar F. B. bu durumu “Cami’nin an\u0131tsal ama\u00e7la yap\u0131lmas\u0131 sebebiyle daha duygusal bir anlam ta\u015f\u0131d\u0131\u011f\u0131 i\u00e7in sade tasarland\u0131\u011f\u0131” \u015feklinde a\u00e7\u0131klad\u0131. Burada Mimar, yap\u0131lma amac\u0131ndaki ruhu tasar\u0131m diline yans\u0131tm\u0131\u015ft\u0131r. Ayn\u0131 zamanda bu camii Mimar Sinan\u2019\u0131n \u0130stanbul\u2019da in\u015fa etti\u011fi ilk an\u0131tsal yap\u0131d\u0131r.<\/p>\n\n\n\n

\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n<\/figure>\n\n\n\n

Sinan, kubbeyi d\u00f6rt s\u00fctuna dayand\u0131rm\u0131\u015f ve camide ba\u015fka s\u00fctun kullanmam\u0131\u015ft\u0131r. Bu sayede i\u00e7eride geni\u015flik etkisi sa\u011flanm\u0131\u015ft\u0131r. B\u00fcy\u00fck kubbe, yan\u0131ndaki d\u00f6rt yar\u0131m kubbe ile desteklenmi\u015ftir. Mimar F.B., \u201cMimar Sinan \u00e7o\u011fu eserinde kubbe ve yar\u0131m kubbeleri fil ayaklar\u0131 \u00fczerine oturtur. Kubbelerin giderek artan kademeleri insana ibadet mekan\u0131n\u0131n kucaklay\u0131c\u0131 havas\u0131n\u0131 verir. Kiliselerin y\u00fcksek tavanl\u0131 olmas\u0131 ise bask\u0131layan bir hava ile kullananlar\u0131 daha k\u00fc\u00e7\u00fck hissettirir. \u015eehzade Camii, d\u0131\u015far\u0131dan itibaren a\u00e7\u0131k mekan, yar\u0131 a\u00e7\u0131k mekan ve kapal\u0131 mekan ile kademe kademe insan\u0131 i\u00e7ine alan bir yap\u0131ya sahiptir.\u201d \u015feklinde konu\u015ftu.<\/p>\n\n\n\n

\n
\"\"
B\u00fcy\u00fck kubbe ve yan\u0131ndaki d\u00f6rt yar\u0131m kubbe.<\/figcaption><\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n<\/figure>\n\n\n\n

Camilerde kullan\u0131lan vitray camlar\u0131n T\u00fcrklere ait olmad\u0131\u011f\u0131n\u0131 s\u00f6yleyen Mimar F.B., Mimar Sinan\u2019\u0131n gitti\u011fi Kahire seferinde vitraylar\u0131 inceleyip kendi mimarisine katt\u0131\u011f\u0131n\u0131n genel bir kan\u0131y\u0131 olu\u015fturdu\u011funu dile getirdi. \u015eehzade Camii\u2019nde, i\u00e7 tasar\u0131m\u0131n sadeli\u011fine kar\u015f\u0131n d\u0131\u015f yap\u0131 s\u00fcslenmi\u015ftir. \u00d6zellikle \u015eehzade Camii\u2019nin iki minaresinde ta\u015f i\u015flemeler kullan\u0131lm\u0131\u015ft\u0131r. Di\u011fer cami minarelerindeki sadelik bu camide yoktur.<\/p>\n\n\n\n

\n
\"\"
\u015eehzade Camii Minareleri.<\/figcaption><\/figure>\n\n\n\n
\"\"<\/figure>\n

<\/figcaption><\/figure>\n\n\n
\n
\"\"<\/figure><\/div>\n\n\n

Mimar Sinan, \u015eehzade Camii\u2019nde kulland\u0131\u011f\u0131 teknik ve uygulamalar\u0131 ba\u015fka hi\u00e7bir eserinde kullanmam\u0131\u015f fakat ondan sonra gelen mimarlar an\u0131tsal Osmanl\u0131 camilerini bu plana g\u00f6re in\u015fa etmi\u015ftir. Hi\u00e7bir mimar, Sinan\u2019\u0131n tekniklerini ileriye ta\u015f\u0131yamam\u0131\u015ft\u0131r. \u015eehzade Mehmet ba\u015fta olmak \u00fczere bir\u00e7ok ki\u015finin t\u00fcrbesi \u015eehzade Camii K\u00fclliyesi\u2019nde bulunmaktad\u0131r.<\/p>\n\n\n\n

Mimar Sinan’\u0131n Kalfal\u0131k Eseri: S\u00fcleymaniye Camii<\/strong><\/p>\n\n\n\n

\u0130stanbul Fatih\u2019te bulunan S\u00fcleymaniye Camii, Kanuni Sultan S\u00fcleyman taraf\u0131ndan 1550- 1557 y\u0131llar\u0131nda yapt\u0131r\u0131lm\u0131\u015ft\u0131r. Yap\u0131m\u0131n\u0131n bu kadar uzun s\u00fcrmesinin sebebini Mimar F.B., \u201cHali\u00e7 fay hatt\u0131n\u0131n yak\u0131nda bulunmas\u0131 sebebiyle Sinan bu camii in\u015fas\u0131n\u0131 ince ve uzun planlarla ilerletmi\u015ftir. Bu y\u00fczden yap\u0131m\u0131 uzun s\u00fcrm\u00fc\u015ft\u00fcr.\u201d \u015feklinde a\u00e7\u0131klad\u0131 ve ekledi, \u201c\u0130\u015fte burada Mimar Sinan\u2019\u0131n i\u015f ahlak\u0131n\u0131 g\u00f6rmekteyiz. G\u00fcn\u00fcm\u00fczde ise deprem riskiyle \u00e7ok daha fazla kar\u015f\u0131 kar\u015f\u0131ya olmam\u0131za ra\u011fmen m\u00fcteahhit mant\u0131\u011f\u0131 ile yap\u0131lar rant u\u011fruna h\u0131zl\u0131 ve kalitesiz yap\u0131l\u0131yor.\u201d <\/p>\n\n\n\n

\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n<\/figure>\n\n\n\n

S\u00fcleymaniye Camii, \u015eehzade Camii\u2019ne k\u0131yasla daha geni\u015f bir alana, daha geli\u015fmi\u015f tekniklerle in\u015fa edilmi\u015ftir. \u00d6l\u00e7ek bak\u0131m\u0131ndan Ayasofya\u2019ya benzemekle birlikte zaman\u0131n geli\u015fmi\u015f teknolojisiyle i\u00e7 mekanda daha etkileyici bir g\u00f6r\u00fcn\u00fcme sahip olmu\u015ftur. Yap\u0131n\u0131n monoton g\u00f6r\u00fcnmemesi i\u00e7in kubbeler bir b\u00fcy\u00fck bir k\u00fc\u00e7\u00fck olarak tasarlanm\u0131\u015ft\u0131r. Mimar F. B., \u201cAna kubbenin sa\u011f ve sol taraf\u0131ndaki kemerlerin alt\u0131nda ise 19 adet b\u00fcy\u00fck pencere ve d\u00f6rt k\u00fc\u00e7\u00fck dairesel pencereye sahip iki adet b\u00fcy\u00fck duvar bulunmaktad\u0131r, bu sayede i\u00e7 mekan ayd\u0131nlat\u0131lm\u0131\u015ft\u0131r.\u201d \u015feklinde konu\u015ftu.<\/p>\n\n\n

\n
\"\"
S\u00fcleymaniye camii kubbe ve pencereleri.<\/figcaption><\/figure><\/div>\n\n\n

S\u00fcleymaniye Camii\u2019nin \u0130stanbul fethinden sonra tahta ge\u00e7en d\u00f6rt padi\u015fah\u0131 temsilen d\u00f6rt minaresi ve Kanuni\u2019nin 10. padi\u015fah olmas\u0131n\u0131 temsilen 10 \u015ferefesi bulunmaktad\u0131r. S\u00fcleymaniye Camii\u2019nin minber k\u00fclah\u0131 metal y\u0131ld\u0131z kakmal\u0131d\u0131r. Bu y\u0131ld\u0131zlarla bezeli k\u00fclah, camii mimarisinde g\u00f6ky\u00fcz\u00fcn\u00fc temsil eder. En \u00e7ok \u00e7ini s\u00fcsleme ise k\u0131ble duvar\u0131na yap\u0131larak bu duvardaki renkli \u00e7ini kaplamalarla kutsal y\u00f6n vurgusu yap\u0131lm\u0131\u015ft\u0131r. Mimar Sinan S\u00fcleymaniye Camii\u2019nin kubbe ge\u00e7i\u015flerinde kutsal isimleri kullanarak kendinden sonraki d\u00f6nemler i\u00e7in bir mimari klasi\u011fi ba\u015flatm\u0131\u015ft\u0131r. Caminin sahip oldu\u011fu akustik sayesinde sesler her bir k\u00f6\u015feden rahatl\u0131kla duyulabilmektedir. Minare ve kubbelerde T\u00fcrk k\u00fclt\u00fcr\u00fcn\u00fc temsilen hilal ve y\u0131ld\u0131z bulunmaktad\u0131r.<\/p>\n\n\n\n

\n
\"\"
\u00c7ini bezeli k\u0131ble duvar\u0131 ve minber.<\/figcaption><\/figure>\n\n\n\n
\"\"
Kubbe ge\u00e7i\u015flerinde kullan\u0131lan Allah ve Muhammed isimleri.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

S\u00fcleymaniye Camii hakk\u0131nda g\u00f6r\u00fc\u015flerine devam eden Mimar F.B., \u201cBir yaz g\u00fcn\u00fc S\u00fcleymaniye\u2019ye gitti\u011fimizde bir\u00e7ok insan\u0131n bah\u00e7esinde vakit ge\u00e7irebiliyor olmas\u0131, Sinan\u2019\u0131n insanlara sosyal bir alan olu\u015fturdu\u011funu g\u00f6sterir.\u201d dedi. S\u00fcleymaniye Camii\u2019nde bulunan kandillerin, duman\u0131 kubbede belli odalarda biriktirerek toplan\u0131p hokkalarda m\u00fcrekkep olarak kullan\u0131lmas\u0131 detay\u0131ndan da bahseden F.B, \u201cG\u00fcn\u00fcm\u00fcz mimari eserlerinin \u00e7abucak t\u00fcketilir olmas\u0131n\u0131 g\u00f6rd\u00fck\u00e7e bu eserlerin fonksiyonelli\u011fi bize ilham vermeli.\u201d ifadelerini kulland\u0131.<\/p>\n\n\n\n

S\u00fcleymaniye’den Esinlenerek Yap\u0131lan \u00c7aml\u0131ca Camii Hakk\u0131nda Ne D\u00fc\u015f\u00fcn\u00fcyorsunuz?<\/strong><\/p>\n\n\n\n

\u201cMimar Sinan olsa o Camii\u2019ni oraya yapar m\u0131yd\u0131 diye d\u00fc\u015f\u00fcn\u00fcyorum. \u015eehrin silueti, modernite sonucu \u00e7arp\u0131k kentle\u015fme ile zaten bozulmu\u015fken tepedeki caminin varl\u0131\u011f\u0131 \u00e7ok da dikkat \u00e7ekmemekte. Mimar Sinan hi\u00e7bir zaman kendini tekrar etmemi\u015fken ona benzetilmek amac\u0131 g\u00fcden bir camii yaparken bunlar\u0131n d\u00fc\u015f\u00fcn\u00fcl\u00fcp d\u00fc\u015f\u00fcn\u00fclmedi\u011fi tart\u0131\u015f\u0131l\u0131r. Camii de bir sanat eseridir ve hi\u00e7bir sanat eserinde olmayaca\u011f\u0131 gibi biri di\u011ferinin tekrar\u0131 olamaz. Kullan\u0131c\u0131lar\u0131n bir\u00e7o\u011fu yap\u0131lan bu Camii\u2019ni be\u011fense de Mimar Sinan eserleri kadar \u00e7a\u011fa meydan okuyamayacak ve s\u00fcrekli olamayacakt\u0131r.\u201d<\/p>\n\n\n\n

Mimar Sinan’\u0131 Farkl\u0131la\u015ft\u0131ran \u00d6zellikler Sizce Nelerdir?<\/strong><\/p>\n\n\n\n

\u201c\u0130stanbul siluetini olu\u015fturacak \u00f6nemli konumlarda eserlerini yapm\u0131\u015f olmas\u0131d\u0131r. Ayn\u0131 zamanda o sadece mimar de\u011fildir. Bir m\u00fchendis zekas\u0131 ile yap\u0131tlar\u0131n\u0131 in\u015fa etmi\u015ftir. Bu y\u00fczden eserleri g\u00fcn\u00fcm\u00fcze kadar ula\u015fm\u0131\u015f ve h\u00e2l\u00e2 kullan\u0131lmaktad\u0131r. Mimar Sinan g\u00fcn\u00fcm\u00fczde bile biz mimarlara esin kayna\u011f\u0131 olmakta ve olmaya da devam edecektir.\u201d<\/p>\n\n\n\n

Camilerde Kullan\u0131lan T\u00fcrk \u00dc\u00e7geni<\/strong><\/p>\n\n\n\n

Osmanl\u0131 mimarisinde yer yer Sel\u00e7uklu mimari yap\u0131m tekniklerinden esinlenme g\u00f6r\u00fcld\u00fc\u011f\u00fcnden bahseden F.B., bu iki camide de yer alan T\u00fcrk \u00dc\u00e7genlerinin yap\u0131y\u0131 destekleyici bir eleman olarak kullan\u0131ld\u0131\u011f\u0131n\u0131 s\u00f6yledi.<\/p>\n\n\n\n

\n
\"\"
\u015eehzade Camii T\u00fcrk \u00dc\u00e7geni \u00d6rne\u011fi.<\/figcaption><\/figure>\n\n\n\n
\"\"
S\u00fcleymaniye Camii T\u00fcrk \u00dc\u00e7geni \u00f6rne\u011fi.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

Mimar Sinan Kimdir?<\/strong><\/p>\n\n\n\n

Mimar Sinan, di\u011fer bir ad\u0131yla Koca Mimar Sinan A\u011fa, 1488\/1490 y\u0131l\u0131nda do\u011fdu. Osmanl\u0131 d\u00f6neminde yeni\u00e7eri olarak dev\u015firildi. Sinan; Kanuni Sultan S\u00fcleyman, II. Selim ve III. Murad d\u00f6nemlerinde ba\u015f mimarl\u0131k yapt\u0131. Mimar, 1788 y\u0131l\u0131nda hayata g\u00f6zlerini yumarken ard\u0131nda toplam 375 eser b\u0131rakt\u0131. ‘Ustal\u0131k eserim’ olarak nitelendirdi\u011fi Edirne Selimiye Camii, 2011 y\u0131l\u0131nda UNESCO taraf\u0131ndan D\u00fcnya Miras Listesi’ne al\u0131nd\u0131. \u0130stanbul B\u00fcy\u00fck\u00e7ekmece\u2019de bulunan Kanuni Sultan S\u00fcleyman K\u00f6pr\u00fcs\u00fc, Mimar Sinan imzas\u0131n\u0131n bulundu\u011fu bilinen tek eserdir. G\u00fcn\u00fcm\u00fczde dahi Mimar Sinan ve eserleri hakk\u0131nda ara\u015ft\u0131rmalar devam etmektedir.<\/p>\n","protected":false},"excerpt":{"rendered":"

Muhabir: Bet\u00fcl Gedik Edit\u00f6r: Cemil \u0130lg\u00f6r Mimar F. B. ile Mimar Sinan ve eserleri hakk\u0131nda s\u00f6yle\u015fi ger\u00e7ekle\u015ftirildi. S\u00f6yle\u015fiye Mimar Sinan’\u0131n \u00e7\u0131rakl\u0131k ve kalfal\u0131k eseri olan camiler ve N. \u00c7i\u00e7ek Ak\u00e7\u0131l Harmankaya\u2019n\u0131n “Mimar Sinan Camilerinde Sembolizm \u00dczerine Bir De\u011ferlendirme” adl\u0131 ara\u015ft\u0131rma makalesi kaynakl\u0131k etti. Camilerde Mimar Sinan Ruhunu Yans\u0131tan \u00d6zellikler Mimar Sinan, camilerini halk\u0131n kullanmas\u0131 ve […]<\/p>\n","protected":false},"author":14,"featured_media":22652,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jnews-multi-image_gallery":[],"jnews_single_post":{"subtitle":"","format":"standard","video":"","gallery":"","source_name":"","source_url":"","via_name":"","via_url":"","override_template":"0","override":[{"template":"1","single_blog_custom":"","parallax":"1","fullscreen":"1","layout":"double-sidebar","sidebar":"single-left","second_sidebar":"default-sidebar","sticky_sidebar":"1","share_position":"top","share_float_style":"share-monocrhome","show_share_counter":"1","show_view_counter":"1","show_featured":"1","show_post_meta":"1","show_post_author":"1","show_post_author_image":"1","show_post_date":"1","post_date_format":"default","post_date_format_custom":"Y\/m\/d","show_post_category":"1","show_post_reading_time":"0","post_reading_time_wpm":"300","show_zoom_button":"0","zoom_button_out_step":"2","zoom_button_in_step":"3","show_post_tag":"1","show_prev_next_post":"1","show_popup_post":"1","number_popup_post":"1","show_author_box":"0","show_post_related":"0","show_inline_post_related":"1"}],"override_image_size":"0","image_override":[{"single_post_thumbnail_size":"crop-500","single_post_gallery_size":"crop-500"}],"trending_post":"0","trending_post_position":"meta","trending_post_label":"Trending","sponsored_post":"0","sponsored_post_label":"Sponsored by","sponsored_post_name":"","sponsored_post_url":"","sponsored_post_logo_enable":"0","sponsored_post_logo":"","sponsored_post_desc":"","disable_ad":"0"},"jnews_primary_category":{"id":"","hide":""},"jnews_social_meta":{"fb_title":"","fb_description":"","fb_image":"","twitter_title":"","twitter_description":"","twitter_image":""},"jnews_override_counter":{"override_view_counter":"0","view_counter_number":"0","override_share_counter":"0","share_counter_number":"0","override_like_counter":"0","like_counter_number":"0","override_dislike_counter":"0","dislike_counter_number":"0"},"footnotes":""},"categories":[1,30,2085],"tags":[625,891,2940,2942,2941],"class_list":["post-22646","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-genel","category-kultur-sanat","category-manset-haber","tag-kultur-sanat","tag-mimar-sinan","tag-mimari-2","tag-sehzade-camii","tag-suleymaniye-camii"],"_links":{"self":[{"href":"https:\/\/iletim.istanbul.edu.tr\/index.php\/wp-json\/wp\/v2\/posts\/22646","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/iletim.istanbul.edu.tr\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/iletim.istanbul.edu.tr\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/iletim.istanbul.edu.tr\/index.php\/wp-json\/wp\/v2\/users\/14"}],"replies":[{"embeddable":true,"href":"https:\/\/iletim.istanbul.edu.tr\/index.php\/wp-json\/wp\/v2\/comments?post=22646"}],"version-history":[{"count":0,"href":"https:\/\/iletim.istanbul.edu.tr\/index.php\/wp-json\/wp\/v2\/posts\/22646\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/iletim.istanbul.edu.tr\/index.php\/wp-json\/wp\/v2\/media\/22652"}],"wp:attachment":[{"href":"https:\/\/iletim.istanbul.edu.tr\/index.php\/wp-json\/wp\/v2\/media?parent=22646"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/iletim.istanbul.edu.tr\/index.php\/wp-json\/wp\/v2\/categories?post=22646"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/iletim.istanbul.edu.tr\/index.php\/wp-json\/wp\/v2\/tags?post=22646"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}