{"id":6199,"date":"2026-04-11T13:35:05","date_gmt":"2026-04-11T13:35:05","guid":{"rendered":"https:\/\/apelasyon.com\/doga-ve-cevre\/dus-ile-gercegin-arasi-simetrik-saray-dolmabahce\/"},"modified":"2026-04-14T11:12:00","modified_gmt":"2026-04-14T11:12:00","slug":"dus-ile-gercegin-arasi-simetrik-saray-dolmabahce","status":"publish","type":"post","link":"https:\/\/apelasyon.com\/it\/turizm\/dus-ile-gercegin-arasi-simetrik-saray-dolmabahce\/","title":{"rendered":"IL DIVARIO TRA LA FATA E LA VERIT\u00c0 \u00c8 SIMMETRICO PALAZZO: DOLMABAH\u00c7E"},"content":{"rendered":"<div class=\"post-content\">\n<p>\t<title><\/title><\/p>\n<p>Dolmabah\u00e7e Saray\u0131 Atat\u00fcrk\u2019\u00fcn g\u00f6zlerini yumdu\u011fu saray ve T\u00fcrkiye\u2019nin ikinci b\u00fcy\u00fck saray\u0131 olarak bug\u00fcn bir\u00e7ok insan i\u00e7in g\u00f6r\u00fclesi ve benzer mimari stillerin tasar\u0131m\u0131 ile insanlar\u0131 tarihin derinliklerine g\u00f6t\u00fcren e\u015fsiz bir dehliz. \u00d6yle ki k\u0131sa bir bo\u011faz turundan sonra g\u00f6vdelerini t\u00fcm heybetiyle size sunan bu tasar\u0131m\u0131n d\u0131\u015f g\u00fczelli\u011fi bile insan\u0131 etkiliyor. D\u0131\u015f mekan\u0131 canl\u0131 materyal e\u015fli\u011finde g\u00fcn\u00fcm\u00fcze ta\u015f\u0131makla kalmam\u0131\u015f, \u015fimdilerde kullan\u0131m a\u00e7\u0131s\u0131ndan kent olgusuna rekreasyon alan\u0131 olarak kat\u0131lan ve zevkle vakit ge\u00e7irilen alan haline gelmi\u015ftir. Konunun i\u00e7ine az biraz ara\u015ft\u0131rmac\u0131 g\u00f6z\u00fcyle yakla\u015ft\u0131\u011f\u0131m\u0131z zaman Peyzaj Mimari\u2019sinin t\u00fcm inceliklerine de \u015fahit oluyoruz. \u0130\u015fte ben de tam bu noktada sizlere ufak bilgilerle bu de\u011ferimizin kusursuz d\u0131\u015f tasar\u0131m\u0131n\u0131 anlatmaya \u00e7al\u0131\u015faca\u011f\u0131m.\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/p>\n<p>Dolmabah\u00e7e Saray\u2019\u0131n\u0131 gezip g\u00f6rmenin anlatmaktan daha kal\u0131c\u0131 olabilece\u011fini fark ettim fakat gitme gibi bir imk\u00e2n\u0131m olmad\u0131\u011f\u0131 i\u00e7in bende sanal turlardan detayl\u0131 bir \u015fekilde inceledim. Bu incelememin sonucunda dikkatimi \u00e7eken en \u00f6nemli \u00f6zelli\u011fi simetrik bir planla in\u015fa edilmi\u015f olmas\u0131yd\u0131 Ara\u015ft\u0131rmalar\u0131ma g\u00f6re deniz cephesindeki her objenin e\u015fi, kara cephesinde de vard\u0131. Bu durumdan yola \u00e7\u0131karak mimarisinde birbirine uyumlu mimari stillerin kullan\u0131ld\u0131\u011f\u0131n\u0131, bu mimari stillerin de; Frans\u0131z Barok\u2019u, Alman Rokoko \u2019su, \u0130ngiliz Neo Klasizim\u2019i, \u0130talyan R\u00f6nesans\u2019\u0131 ve Osmanl\u0131 oldu\u011funu ayr\u0131ca bunlar\u0131n kar\u0131\u015f\u0131k bir \u015fekilde uygulanm\u0131\u015f oldu\u011funu \u00f6\u011frendim. Eskiden d\u0131\u015f mek\u00e2n bah\u00e7e kavram\u0131 bence yarar sa\u011flama amac\u0131yla ortaya \u00e7\u0131km\u0131\u015ft\u0131r. Detayl\u0131 incelendi\u011finde fark ediliyor ki padi\u015fahlar\u0131n; do\u011faya, meyveye, \u00e7i\u00e7e\u011fe, bah\u00e7eye verdikleri sayg\u0131 ve \u00f6nem g\u00f6z \u00f6n\u00fcnde tutulmu\u015f hatta bu ama\u00e7la da Bostan i\u015fleri i\u00e7in Bostanc\u0131 Oca\u011f\u0131 kurulmu\u015ftur. Bu sarayda d\u0131\u015f mek\u00e2n bah\u00e7e kavram\u0131n\u0131n estetik anlay\u0131\u015fa g\u00f6re bi\u00e7imlenen, zevk ve huzur veren do\u011fa par\u00e7alar\u0131na d\u00f6n\u00fc\u015f\u00fcm s\u00fcrecini bu \u015fekilde ya\u015fatm\u0131\u015flard\u0131r.\u00a0<\/p>\n<p>Saray\u0131n bah\u00e7elerini detayl\u0131 inceledi\u011fimiz zaman mimari stillerin genel olarak etkilerini g\u00f6rebiliyoruz. Saray\u0131n do\u011fal g\u00f6r\u00fcn\u00fcml\u00fc bah\u00e7e k\u0131s\u0131mlar\u0131n\u0131n olmas\u0131, i\u00e7e d\u00f6n\u00fck avlu anlay\u0131\u015f\u0131n\u0131n olmas\u0131, Be\u015fikta\u015f yolu boyunca \u00e7ok y\u00fcksek bir duvarla \u00e7evrili olmas\u0131 ve bah\u00e7eler aras\u0131nda kap\u0131 ge\u00e7i\u015flerinin de olmas\u0131 bize Osmanl\u0131 Mimari\u2019sinden kesitler oldu\u011funu da g\u00f6stermektedir; buda klasik saray ya\u015fant\u0131s\u0131n\u0131n mahremiyetini koruma ama\u00e7l\u0131 yap\u0131ld\u0131\u011f\u0131n\u0131n ispat\u0131d\u0131r. Bu y\u00fczden saray deniz taraf\u0131ndan mermer kapl\u0131 bir r\u0131ht\u0131mla, di\u011fer taraftan da yolla s\u0131n\u0131rland\u0131r\u0131lm\u0131\u015f ve yap\u0131y\u0131 \u00e7evreleyecek \u015fekilde, olanak bulunan yerlerde kurulmu\u015ftur<\/p>\n<p>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/p>\n<p>\u00a0 \u00a0 \u00a0<\/p>\n<p>Saray\u0131n bah\u00e7eleri, be\u015f b\u00f6l\u00fcm halinde d\u00fczenlenmi\u015ftir\u00a0<\/p>\n<ul>\n<li><b>A. Hasbah\u00e7e (Selaml\u0131k Bah\u00e7esi):<\/b> Hasbah\u00e7e&#8217;ye Hazine Kap\u0131s\u0131&#8217;ndan girildi\u011finde kar\u015f\u0131m\u0131za k\u00fc\u00e7\u00fck d\u00f6\u015feme dairesinin bulundu\u011fu bah\u00e7e gelmektedir. Bu bah\u00e7e de denize paralel uzanan, ana eksen \u00fczerinde bulunan, k\u00f6\u015feleri yuvarlat\u0131lm\u0131\u015f sekizgen planl\u0131 olan ve \u00e7evresinde f\u0131skiyesinden ho\u015f bir sesle sular\u0131n d\u00f6k\u00fcld\u00fc\u011f\u00fc bir havuz bulunmaktad\u0131r.\u00a0 Havuzun \u00e7evresinde mermerler, ayd\u0131nlatma direkleri, heykeller, merkezi simetrik d\u00fczen, Barok stilinde d\u00fczenlenmi\u015f \u00e7i\u00e7ek ekim alanlar\u0131, &#8216;topiary&#8217; sanat\u0131 kullan\u0131larak budanarak \u015fekil verilmi\u015f bitkiler ve \u00e7evreye do\u011fru \u0131\u015f\u0131nsal \u015fekilde yay\u0131lan yollar bulunmaktad\u0131r Hasbah\u00e7e&#8217;nin yaya yollar\u0131, bah\u00e7enin orijinal \u00e7izgilerine ba\u011fl\u0131 ve g\u00f6rsel y\u00f6nden g\u00fc\u00e7l\u00fcd\u00fcr. Yaya yollar\u0131 zemini genellikle sert doku olan \u00e7ak\u0131l ile d\u00f6\u015fenmi\u015ftir. Bitkisel d\u00fczenlemede de herhangi bir bitkisel tasar\u0131m kriteri belirgin olarak kullan\u0131lmam\u0131\u015ft\u0131r\u00a0<\/li>\n<li><b>B. Sahil \u00d6n Bah\u00e7esi<\/b>: Hasbah\u00e7e\u2019lerin devam\u0131 olarak r\u0131ht\u0131m boyunca uzanmaktad\u0131r. Burada da Muayede Salonu eksenine g\u00f6re simetrik bir d\u00fczenleme yap\u0131lm\u0131\u015f, Resmi Daire ve Hususi Daire \u00f6n\u00fcnde birer oval bitkisel ekim alanlar\u0131 olu\u015fturulmu\u015ftur. Kareye yak\u0131n dikd\u00f6rtgen \u015feklinde olan \u00f6n bah\u00e7enin, geometrik d\u00fczenli ve merkezi bak\u0131\u015f\u0131ml\u0131 olan Frans\u0131z Barok bah\u00e7esinin \u00f6rnek al\u0131nm\u0131\u015f oldu\u011fu g\u00f6r\u00fclmektedir.\u00a0<\/li>\n<li><b>C. Ku\u015fluk Bah\u00e7esi<\/b>: Muayede Salonu gibi y\u00fcksek bir yap\u0131n\u0131n arka taraf\u0131nda yer alm\u0131\u015f ve b\u00fcy\u00fck g\u00f6rkemli a\u011fa\u00e7lar\u0131n g\u00f6lgeleri nedeniyle karanl\u0131k atmosfer i\u00e7inde do\u011fal bir ortam olu\u015fturulmu\u015ftur. Bu bah\u00e7e hafif e\u011fimli bir alanda yap\u0131lm\u0131\u015f olmas\u0131 nedeniyle, simetrik d\u00fczenlemeye gidilmemi\u015ftir. Barok tarz\u0131nda yuvarlak bir havuz ve gruplar halinde bitkilendirme ile tasar\u0131m sonland\u0131r\u0131lm\u0131\u015ft\u0131r\u00a0<\/li>\n<li><b>D. Harem Bah\u00e7esi<\/b>: Saray\u0131n arka bah\u00e7eler dizisinde yer al\u0131r Ku\u015fluk Bah\u00e7esi&#8217;nin aksine formel stilde d\u00fczenlenmi\u015f olup, Barok bah\u00e7e stilinin izlerini ta\u015f\u0131maktad\u0131r<\/li>\n<li><b>E. Veliaht Bah\u00e7esi<\/b>: Veliaht bah\u00e7eleri, ortalar\u0131nda oval veya yar\u0131m daire \u015feklinde havuzlar bulunan, yine geometrik d\u00fczenli, fakat \u00e7evreleri ku\u015fat\u0131lm\u0131\u015f i\u00e7 avlu \u015feklindedir. Bu i\u00e7 avlular, Hasbah\u00e7e gibi a\u00e7\u0131k ve geni\u015f g\u00f6r\u00fcn\u00fcml\u00fc de\u011fildir. Bu nedenle saray\u0131n kara taraf\u0131nda yer alan bah\u00e7eler, yap\u0131sal yerle\u015fme bi\u00e7imi ve mahremiyete d\u00f6n\u00fck ya\u015fay\u0131\u015f anlay\u0131\u015f\u0131 ile Osmanl\u0131 Mimari stilinin izlerini ta\u015f\u0131maktad\u0131r \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<\/li>\n<\/ul>\n<p>\u00a0<\/p>\n<p>\u00a0<\/p>\n<p>Bu saray bah\u00e7elerinde gezinirken g\u00f6rd\u00fc\u011f\u00fcm\u00fcz gibi hemen hemen hepsinde son derece \u00f6nemli olan, saray bah\u00e7elerine vurguyu g\u00fc\u00e7lendirme ve dikkat \u00e7ekme amac\u0131yla bir\u00e7ok Peyzaj Elemanlar\u0131 kullan\u0131lm\u0131\u015ft\u0131r. Kullan\u0131lan Peyzaj Elemanlar\u0131 \u015funlard\u0131r:\u00a0<\/p>\n<ul>\n<li><b>A. Heykeller<\/b>: Eski T\u00fcrk bah\u00e7elerinde serbest\u00e7e dola\u015fan hayvanlar\u0131n yerini, Dolmabah\u00e7e de aslan heykelleri alarak saray\u0131n bah\u00e7esinde noktasal vurgu etkisi yaratm\u0131\u015ft\u0131r. Saray bah\u00e7esinin genel tasar\u0131m\u0131nda yer alan cans\u0131z materyallerin sa\u011fl\u0131 sollu yerle\u015ftirilmesi simetrik dengeyi olu\u015fturma ama\u00e7l\u0131d\u0131r.<\/li>\n<\/ul>\n<p>\u00a0 \u00a0 \u00a0<\/p>\n<ul>\n<li><b>B. Havuzlar: <\/b>Osmanl\u0131 bah\u00e7elerinde hayat\u0131n su ile m\u00fcmk\u00fcn oldu\u011fu d\u00fc\u015f\u00fcncesi savunulmu\u015ftur. Bu y\u00fczden Dolmabah\u00e7e Saray\u2019\u0131n\u0131n bah\u00e7esinde havuzlara b\u00fcy\u00fck \u00f6l\u00e7\u00fcde yer verilmi\u015ftir. Saray\u0131n hemen hemen her bah\u00e7esinde yuvarlak, elips, informal tipte 11 adet havuz bulunmaktad\u0131r<\/li>\n<\/ul>\n<p>\u00a0\u00a0 \u00a0<\/p>\n<ul>\n<li><b>C. Bitkisel Elemanlar:<\/b> Bitkilerin genellikle informal stilde yerle\u015ftirilmesi nedeniyle bitkisel d\u00fczenlemede belli bir dengenin varl\u0131\u011f\u0131ndan s\u00f6z etmek olduk\u00e7a zordur. Saray\u0131n bah\u00e7esinde yaln\u0131zca mevsimlik \u00e7i\u00e7ek ekim alanlar\u0131nda simetrik d\u00fczenlemeler yap\u0131lm\u0131\u015ft\u0131r.<\/li>\n<\/ul>\n<p>\u00a0<\/p>\n<ul>\n<li><b>D. Y\u00fcr\u00fcme Yollar\u0131: <\/b>Dolmabah\u00e7e Saray\u0131 bah\u00e7esinde dolan\u0131m\u0131 sa\u011flayan yollar genellikle sert doku olan \u00e7ak\u0131l, yumu\u015fak doku olan kum kar\u0131\u015f\u0131m\u0131d\u0131r. Hasbah\u00e7e, Harem bah\u00e7esi, Ku\u015fluk bah\u00e7esi ve Veliaht Dairesi arka bah\u00e7esindeki yollar Bozhane kumu ile d\u00f6\u015fenmi\u015ftir. Ku\u015fluk bah\u00e7esinde yollar s\u0131k\u0131\u015ft\u0131r\u0131lm\u0131\u015f toprakt\u0131r.<\/li>\n<li><b>E. Ayd\u0131nlatma Elemanlar\u0131<\/b>: Osmanl\u0131lar, bah\u00e7elerinin belli yerlerine ayd\u0131nlatma amac\u0131yla genellikle ah\u015fap ve madenden yap\u0131lma fenerler asm\u0131\u015flard\u0131r. Kandil ve me\u015faleli olan bu donan\u0131mlar 19. y\u00fczy\u0131l\u0131n ikinci yar\u0131s\u0131na kadar kullan\u0131lm\u0131\u015f, daha sonralar\u0131 ise elektrik donan\u0131mlar\u0131 kullan\u0131lmaya ba\u015flanm\u0131\u015ft\u0131r (Atasoy, 1985). Saray bah\u00e7esi i\u00e7inde yer alan ayd\u0131nlatma direklerini, geli\u015fi g\u00fczel yerle\u015ftirilmeyip \u00e7i\u00e7ek ekim alanlar\u0131n\u0131n d\u0131\u015f \u00e7izgileri boyunca kap\u0131 giri\u015flerine, binalar\u0131n \u00f6n k\u0131s\u0131mlar\u0131na sabit \u015fekilde konulduklar\u0131 g\u00f6zlemlenmi\u015ftir. Ayd\u0131nlatma direklerinin yan\u0131 s\u0131ra, r\u0131ht\u0131m boyunca hava gaz\u0131 ile \u00e7al\u0131\u015fan ayd\u0131nlatma elemanlar\u0131n\u0131n sonradan kald\u0131r\u0131larak, I. Yal\u0131 Kap\u0131s\u0131 \u00f6n\u00fcne konulduklar\u0131, onlar\u0131n yerine de g\u00fcn\u00fcm\u00fczde mevcut olan vazolar\u0131n yerle\u015ftirildi\u011fi bilinmektedir<\/li>\n<\/ul>\n<p>(Atasoy, 1985)<\/p>\n<p>\u00a0<\/p>\n<p>B\u00fct\u00fcn ara\u015ft\u0131rmalar\u0131m\u0131n sonunda bir\u00e7ok mimari stillerin harmanlanarak uyum i\u00e7erisinde olu\u015fturulan nadir eserlerden biri olan, ad\u0131na masallar, \u015fiirler yazd\u0131rabilen e\u015fsiz ve g\u00f6rkemli Dolmabah\u00e7e Saray\u2019\u0131 hakk\u0131nda bir\u00e7ok bilgiyi \u00f6\u011frenebiliriz ama bana kal\u0131rsa Dolmabah\u00e7e Saray\u2019\u0131n\u0131 en ba\u015f\u0131nda da dedi\u011fim gibi gezip g\u00f6rmek anlatmaktan daha kal\u0131c\u0131 ve etkili olacakt\u0131r. G\u00fcn\u00fcm\u00fczde saray bah\u00e7esinin uygun g\u00f6r\u00fclen b\u00f6l\u00fcmlerine yeni ayd\u0131nlatma \u00fcniteleri eklenerek gece, bah\u00e7e ve binalar ayd\u0131nlat\u0131lmaktad\u0131r G\u00fcn\u00fcm\u00fczde birer k\u00fclt\u00fcr ve tarih hazinesi olan tarihi saray bah\u00e7elerinde \u00f6nceli\u011fimiz, sahip olduklar\u0131 \u00f6zellikleri ilerdeki ku\u015faklara da en do\u011fru \u015fekilde aktarmak ve b\u00f6ylelikle tarihi bilinci olu\u015fturmak olmal\u0131d\u0131r. Yaln\u0131zca sahip olunan \u00fclkede de\u011fil, t\u00fcm d\u00fcnyada art\u0131k daha \u00e7ok \u00f6nem kazanan saray bah\u00e7eleri, kendini anlatan tasar\u0131mlar\u0131 ile en do\u011fru \u015fekilde korunmal\u0131d\u0131r. Ge\u00e7mi\u015ften g\u00fcn\u00fcm\u00fcze yenilenerek ula\u015fm\u0131\u015f saray bah\u00e7elerinde yap\u0131lacak olan bak\u0131m, onar\u0131m ve yenilenme \u00e7al\u0131\u015fmalar\u0131nda peyzaj tasar\u0131m ilkelerine uyma ve tarihsel dokuya ayk\u0131r\u0131 d\u00fc\u015fmemeye \u00f6zen g\u00f6sterilmelidir.<\/p>\n<p>\u00a0<\/p>\n<p><b>Kaynaklar:<\/b><\/p>\n<p><a href=\"http:\/\/bizimkahve.gazetevatan.com\/haberdetay.asp?hkat=1&amp;hid=15228&amp;yaz=G%FCncel\" target=\"_blank\">http:\/\/bizimkahve.gazetevatan.com\/haberdetay.asp?hkat=1&amp;hid=15228&amp;yaz=G%FCncel<\/a><\/p>\n<p><a href=\"http:\/\/www.3dmekanlar.com\/tr\/dolmabahce-sarayi.html7\" target=\"_blank\">http:\/\/www.3dmekanlar.com\/tr\/dolmabahce-sarayi.html7<\/a><\/p>\n<p><a href=\"http:\/\/www.turkcebilgi.com\/dolmabah%C3%A7\" target=\"_blank\">http:\/\/www.turkcebilgi.com\/dolmabah%C3%A7e_saray%C4%B1<\/a><\/p>\n<p><a href=\"http:\/\/muhteremlegeziye.blogspot.com.tr\/2009_06_01_archive.html\" target=\"_blank\">http:\/\/muhteremlegeziye.blogspot.com.tr\/2009_06_01_archive.html<\/a><\/p>\n<p><a href=\"http:\/\/www.isteataturk.com\/\" target=\"_blank\">http:\/\/www.isteataturk.com\/haber\/5070\/istanbul-dolmabahce-sarayi<\/a><\/p>\n<p><a href=\"http:\/\/tr.wikipedia.org\/wiki\/Dolmabah%c3%a7e_Saray%c4%25b\" target=\"_blank\">http:\/\/tr.wikipedia.org\/wiki\/Dolmabah%c3%a7e_Saray%c4%b<\/a>1<\/p>\n<p><a href=\"\/it\/\" target=\"_blank\">http:\/\/harika.istanbul.gov.tr\/Default.aspx?pid=356<\/a><a href=\"http:\/\/www.istanbul.net.tr\/istanbul-Rehberi\/tarihi-eserler\/dolmabahce-sarayi\/96\/6\" target=\"_blank\">http:\/\/www.istanbul.net.tr\/istanbul-Rehberi\/tarihi-eserler\/dolmabahce-sarayi\/96\/6<\/a><\/p>\n<p>FAHR\u0130 MUTLU, &#8220;X\u0131x. Y\u00fczy\u0131l osmanl\u0131 saray bah\u00e7elerinde bat\u0131l\u0131la\u015fma&#8217;n\u0131n tasar\u0131ma etkilerinin Peyzaj tasar\u0131m ilkeleri a\u00e7\u0131s\u0131ndan irdelenmesi&#8221;,B.\u00dc.Fenbilimleri Enst. Y\u00fcksek Lisans Tezi, \u0130STANBUL<\/p>\n<\/p><\/div>","protected":false},"excerpt":{"rendered":"<p>Dolmabah\u00e7e Saray\u0131 Atat\u00fcrk\u2019\u00fcn g\u00f6zlerini yumdu\u011fu saray ve T\u00fcrkiye\u2019nin ikinci b\u00fcy\u00fck saray\u0131 olarak bug\u00fcn bir\u00e7ok insan i\u00e7in g\u00f6r\u00fclesi ve benzer mimari stillerin tasar\u0131m\u0131 ile insanlar\u0131 tarihin derinliklerine g\u00f6t\u00fcren e\u015fsiz bir dehliz. \u00d6yle ki k\u0131sa bir bo\u011faz turundan sonra g\u00f6vdelerini t\u00fcm heybetiyle size sunan bu tasar\u0131m\u0131n d\u0131\u015f g\u00fczelli\u011fi bile insan\u0131 etkiliyor. D\u0131\u015f mekan\u0131 canl\u0131 materyal e\u015fli\u011finde g\u00fcn\u00fcm\u00fcze [&hellip;]<\/p>\n","protected":false},"author":14,"featured_media":6200,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[56],"tags":[214],"class_list":["post-6199","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-turizm","tag-18-sayi"],"_links":{"self":[{"href":"https:\/\/apelasyon.com\/it\/wp-json\/wp\/v2\/posts\/6199","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/apelasyon.com\/it\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/apelasyon.com\/it\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/apelasyon.com\/it\/wp-json\/wp\/v2\/users\/14"}],"replies":[{"embeddable":true,"href":"https:\/\/apelasyon.com\/it\/wp-json\/wp\/v2\/comments?post=6199"}],"version-history":[{"count":1,"href":"https:\/\/apelasyon.com\/it\/wp-json\/wp\/v2\/posts\/6199\/revisions"}],"predecessor-version":[{"id":7002,"href":"https:\/\/apelasyon.com\/it\/wp-json\/wp\/v2\/posts\/6199\/revisions\/7002"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/apelasyon.com\/it\/wp-json\/wp\/v2\/media\/6200"}],"wp:attachment":[{"href":"https:\/\/apelasyon.com\/it\/wp-json\/wp\/v2\/media?parent=6199"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/apelasyon.com\/it\/wp-json\/wp\/v2\/categories?post=6199"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/apelasyon.com\/it\/wp-json\/wp\/v2\/tags?post=6199"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}