Hat Sanat\u0131nda Form ve Formsuzluk<\/h2>\n\n\n\n
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\u0130slam sanat gelene\u011fi incelendi\u011finde, ge\u00e7ici ve cismani \u015fekilden ziyade, kal\u0131c\u0131, zamans\u0131z ve formsuz olan\u0131n estetik formlarla temsilinin \u00f6n planda oldu\u011fu g\u00f6r\u00fclmektedir. Geometrik ve yaz\u0131l\u0131 formlar, simetri g\u00f6zetilerek belirli kal\u0131plar halinde dizilmi\u015f, b\u00f6ylece sanat tek boyutlu ve \u00e2na hapsolmu\u015f olmaktan kurtularak izleyicinin muhayyilesinde \u015fekillenmi\u015ftir. Bu y\u00f6n\u00fcyle sanat, fiziksel bir mevcudiyet olmaktan \u00e7\u0131kar; izleyicinin muhayyilesinde yeniden kurulan ve tecr\u00fcbe edilen bir forma d\u00f6n\u00fc\u015f\u00fcr. Bu estetik tecr\u00fcbe, yaln\u0131zca d\u0131\u015fsal bir g\u00f6zlem de\u011fil, ayn\u0131 zamanda izleyicinin zihinsel yap\u0131s\u0131, bili\u015fsel \u015femalar\u0131 ve sezgisel yatk\u0131nl\u0131klar\u0131yla (disposition) \u015fekillenir. Dolay\u0131s\u0131yla deneyim, sanat eseriyle ba\u015flar, i\u00e7sel bir yolculukla devam eder ve sanat eseriyle izleyici aras\u0131nda sonsuz bir al\u0131\u015fveri\u015fe d\u00f6n\u00fc\u015f\u00fcr.<\/p>\n\n\n\n
Klasik \u0130slam sanat\u0131, \u0130slam f\u0131kh\u0131 s\u0131n\u0131rlar\u0131 i\u00e7inde \u015fekillenerek geli\u015fmi\u015f, g\u00f6rsel sanatlarda bu durum di\u011fer dini k\u00fclt\u00fcrlerde yayg\u0131n olan y\u00fcz-canl\u0131 tasvirinden ka\u00e7\u0131nmay\u0131 beraberinde getirmi\u015ftir. Bu durum \u0130slam sanat k\u00fclt\u00fcr\u00fcn\u00fcn kendi i\u00e7inde farkl\u0131 form gelenekleri olu\u015fmas\u0131na sebep olmu\u015ftur. Hat sanat\u0131, \u0130slam gelene\u011finin en belirleyici sanat t\u00fcrlerinden biri olarak, yaz\u0131l\u0131 olanda tahayy\u00fcl\u00fc canland\u0131rma ve estetik alg\u0131s\u0131 yaratma amac\u0131 g\u00fctm\u00fc\u015ft\u00fcr. Hat sanat\u0131n\u0131n bir yan\u0131 fonksiyonel anlamda yaz\u0131m i\u015flevi g\u00f6r\u00fcrken, bilhassa vahyi ve hadisi aktarma amac\u0131yla yaz\u0131lan eserlerde bu ama\u00e7 \u00f6n plandad\u0131r, di\u011fer yandan okunmas\u0131n\u0131n ciddi anlamda zorla\u015ft\u0131\u011f\u0131 ve bir\u00e7ok a\u00e7\u0131dan asl\u0131nda yaz\u0131dan \u00f6nce formun \u00f6n plana \u00e7\u0131kt\u0131\u011f\u0131 eserlerde izleyicinin g\u00f6z\u00fcnde yeni bir fonksiyon kazanm\u0131\u015f olur: Art\u0131k hat okunacak bir yaz\u0131 de\u011fil, hayal edilecek r\u00f6latif bir ger\u00e7ekli\u011fin ka\u011f\u0131da yans\u0131mas\u0131 olarak ortaya \u00e7\u0131kar. Bu ba\u011flamda eser, izleyici i\u00e7in bir ayna gibidir, g\u00f6z\u00fcn ger\u00e7ekli\u011fini yans\u0131tan, yeniden g\u00f6z\u00fcn g\u00f6ze kar\u015f\u0131l\u0131kl\u0131 bak\u0131\u015f\u0131na sebep olan sonsuz d\u00f6ng\u00fc i\u00e7erisindeki bir arac\u0131 (mediator) olur. Bu ba\u011flamda zaman ve mekana ba\u011fl\u0131 olmamakla beraber, her izleyici ile yeniden var olmas\u0131 a\u00e7\u0131s\u0131ndan say\u0131s\u0131z anlam ihtiva eder, b\u00f6ylece s\u0131n\u0131rlar\u0131 ortadan kalkar, izleyicinin zihni kadar \u015fekle b\u00fcr\u00fcn\u00fcr, binaenaleyh \u015fekilsizlik kazan\u0131r. Bu ba\u011flamda arzu edilen \u201chakikat\u201de yak\u0131nla\u015fm\u0131\u015f olur, zira hakikatin tasviri ancak tecr\u00fcbi bir \u015fekil kazanabilir, b\u00f6ylece kozmolojik bir noktadan her an yeniden var olan, t\u0131pk\u0131 ayette ge\u00e7ti\u011fi gibi (Rahman, 55\/29) Allah\u2019\u0131n her an yaratmakta oldu\u011fu bir hakikat ortaya \u00e7\u0131km\u0131\u015f olur. <\/p>\n\n\n\n
Alg\u0131, Anlam ve Bili\u015fsel S\u00fcre\u00e7ler<\/h2>\n\n\n\n
Kaligrafiyle sa\u011flanan soyutlama, ka\u011f\u0131t \u00fczerinde kaybolan anlam\u0131 alg\u0131sal s\u00fcre\u00e7ler, kal\u0131plar ve i\u00e7sel rezonans s\u00fcre\u00e7lerinde var eder. Bu ba\u011flamda sanat izleyici i\u00e7in bir bili\u015fsel i\u015flemleme s\u00fcrecine d\u00f6n\u00fc\u015f\u00fcr. Hat sanat\u0131n\u0131n bili\u015fsel a\u00e7\u0131dan izleyici taraf\u0131ndan i\u015flemlenmesinin iki a\u015famada ger\u00e7ekle\u015fti\u011fi s\u00f6ylenebilir. Bunlar\u0131n ilki, g\u00f6rsel anlamda d\u00fc\u015f\u00fck d\u00fczeyli mekansal alg\u0131 ile genel \u015feklin anlamland\u0131r\u0131lmas\u0131d\u0131r. Bir resme ilk bak\u0131ld\u0131\u011f\u0131nda genel \u00e7er\u00e7eve detaylar de\u011ferlendirilmeksizin alg\u0131lan\u0131r. Bu s\u00fcre\u00e7 yukar\u0131dan a\u015fa\u011f\u0131 i\u015flemleme ile \u015fekillenerek asl\u0131nda \u00e7ok k\u0131sa bir s\u00fcre i\u00e7erisinde var olan \u015feklin zihnimizdeki benzerlerinin bir \u00f6rne\u011fi olarak alg\u0131lanmas\u0131n\u0131 ve b\u00f6ylece anlamland\u0131r\u0131lmas\u0131n\u0131 i\u00e7erir.<\/p>\n\n\n\n
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Hat sanat\u0131nda s\u0131k\u00e7a kullan\u0131lan bot motifi, insan ve hayvan y\u00fczleri gibi farkl\u0131 modeller asl\u0131nda alg\u0131sal a\u00e7\u0131dan detaylar\u0131n genellenmesi ile olu\u015fur. Harflerin s\u0131k\u0131 \u015fekilde bir araya getirilmesinden olu\u015fan bu gelenek hat sanat\u0131nda \u201cistif\u201d olarak adland\u0131r\u0131l\u0131r. <\/p>\n<\/div><\/div>\n\n\n\n
Bu bak\u0131mdan \u015f\u00f6yle d\u00fc\u015f\u00fcn\u00fclebilir, e\u011fer insan zihninde var olan ideal bir bot olmasayd\u0131, onu olu\u015fturan par\u00e7alar bu resim i\u00e7erisinde harfler arac\u0131l\u0131\u011f\u0131yla istiflenmeseydi, bu halde bu g\u00f6rselin izleyici taraf\u0131ndan bir bot olarak alg\u0131lanma ihtimali var m\u0131yd\u0131? Burada Gestalt kuram\u0131n\u0131 hat\u0131rlatmakta fayda var: “B\u00fct\u00fcn par\u00e7alar\u0131ndan daha fazlas\u0131d\u0131r.”<\/p>\n\n\n\n
Asl\u0131nda harfler kendi ba\u015flar\u0131na yaln\u0131zca kaligrafik bir i\u015flev g\u00f6r\u00fcrken bu t\u00fcr resimlerde bir b\u00fct\u00fcnl\u00fck olu\u015fturarak ba\u015flang\u0131\u00e7taki i\u015flevlerini kaybeder. B\u00f6ylece hat, yaz\u0131 i\u015flevinden \u00e7ok daha h\u0131zl\u0131 ve kolay bir bi\u00e7imde pictorial i\u015flevini ger\u00e7ekle\u015ftirir, ve izleyici yaz\u0131y\u0131 okumadan \u00f6nce botu g\u00f6r\u00fcr. Bu bot ise yery\u00fcz\u00fcndeki b\u00fct\u00fcn \u00e7e\u015fitleriyle botun zihindeki ideas\u0131d\u0131r, Platon\u2019un tabiriyle \u2018\u0130dea\u2019 bu ba\u011flamda hat sanat\u0131n\u0131n arac\u0131 olur. \u0130deal olan, resim ile izleyicinin bili\u015fsel ak\u0131\u015f\u0131 aras\u0131nda k\u00f6pr\u00fc vazifesi g\u00f6ren bir arac\u0131 olur. <\/p>\n\n\n\n
Hat sanat\u0131n\u0131n tecr\u00fcbelerini art\u0131ran \u00f6nemli \u00f6zelliklerinden biri, simetrinin \u00f6n planda olu\u015fudur. Zira simetri, insan\u0131n g\u00f6z\u00fcn\u00fc d\u00fcnyaya a\u00e7t\u0131\u011f\u0131ndan beri g\u00f6rd\u00fc\u011f\u00fc, bilin\u00e7d\u0131\u015f\u0131 bir \u015fekilde tecr\u00fcbe etti\u011fi ve a\u015final\u0131k kazand\u0131\u011f\u0131 bir olgudur. Do\u011fada var olan simetri o kadar y\u00fcksektir ki insan asimetriyi bir anormallik olarak alg\u0131lar. Bu ba\u011flamda sanat\u00e7\u0131 sanat\u0131nda simetriyi \u00f6ncelikle estetik a\u00e7\u0131dan kullan\u0131r, zira estetik olan insan\u0131n g\u00f6z\u00fcne a\u015final\u0131k sebebiyle \u2018daha g\u00fczel\u2019 g\u00f6r\u00fcn\u00fcr. (Mere Exposure Effect, Zajonc, 1968) Bu ba\u011flamda \u201cM\u00fcsenna\u201d olarak da isimlendirilen Ayna Hat \u00f6rnekleri incelenebilir. Aynal\u0131 hat, \u00f6zellikle kaynak metnin kendisiyle simetrik aynaland\u0131\u011f\u0131 kompozisyonlar\u0131 ifade eder. Simetrik a\u00e7\u0131dan izleyicinin g\u00f6z\u00fcne hitap eden bu kullan\u0131m, ayn\u0131 zamanda paralel bir varl\u0131k alg\u0131s\u0131n\u0131 uyand\u0131r\u0131r. Ayna metaforu asl\u0131nda tablonun izleyicinin g\u00f6z\u00fcndeki yans\u0131mas\u0131na i\u015faret eder, t\u0131pk\u0131 hakikatin her g\u00f6zde farkl\u0131 tezah\u00fcr etmesi gibi, sanat da izleyicinin g\u00f6z\u00fcnde \u00f6zg\u00fcn bir \u015fekilde her an yeniden anlamland\u0131r\u0131l\u0131r. \u0130zleyicinin muhayyilesini uyand\u0131ran bu tablolar, simetrikli\u011fin do\u011fa ile \u00f6zde\u015fle\u015fti\u011fi insan alg\u0131s\u0131nda farkl\u0131 \u015fekillere b\u00fcr\u00fcn\u00fcr. <\/p>\n\n\n\n
Simetrik Y\u00fcz Alg\u0131s\u0131, Estetik ve Ayna Hat<\/strong><\/h2>\n\n\n
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\u0130nsan\u0131n b\u00fct\u00fcnl\u00fck\u00e7\u00fc alg\u0131s\u0131n\u0131n ilgin\u00e7 sonu\u00e7lar\u0131ndan biri simetrik ve soyut olan bi\u00e7imlerin bilin\u00e7d\u0131\u015f\u0131 bir \u015fekilde y\u00fcz olarak alg\u0131lanmas\u0131d\u0131r. Hat sanat\u0131nda \u00e7o\u011fu zaman fig\u00fcratif bir y\u00fcz temsil edilmemesine ra\u011fmen, izleyicinin zihni baz\u0131 kompozisyonlar\u0131 y\u00fcz gibi alg\u0131layabilir. Bu durum, yaln\u0131zca estetik bir rastlant\u0131 de\u011fil; insan zihninin bili\u015fsel yap\u0131s\u0131yla do\u011frudan ili\u015fkilidir. \u0130nsan do\u011fdu\u011fu andan itibaren devaml\u0131 y\u00fczlerle muhatap olmu\u015ftur. Do\u011fu\u015ftan gelen kal\u0131tsal yatk\u0131nl\u0131klar\u0131n yan\u0131nda, geli\u015fim d\u00f6neminde insan y\u00fcz\u00fcn\u00fcn asl\u0131nda ileti\u015fimin temel referans noktas\u0131 haline gelmesi, insan zihnini \u00f6zellikle y\u00fcz hatlar\u0131n\u0131 okuma, y\u00fcz alg\u0131lama, y\u00fczleri birbirinden ay\u0131rt etme gibi noktalarda ciddi anlamda \u00f6zelle\u015ftirmi\u015ftir. Bunun en bariz kan\u0131t\u0131, inferior temporal kortekste y\u00fcz ay\u0131rt etme \u00fczerine uzmanla\u015fm\u0131\u015f Fusiform Gyrus ad\u0131nda spesifik bir b\u00f6lgenin bulunmas\u0131d\u0131r. EEG \u00e7al\u0131\u015fmalar\u0131 g\u00f6stermektedir ki, bu b\u00f6lgedeki n\u00f6ral aktivite bilhassa b\u00fct\u00fcnl\u00fck i\u00e7eren y\u00fcz g\u00f6rselleri g\u00f6rsel alanda bulundu\u011funda y\u00fcksek art\u0131\u015f g\u00f6stermekte ve benzeri art\u0131\u015f y\u00fcz\u00fcn temel bile\u015fenlerini i\u00e7erip realist olmayan g\u00f6rsellerde de izlenmektedir. Bu \u00e7al\u0131\u015fman\u0131n bir sonucu, insan alg\u0131s\u0131n\u0131n ger\u00e7e\u011fe yak\u0131nl\u0131ktan \u00e7ok bile\u015fenlerlerin b\u00fct\u00fcnl\u00fc\u011f\u00fcne tepki verdi\u011fidir. Alg\u0131n\u0131n y\u00fcz tan\u0131ma noktas\u0131ndaki bu derece yatk\u0131nl\u0131\u011f\u0131n\u0131n bir sonucu da asl\u0131nda tam anlam\u0131yla bir y\u00fcz\u00fc kar\u015f\u0131lad\u0131\u011f\u0131 s\u00f6ylenemeyen g\u00f6r\u00fcnt\u00fclerde dahi alg\u0131n\u0131n bir ilk izlenim olarak y\u00fcz tan\u0131mas\u0131d\u0131r.<\/p>\n\n\n\n
Bir di\u011fer \u00f6nemli bulgu da, y\u00fcz\u00fcn izole edilmi\u015f par\u00e7alar\u0131n\u0131n b\u00fct\u00fcnl\u00fck olmad\u0131\u011f\u0131nda daha yava\u015f tan\u0131nd\u0131\u011f\u0131d\u0131r. (Tanaka JW, Farah MJ. Parts and wholes in face recognition.) Bu bulgu g\u00f6stermektedir ki bir kompleks g\u00f6rselin y\u00fcz olarak tan\u0131mlanabilmesinin temel \u015fartlar\u0131ndan biri par\u00e7alar\u0131n b\u00fct\u00fcnl\u00fc\u011f\u00fcd\u00fcr. Bu ise ancak simetri ile m\u00fcmk\u00fcnd\u00fcr. Yar\u0131m bir y\u00fcz tam bir y\u00fcze k\u0131yasla \u00e7ok daha yava\u015f alg\u0131lan\u0131r, hatta gerekli ipu\u00e7lar\u0131 sa\u011flanmazsa zihin onu bir y\u00fcz olarak alg\u0131lamakta zorlan\u0131r. Bu ise aynal\u0131 hattaki y\u00fcz benzeri imajlar\u0131n nas\u0131l insan zihninde nas\u0131l bu kategoriye girdi\u011fine bir a\u00e7\u0131klama getirir. <\/p>\n\n\n
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Bir \u00f6rnek olarak g\u00f6r\u00fcnt\u00fcdeki eser, her ne kadar bir ayeti kaligrafik olarak ta\u015f\u0131sa ve belki bir y\u00fcz tasviri amac\u0131 ta\u015f\u0131masa da, g\u00f6rsel alg\u0131 bunu ilk bakt\u0131\u011f\u0131nda bir y\u00fcz olarak alg\u0131lamaya \u00e7ok meyillidir. Ancak bu durum bu hat aynal\u0131 olmasayd\u0131 muhtemelen ayn\u0131 \u015fekilde olmayacakt\u0131. Buna ek olarak, bu g\u00f6r\u00fclen b\u00fct\u00fcnl\u00fck hali zihinde s\u00fcreklili\u011fi ve devaml\u0131l\u0131\u011f\u0131, dolay\u0131s\u0131yla canl\u0131l\u0131\u011f\u0131 ve muhayyileyi uyand\u0131rmaktad\u0131r. <\/p>\n\n\n
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Bir di\u011fer \u00f6rnek, Modern \u0130ran kaligrafisinde g\u00f6r\u00fclen ve \u0130nsan-\u0131 Kamil\u2019i temsil eden fig\u00fcrd\u00fcr. Bu hat, hem ama\u00e7 hem fonksiyon itibar\u0131yla pictorial olarak de\u011ferlendirilebilir. Maksat y\u00fcz \u015feklini olu\u015fturmakt\u0131r ve ilk alg\u0131lanan d\u00fc\u015f\u00fck d\u00fczeyli mekansal alg\u0131da g\u00f6r\u00fcnen tipik bir y\u00fczd\u00fcr. Bu y\u00fcz\u00fcn kime ait oldu\u011fu belirsizdir, insan alg\u0131s\u0131 bunu bir y\u00fcz olarak kategorize eder, ancak onun kime ait oldu\u011funu alg\u0131lamaz. Bu ise onun ideal bir insan y\u00fcz\u00fc olarak her insan\u0131n zihninde ayn\u0131 kavrama oturmas\u0131n\u0131 sa\u011flar. A\u015fa\u011f\u0131dan yukar\u0131 (bottom-up) bak\u0131ld\u0131\u011f\u0131nda, y\u00fcksek d\u00fczeyli mekansal alg\u0131da g\u00f6r\u00fclebilecek olan ise Muhammed (s.a.v.), Fat\u0131ma (r.a), Hasan (r.a.) ve H\u00fcseyin (r.a) isimlerinin bu y\u00fcz\u00fcn b\u00f6lgelerinde yaz\u0131l\u0131 oldu\u011fudur. Detayl\u0131 inceleme yine bizi insan-\u0131 kamil, yani ideal insan, g\u00fczel \u00f6zelliklerin b\u00fct\u00fcnle\u015fti\u011fi tamamlanm\u0131\u015f insan d\u00fc\u015f\u00fcncesine g\u00f6t\u00fcrmektedir. <\/p>\n\n\n\n
Sonu\u00e7 olarak hat sanat\u0131, bi\u00e7imsel olmayan\u0131 bi\u00e7imlendirme, temsil edilmeyeni sezdirme \u00e7abas\u0131yla yaln\u0131zca bir estetik u\u011fra\u015f de\u011fil, ayn\u0131 zamanda bir idrak alan\u0131 h\u00e2line gelir. G\u00f6z\u00fcn g\u00f6rd\u00fc\u011f\u00fcnden \u00e7ok, zihnin tan\u0131d\u0131\u011f\u0131na hitap eden bu sanat, izleyiciyi sadece g\u00f6rsel veya yaz\u0131l\u0131 de\u011fil, bili\u015fsel ve metafiziksel bir etkile\u015fim i\u00e7erisine \u00e7eker. Simetri, tan\u0131d\u0131kl\u0131k ve y\u00fcz alg\u0131s\u0131 gibi bili\u015fsel s\u00fcre\u00e7ler arac\u0131l\u0131\u011f\u0131yla, yaz\u0131 kendini bir fig\u00fcre de\u011fil, fig\u00fcr\u00fcn \u00f6z\u00fcne, Platon\u2019un ideas\u0131na, \u0130bn Arabi\u2019nin ayan-\u0131 sabitesine yakla\u015ft\u0131r\u0131r. B\u00f6ylece hat, yaln\u0131zca okunmaya de\u011fil, tecr\u00fcbe edilmeye kap\u0131 aralar. Her izleyicide yeniden \u015fekillenen bu soyut ve simetrik formlar, hakikatin \u015fekilsiz ve d\u00f6ng\u00fcsel do\u011fas\u0131n\u0131 hat\u0131rlat\u0131r. Bu ba\u011flamda hat sanat\u0131, g\u00f6rselli\u011fin \u00f6tesinde, g\u00f6r\u00fcnmeyenin g\u00f6r\u00fcn\u00fcrl\u00fc\u011f\u00fcn\u00fc m\u00fcmk\u00fcn k\u0131lan bir muhayyile mek\u00e2n\u0131 h\u00e2line gelir. Yani bili\u015fsel s\u00fcre\u00e7ler kendi ba\u015flar\u0131na birer ama\u00e7 de\u011fil, daha derin bir kar\u015f\u0131la\u015fman\u0131n ara\u00e7lar\u0131d\u0131r. A\u015fk\u0131n olan\u0131n eri\u015filebilir hale geldi\u011fi e\u015fikler olarak i\u015flev g\u00f6r\u00fcrler. Zihin, a\u015fina olan\u0131 ancak onun \u00f6tesine ge\u00e7mek i\u00e7in tan\u0131mlar. \u0130slam hat sanat\u0131nda ise bili\u015fsel olan, g\u00f6r\u00fcnenin \u00f6tesine, a\u015fk\u0131n olana giden yoldur.<\/p>\n\n\n\n
Deneyim, sanat eseriyle ba\u015flar, i\u00e7sel bir yolculukla devam eder ve sanat eseriyle izleyici aras\u0131nda sonsuz bir al\u0131\u015fveri\u015fe d\u00f6n\u00fc\u015f\u00fcr.<\/p>\n","protected":false},"author":1,"featured_media":505,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_uag_custom_page_level_css":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[10,7],"tags":[],"class_list":["post-78","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bilissel-psikoloji","category-sanat"],"uagb_featured_image_src":{"full":["https:\/\/rumeysahakyemezapuhan.com.tr\/wp-content\/uploads\/2026\/04\/\u0627\u0633\u0644\u0627\u0645\u06cc-\u062e\u0637\u0627\u0637\u06cc-\u06a9\u06d2-\u0646\u0642\u0648\u0634.jpg",736,354,false],"thumbnail":["https:\/\/rumeysahakyemezapuhan.com.tr\/wp-content\/uploads\/2026\/04\/\u0627\u0633\u0644\u0627\u0645\u06cc-\u062e\u0637\u0627\u0637\u06cc-\u06a9\u06d2-\u0646\u0642\u0648\u0634-150x150.jpg",150,150,true],"medium":["https:\/\/rumeysahakyemezapuhan.com.tr\/wp-content\/uploads\/2026\/04\/\u0627\u0633\u0644\u0627\u0645\u06cc-\u062e\u0637\u0627\u0637\u06cc-\u06a9\u06d2-\u0646\u0642\u0648\u0634-300x144.jpg",300,144,true],"medium_large":["https:\/\/rumeysahakyemezapuhan.com.tr\/wp-content\/uploads\/2026\/04\/\u0627\u0633\u0644\u0627\u0645\u06cc-\u062e\u0637\u0627\u0637\u06cc-\u06a9\u06d2-\u0646\u0642\u0648\u0634.jpg",736,354,false],"large":["https:\/\/rumeysahakyemezapuhan.com.tr\/wp-content\/uploads\/2026\/04\/\u0627\u0633\u0644\u0627\u0645\u06cc-\u062e\u0637\u0627\u0637\u06cc-\u06a9\u06d2-\u0646\u0642\u0648\u0634.jpg",736,354,false],"1536x1536":["https:\/\/rumeysahakyemezapuhan.com.tr\/wp-content\/uploads\/2026\/04\/\u0627\u0633\u0644\u0627\u0645\u06cc-\u062e\u0637\u0627\u0637\u06cc-\u06a9\u06d2-\u0646\u0642\u0648\u0634.jpg",736,354,false],"2048x2048":["https:\/\/rumeysahakyemezapuhan.com.tr\/wp-content\/uploads\/2026\/04\/\u0627\u0633\u0644\u0627\u0645\u06cc-\u062e\u0637\u0627\u0637\u06cc-\u06a9\u06d2-\u0646\u0642\u0648\u0634.jpg",736,354,false]},"uagb_author_info":{"display_name":"rumeysa","author_link":"https:\/\/rumeysahakyemezapuhan.com.tr\/index.php\/author\/rumeysa\/"},"uagb_comment_info":0,"uagb_excerpt":"Deneyim, sanat eseriyle ba\u015flar, i\u00e7sel bir yolculukla devam eder ve sanat eseriyle izleyici aras\u0131nda sonsuz bir al\u0131\u015fveri\u015fe d\u00f6n\u00fc\u015f\u00fcr.","_links":{"self":[{"href":"https:\/\/rumeysahakyemezapuhan.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/78","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/rumeysahakyemezapuhan.com.tr\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/rumeysahakyemezapuhan.com.tr\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/rumeysahakyemezapuhan.com.tr\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/rumeysahakyemezapuhan.com.tr\/index.php\/wp-json\/wp\/v2\/comments?post=78"}],"version-history":[{"count":12,"href":"https:\/\/rumeysahakyemezapuhan.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/78\/revisions"}],"predecessor-version":[{"id":507,"href":"https:\/\/rumeysahakyemezapuhan.com.tr\/index.php\/wp-json\/wp\/v2\/posts\/78\/revisions\/507"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/rumeysahakyemezapuhan.com.tr\/index.php\/wp-json\/wp\/v2\/media\/505"}],"wp:attachment":[{"href":"https:\/\/rumeysahakyemezapuhan.com.tr\/index.php\/wp-json\/wp\/v2\/media?parent=78"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/rumeysahakyemezapuhan.com.tr\/index.php\/wp-json\/wp\/v2\/categories?post=78"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/rumeysahakyemezapuhan.com.tr\/index.php\/wp-json\/wp\/v2\/tags?post=78"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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