![\"DedaNdue-Vuksanlekaj\"](\"http:\/\/revistakuvendi.org\/wp-content\/uploads\/2017\/07\/DedaNdue-Vuksanlekaj.png\")
<\/a>(\u2026ose rapsodia e skulptur\u00ebs mbivarrore shqiptare)<\/em><\/p>\n<\/p>\n
NDUE DEDAJ<\/p>\n
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1<\/p>\n
Hap\u00ebsira shqiptare ka aq shum\u00eb monumente t\u00eb vjetra befasuese, q\u00eb ende mbijetojn\u00eb, ndon\u00ebse dhjetrashekullore. Vuksanlekaj padyshim \u00ebsht\u00eb nj\u00ebri nga m\u00eb autentik\u00ebt, nj\u00eb varrez\u00eb mesjetare unike, q\u00eb nuk haset askund tjet\u00ebr nj\u00eb e dyt\u00eb si ajo. Mjafton ky fakt i pranuar nga t\u00eb gjith\u00eb p\u00ebr t\u00eb nxituar p\u00ebr atje, jo vet\u00ebm p\u00ebr ta par\u00eb e shuar kurreshtjen, si\u00e7 kemi b\u00ebr\u00eb dhe ne para disa koh\u00ebsh, por dhe p\u00ebr t\u00eb nd\u00ebrmarr\u00eb hapa p\u00ebr studimin e saj, si dhe vendosjen n\u00eb ballin e hartave turistike t\u00eb rajoneve veriore. Gjendet vet\u00ebm 5-6 kilometra matan\u00eb Hanit t\u00eb Hotit, n\u00eb t\u00eb djatht\u00eb t\u00eb rrug\u00ebs q\u00eb shkon p\u00ebr n\u00eb Tuz. Pra, \u00ebsht\u00eb aq pran\u00eb nesh, sa mund t\u00eb vizitohet nga t\u00eb gjith\u00eb. Duhet t\u00eb ket\u00eb qen\u00eb ndonj\u00eb dor\u00eb e \u201cpadukshme\u201d atdhetare q\u00eb e ka ruajtur n\u00ebn ferra p\u00ebr shum\u00eb vite k\u00ebt\u00eb monument t\u00eb kategoris\u00eb s\u00eb par\u00eb, q\u00eb t\u00eb mos shfarosej nga aksionet shoviniste serbe, me q\u00eblllim zhb\u00ebrjen e \u00e7do gjurm\u00eb autentike shqiptare. K\u00ebt\u00eb na e thon\u00eb banor\u00ebt e Vuksanlekajt, q\u00eb kan\u00eb nderin dhe fatin ta ken\u00eb t\u00eb tyrin k\u00ebt\u00eb monument kompleks, ku \u00e7do nj\u00ebri nga 30 varret e tij \u00ebsht\u00eb nj\u00eb reliev skulpturor m\u00eb vete, skalitur mjesht\u00ebrisht n\u00eb gur.<\/p>\n
Vitet e fundit \u201cVuksanlekaj\u201d ka filluar t\u00eb zbulohet e vizitohet, publikohet e studiohet. Kan\u00eb shkuar aty m\u00eb s\u00eb shumti gazetar\u00eb q\u00eb kan\u00eb b\u00ebr\u00eb shkrime dhe reportazhe televizive sensibilizuese. Mir\u00ebpo ata q\u00eb mungojn\u00eb gjithnj\u00eb n\u00eb objekte t\u00eb tilla, jan\u00eb zyrtar\u00ebt e shtetit (n\u00eb rastin konkret t\u00eb dy shteteve, shqiptar dhe malazez), ministrat dhe drejtor\u00ebt q\u00eb merren me trash\u00ebgimin\u00eb, th\u00ebn\u00eb ndryshe, ata q\u00eb i kan\u00eb gj\u00ebrat n\u00eb dor\u00eb. Duket se shtegun p\u00ebr te ky objekt muzeor e kan\u00eb \u00e7elur tre autor\u00eb: Mithat Dibra, Ilir Bala, Naim La\u00e7ej, me botimin e tyre me titull \u201cD\u00ebshmi monumentale n\u00eb Vuksanlekaj\u201d, Tiran\u00eb 2015, shqip, anglisht dhe n\u00eb gjuh\u00ebn malazeze, realizuar m\u00eb mb\u00ebshtetjen e K\u00ebshillit t\u00eb Qarkut Shkod\u00ebr dhe ndonj\u00eb organizate jofitimprur\u00ebse. Aty p\u00ebrshkruhet shkurtimisht Vuksanlekaj, ritet mortore t\u00eb vendasve, t\u00eb dh\u00ebnat etnografike t\u00eb tyre, simbolikat e varreve, si dhe nj\u00eb material i zgjedhur fotografik, n\u00eb nj\u00eb botim cil\u00ebsor t\u00eb \u201cMediaprint<\/em>\u201d. Autor\u00ebt synojn\u00eb njohjen e k\u00ebsaj pasurie t\u00eb rrall\u00eb dhe marrjen e saj n\u00eb mbrojtje nga institucionet e trash\u00ebgimis\u00eb etnokulturore shqiptare dhe malazeze.<\/p>\n Mal\u00ebsia e Madhe, nj\u00eb nga trevat m\u00eb t\u00eb z\u00ebshme t\u00eb Shqip\u00ebris\u00eb, e p\u00ebrgjysmuar nga kufiri i 1913-s, me dy qendra, Koplikun dhe Tuzin, e k\u00ebnduar aq madh\u00ebrish\u00ebm n\u00eb \u201cLahut\u00ebn e Mal\u00ebsis\u00eb\u201d, me varrez\u00ebn e Vuksanlekajt shkon m\u00eb n\u00eb thell\u00ebsi t\u00eb historis\u00eb s\u00eb saj, k\u00ebsaj here jo e d\u00ebshmuar prej kronikave t\u00eb shkruara n\u00eb let\u00ebr, por e gdhendur si nj\u00eb \u201ckronik\u00eb\u201d n\u00eb gur\u00eb. Figurat skulpturore t\u00eb shumta t\u00eb k\u00ebsaj varreze jan\u00eb shtatore t\u00eb njer\u00ebzve, ani se anonime p\u00ebr nga p\u00ebrkat\u00ebsie e emrave q\u00eb iu kushtohen, q\u00eb rr\u00ebfejn\u00eb shum\u00eb p\u00ebr etnografin\u00eb e njeriut t\u00eb shekujve t\u00eb shkuar. Padyshim q\u00eb \u00ebsht\u00eb nj\u00eb himn i gurt\u00eb p\u00ebr rac\u00ebn shqiptare. Edhe m\u00eb von\u00eb relieve t\u00eb tilla, n\u00eb kryqe t\u00eb drunjta varresh, jan\u00eb fiksuar nga Edith Durham e studiues t\u00eb tjer\u00eb t\u00eb huaj n\u00eb fillimet e shekullit XX po n\u00eb Mal\u00ebsin\u00eb e Madhe etj.<\/p>\n Vuksanlekaj \u00ebsht\u00eb nj\u00eb vendbanim i vjet\u00ebr ilir i fisit t\u00eb labeat\u00ebve, n\u00eb mes t\u00eb Hanit t\u00eb Hotit dhe Tuzit. Arkeolog\u00ebt kan\u00eb zbuluar aty qeramika, objekte prej bronxi, fragmente arkitektonike, amfora t\u00eb periudh\u00ebs romake etj. Por thesari i k\u00ebtij vendbanimi \u00ebsht\u00eb varreza autentike, ende e pastudiuar, p\u00ebr m\u00eb tep\u00ebr q\u00eb nuk ka nj\u00eb datim historik se kur mund t\u00eb jet\u00eb krijuar \u2013 mendohet se \u00ebsht\u00eb e 600 viteve m\u00eb par\u00eb, apo e m\u00ebvon\u00eb. Ajo nuk p\u00ebrmban asnj\u00eb mbishkrim (si t\u00eb jet\u00eb para se t\u00eb krijohej gjuha shqipe), nd\u00ebrkoh\u00eb q\u00eb \u00ebsht\u00eb plot me simbolika t\u00eb vjetra, nga m\u00eb t\u00eb larmishmet, figurat njer\u00ebzore, motivet e diellit dhe t\u00eb h\u00ebn\u00ebs, t\u00eb gjarp\u00ebrit, shqiponj\u00ebs, si dhe ato floreale. Figurat e njer\u00ebzve dhe simbolikat gjith\u00ebfar\u00ebsh reflektojn\u00eb doemos mitologjin\u00eb pagane dhe periudh\u00ebn e mepasme kristiane, si dhe mend\u00ebsin\u00eb mal\u00ebsore mbi vdekjen, kultin e saj, nderimin karshi t\u00eb vdekurit etj. P\u00ebr autor\u00ebt e botimit t\u00eb sip\u00ebrth\u00ebn\u00eb, \u201cnd\u00ebrthurja e simboleve paleokristiane me ato kristiane \u00ebsht\u00eb d\u00ebshmi e pakund\u00ebrshtueshme e vijim\u00ebsis\u00eb s\u00eb po t\u00eb nj\u00ebjt\u00ebs popullsi t\u00eb lasht\u00eb\u201d, ku \u201cmotivet e veshjeve e ato gjeometrike, me t\u00eb cilat jan\u00eb skalitur stelat, vijn\u00eb nga fondi i kultur\u00ebs s\u00eb antikitetit\u201d (fq. 13).<\/p>\n 2<\/p>\n P\u00ebrmendoret mbivarrore t\u00eb k\u00ebsaj varreze komplekse hotjane jan\u00eb pasqyr\u00eb e gurt\u00eb e epik\u00ebs s\u00eb varrimit nd\u00ebr mal\u00ebsor\u00eb, q\u00eb kryhej me nj\u00eb regji t\u00eb jasht\u00ebzakonshme, solemnitet t\u00eb ve\u00e7ant\u00eb dhe pamje teatrore. \u00cbsht\u00eb arritur deri aty sa p\u00ebr t\u00eb drejtuar ceremonin\u00eb e varrimit t\u00eb nj\u00eb burri n\u00eb z\u00eb t\u00eb nj\u00eb krahine, t\u00eb thirrej hasmi i tij (me t\u00eb cilin vazhdonte t\u00eb ishte n\u00eb gjak, e m\u00eb pas familja e tij do ta vriste p\u00ebr gjak), pasi ai ishte gjithashtu nj\u00eb burr\u00eb i d\u00ebgjuar dhe do t\u2019ia drejtonte morten m\u00eb mir\u00eb se cilido \u201cmik\u201d tjet\u00ebr. T\u00eb duket se tejkalohet dhe vet\u00eb Shekspiri, ku drejtuesi e mortjes s\u00eb mbretit Dunkan \u00ebsht\u00eb vras\u00ebsi i tij Makbethi!?…<\/p>\n Mal\u00ebsit\u00eb shqiptare jan\u00eb t\u00eb mbushura me nj\u00eb nj\u00eb galeri t\u00eb jasht\u00ebzkonshme personazhesh sui generis<\/em>, q\u00eb kan\u00eb qasjen e tyre origjinale n\u00eb m\u00ebnyr\u00ebn si e perceptojn\u00eb dhe p\u00ebrcjellin jet\u00ebn nd\u00ebr breza. N\u00ebse n\u00eb t\u00eb gjall\u00eb njeriu i maleve nuk shfaqte dhe aq p\u00ebrkujdesje p\u00ebr veshjen (\u00ebsht\u00eb fjala kryesisht p\u00ebr burrin, pasi grat\u00eb visheshin si princesha), ndryshonte puna me vdekjen. Dit\u00ebn kur ai do t\u00eb shuhej vishte kostumin e bler\u00eb enkas, q\u00eb mund t\u00eb mos e kishte veshur as n\u00eb dit\u00ebn e martes\u00ebs, nga e papasmja. P\u00ebrndryshe, ai duhej t\u00eb kishte n\u00eb vdekje gjith\u00e7ka q\u00eb nuk kishte munduar ta kishte n\u00eb t\u00eb gjall\u00eb. Gruaja i ruante teshat e dek\u00ebs n\u00eb ark\u00eb m\u00eb t\u00eb mb\u00ebrritur nuse (tradit\u00eb q\u00eb vjen deri n\u00eb dit\u00ebt e sotme te grat\u00eb e moshuara) e kjo se vdekja mund t\u00eb vinte papritur e petkat e saj nuk mund t\u00eb bliheshin n\u00eb pazar t\u00eb Shkodr\u00ebs si t\u00eb t\u00eb burrit, pasi ishin t\u00eb qendusura e dekoruara p\u00ebr merak, pun\u00eb artizanale, artistike q\u00eb kishte dashur muaj t\u00eb b\u00ebhej. Nj\u00eb grua nuk mund t\u00eb mos shndriste e vdekur, e veshur \u201cnuse\u201d. N\u00ebse k\u00ebndej kishte qen\u00eb i varf\u00ebr, andej duhej t\u00eb vente i pasur, burrit i shtihej n\u00eb varr edhe ora e florinjt\u00eb, kutia e sermt\u00eb e duhanit etj.<\/p>\n Duhet theksuar se monumentalja ishte m\u00eb par\u00eb shpirt\u00ebrore se murore. P\u00ebr ta qar\u00eb t\u00eb vdekurin merreshin vajtojcat nga ishin e s\u2019ishin, burrat e Dukagjinit shquheshin dhe p\u00ebr gjam\u00ebt e forta. Shpesh vajtimoret i drejtoheshin t\u00eb vdekurit si t\u00eb ishte i gjall\u00eb, duke i dh\u00ebn\u00eb porosi p\u00ebr n\u00eb bot\u00ebn tjet\u00ebr, q\u00eb kur t\u00eb shkonte atje, t\u00eb takonte k\u00ebt\u00eb apo at\u00eb t\u00eb af\u00ebrm t\u00eb vdekur m\u00eb par\u00eb etj. N\u00eb raste t\u00eb rralla burrat n\u00eb z\u00eb i vinin si t\u00eb gjall\u00eb n\u00eb karrige, duke iu v\u00ebn\u00eb pran\u00eb pushk\u00ebn dhe cigaren e duhanit n\u00eb goj\u00eb, kinse ai po fliste p\u00ebr her\u00eb t\u00eb fundit me mortaxhinjt\u00eb e tij. Zor t\u00eb ket\u00eb nj\u00eb p\u00ebrcjellje m\u00eb sublime t\u00eb njeriut, q\u00eb do ta kishin lakmi dhe mbret\u00ebrit. Ama ngrirja e till\u00eb e njeriut vazhdonte vet\u00ebm 24 or\u00eb dhe jo p\u00ebrjet\u00ebsisht si ata q\u00eb prehen n\u00eb mauzeolume. Ec e thuaj pastaj se k\u00ebto rituale nuk vinin q\u00eb nga Homeri e Virgjili. Vet\u00ebm ndajvoni njer\u00ebzit filluan t\u00eb b\u00ebheshin m\u00eb realist\u00eb ndaj vdekjes, duke e trajtuar at\u00eb pa figurshm\u00ebri letrare. Vdes nj\u00eb burr\u00eb q\u00eb kishte qen\u00eb i martuar me dy gra dhe nj\u00ebra e qan me tone t\u00eb larta si nj\u00eb burr\u00eb shteti, q\u00eb shkonte ngado hipur mbi \u201ckalin e shal\u00ebs\u201d, para t\u00eb cilit \u201cshtangeshin kren\u00ebt e bajrakut\u201d e \u201cgjulshojshin qet\u00eb n\u00eb hulli\u201d; kurse tjetra, krejt tok\u00ebsore, e portretizon me nj\u00eb realiz\u00ebm ther\u00ebs t\u00eb shoqin: \u201cE ti s\u2019ke qen\u00eb aso burri\/ Ke pas ve\u00e7 nji vargj unuri\/ S\u2019ke pas kulla e as saraje\/ Po ke pas nji k\u2019soll\u00eb me kasht\u00eb\/ Pula mren\u00eb e bishti jasht\u00eb\/ Or tremthi em.\u201d (Viktor Gjikolaj, \u201cAmaneti\u201d, 2017, f.102.) Sot n\u00eb mjaft raste ka nj\u00eb p\u00ebr\u00e7udnim t\u00eb vajeve t\u00eb famshme popullore, kan\u00eb hyr\u00eb n\u00eb mod\u00eb vajet komerciale, ku vajtimoret nuk qajn\u00eb me shpirt e me dhimbje, por me par\u00e0.<\/p>\n Gama e ritualeve t\u00eb vdekjes \u00ebsht\u00eb mahnit\u00ebse, e p\u00ebrb\u00ebr\u00eb nga zakone, bestytni, mite etj. Kur vdiste nj\u00eb f\u00ebmij\u00eb i vog\u00ebl jav\u00ebt e para linin nj\u00eb got\u00eb me uji t\u00eb mbushur jasht\u00eb te bolira, q\u00eb n\u00ebse ai kishte etje t\u00eb \u201cvinte\u201d e t\u00eb pinte. Nuk mund mos kujtohesh p\u00ebr k\u00ebto kur n\u00eb nj\u00eb skulptur\u00eb mbivarrore n\u00eb Vuksanlekaj sheh nj\u00eb stel\u00eb ku burri (prindi) sikur e ka futur n\u00eb gji f\u00ebmij\u00ebn e tij gjithashtu t\u00eb shuar. N\u00eb stelat e shumta t\u00eb varrez\u00ebs n\u00eb fjal\u00eb hasen veshjet dhe sendet e t\u00eb vdekurit, q\u00eb nga qeleshja e bardha, xhubleta karakteristike e Mal\u00ebsis\u00eb s\u00eb Madhe, shamit\u00eb e qendisura, xhamadani, pushka, shpata etj. Nj\u00eb bot\u00eb magjike-realiste shpaloset n\u00eb simbolikat e shumta t\u00eb ndryshme, plot art gdhendor e fines\u00eb artistike, duke filluar qysh me ato pagane universale, si dielli, h\u00ebna, yjet \u2013 t\u00eb gjitha k\u00ebto ve\u00e7 e ve\u00e7 ose t\u00eb g\u00ebrshetuara, n\u00eb forma e madh\u00ebsi t\u00eb ndryshme, n\u00eb dhjet\u00eb a m\u00eb shum\u00eb gjedhe, si vet\u00eb qielli i larmish\u00ebm mbi krye.<\/p>\n Pamja ter\u00ebsore e k\u00ebsaj varreze autentike shqiptare, me skulptura si t\u00eb gdhendura nga e nj\u00ebjta dor\u00eb, t\u00eb krijon iden\u00eb se jan\u00eb t\u00eb nj\u00eb harku kohor dhe se pas tyre ka patur m\u00ebnyra varrimi m\u00eb t\u00eb thjeshta. Mbase n\u00eb shekujt e m\u00ebvonsh\u00ebm, n\u00eb rrethanat e nj\u00eb vendi t\u00eb pushtuar nga osman\u00ebt, ka munguar \u201cluksi\u201d p\u00ebr t\u00eb b\u00ebr\u00eb varre t\u00eb tilla monumentale, edhe pse tradita nuk \u00ebsht\u00eb bjerr\u00eb plot\u00ebsisht.<\/p>\n Natyrisht q\u00eb ne i kemi par\u00eb me sy t\u00eb lir\u00eb si plot t\u00eb tjer\u00eb, aq m\u00eb tep\u00ebr pa qen\u00eb t\u00eb fush\u00ebs s\u00eb monumenteve dhe arkeologjis\u00eb, por me siguri ata q\u00eb nj\u00eb dit\u00eb do ta studiojn\u00eb dhe g\u00ebrmojn\u00eb k\u00ebt\u00eb varrez\u00eb do t\u00eb mund t\u00eb thon\u00eb shum\u00eb m\u00eb shum\u00eb se dihet deri m\u00eb tash. E udh\u00ebs mbase do t\u00eb kishte qen\u00eb q\u00eb t\u00eb g\u00ebrmohet dhe n\u00eb ndonj\u00eb kish\u00eb t\u00eb tjet\u00ebr t\u00eb zon\u00ebs, p\u00ebr t\u00eb kuptuar me mir\u00eb shtresat e vjet\u00ebrsis\u00eb s\u00eb k\u00ebtij monumenti, q\u00eb me siguri nuk \u00ebsht\u00eb i vet\u00ebm. Figurat njer\u00ebzore jan\u00eb burra, gra, f\u00ebmij\u00eb, shpesh n\u00eb t\u00eb gjith\u00eb madh\u00ebsin\u00eb e gurvarrit. Vijn\u00eb pastaj kryqi, plot stilizime e stolisje, q\u00eb e kemi hasur jo vet\u00ebm n\u00eb Vulsanlekaj t\u00eb Hotit, por n\u00eb t\u00eb gjitha trevat veriore, n\u00ebn tok\u00eb e mbi tok\u00eb, n\u00eb varreza t\u00eb parapushtimit turk e mbas tij, gjarpri (ora e sht\u00ebpis\u00eb) me nj\u00eb kult t\u00eb ve\u00e7ant\u00eb mir\u00ebsie t\u00eb gjarp\u00ebrit ndaj njeriut, lisi apo qiparisi, dora e njeriut, gjiri i gruas, si i Rozaf\u00ebs, briri i dhis\u00eb, aq i ve\u00e7ant\u00eb si shenj\u00ebzim simbolik, deri n\u00eb p\u00ebrkrenaren e Sk\u00ebnderbeut. \u201cBriri i dhis\u00eb\/ Ndera e t\u00eb Zot t\u00eb shpis\u00eb\u201d – \u00ebsht\u00eb nj\u00eb fjal\u00eb e urt\u00eb mal\u00ebsore. Nd\u00ebr simbolikat e tjera jan\u00eb: p\u00ebllumbi, kali, rruga, ato t\u00eb pjelloris\u00eb apo fatsjell\u00ebse t\u00eb njeriut etj. T\u00eb gjitha me nj\u00eb gjeometri t\u00eb p\u00ebrkryer, ku \u00ebsht\u00eb rrethi, katrori, tr\u00ebk\u00ebndshi, vijat etj. N\u00eb t\u00eb nj\u00ebjt\u00ebn skulptur\u00eb vertikale mbinj\u00ebmetrore, vendosur nga lart-posht\u00eb, has: yllin, h\u00ebn\u00ebn, diellin, brir\u00ebt e dhis\u00eb etj., q\u00eb jo rast\u00ebsish gdhend\u00ebsi ia ka blatuar t\u00eb gjitha nj\u00eb njeriu. Gdhend\u00ebsi i k\u00ebtyre varreve ka qen\u00eb \u201crapsodi \u201c e shekujve t\u00eb shkuar, q\u00eb nuk shkruante e k\u00ebndonte vargje homerike-kreshnike, por monumentalin e njeriut e kishte dh\u00ebn\u00eb p\u00ebrmes rapsodis\u00eb s\u00eb gurit.<\/p>\n S\u00eb fundi, pamja e k\u00ebsaj varreze \u00ebsht\u00eb unike dhe shum\u00eb m\u00eb \u201cmoderne\u201d se sa varrezat e shformuara t\u00eb koh\u00ebs s\u00eb sotme, ku asnj\u00eb varr nuk ngjan me tjetrin, sidomos p\u00ebr nga madh\u00ebsia e disave sosh sa nj\u00eb \u201cgarsoniere\u201d. (Do t\u00eb ishte e logjikshme mbase q\u00eb varret t\u00eb mos ishin uniforme p\u00ebr nga stilizimi, ashtu si\u00e7 dhe njer\u00ebzit n\u00eb t\u00eb gjall\u00eb jan\u00eb t\u00eb ndrysh\u00ebm nga nj\u00ebri-tjetri), por kurrsesi nuk duhej lejuar q\u00eb ca varre t\u00eb jen\u00eb normale e ca t\u00eb tjer\u00eb sa dhjet\u00ebfishi i tyre?! Edhe n\u00eb k\u00ebt\u00eb an\u00eb, Vuksanlekaj \u00ebsht\u00eb nj\u00eb model qytetarie. Ka dhe nj\u00eb tjet\u00ebr model varror, t\u00eb nj\u00eb thjesht\u00ebsie mahnit\u00ebse – nj\u00ebri nga gjenit\u00eb e shekullit XX Lev Tolstoi e ka varrin vet\u00ebm prej bari dhe asgj\u00eb tjet\u00ebr\u2026<\/p>\n","protected":false},"excerpt":{"rendered":" (\u2026ose rapsodia e skulptur\u00ebs mbivarrore shqiptare) NDUE DEDAJ 1 Hap\u00ebsira shqiptare ka aq shum\u00eb monumente t\u00eb vjetra befasuese, q\u00eb ende mbijetojn\u00eb, ndon\u00ebse dhjetrashekullore. Vuksanlekaj padyshim \u00ebsht\u00eb nj\u00ebri nga m\u00eb autentik\u00ebt, nj\u00eb varrez\u00eb mesjetare unike, q\u00eb nuk haset askund tjet\u00ebr nj\u00eb e dyt\u00eb si ajo.<\/p>\n","protected":false},"author":1,"featured_media":6708,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[15],"tags":[],"class_list":["post-6707","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-histori-gjeografi"],"_links":{"self":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/6707","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=6707"}],"version-history":[{"count":1,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/6707\/revisions"}],"predecessor-version":[{"id":6709,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/6707\/revisions\/6709"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/media\/6708"}],"wp:attachment":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6707"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=6707"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=6707"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}