{"id":32462,"date":"2026-03-13T10:24:56","date_gmt":"2026-03-13T09:24:56","guid":{"rendered":"https:\/\/intervista.al\/web\/?p=32462"},"modified":"2026-03-13T10:28:28","modified_gmt":"2026-03-13T09:28:28","slug":"lakuriq-e-oltsen-gripshit-ekspozita-qe-zhvesh-tabute-dhe-paragjykimet","status":"publish","type":"post","link":"https:\/\/intervista.al\/web\/2026\/03\/lakuriq-e-oltsen-gripshit-ekspozita-qe-zhvesh-tabute-dhe-paragjykimet\/","title":{"rendered":"\u201cLAKURIQ\u201d E OLTSEN GRIPSHIT; Ekspozita q\u00eb zhvesh tabut\u00eb dhe paragjykimet"},"content":{"rendered":"\n


T\u00eb shoh\u00ebsh, t\u00eb v\u00ebzhgosh, t\u00eb perceptosh e aq m\u00eb tep\u00ebr t\u00eb prek\u00ebsh e t\u00eb pikturosh nj\u00eb trup lakuriq (nudo<\/em>) do t\u00eb thot\u00eb t\u00eb njoh\u00ebsh gjith\u00e7ka, embrionin e jet\u00ebs. Lakuriq\u00ebsia \u00ebsht\u00eb fenomen shqisor, gjith\u00ebp\u00ebrfshir\u00ebs dhe shum\u00ebplan\u00ebsh, q\u00eb shkon p\u00ebrtej vet\u00eb subjetit t\u00eb t\u00eb q\u00ebnurit lakuriq t\u00eb nj\u00eb trupi njer\u00ebzor. T\u00eb ndenjurit p\u00ebrball\u00eb nj\u00eb trupi lakuriq ka t\u00eb b\u00ebj me nj\u00eb gjendje \u201cekstaze\u201d, gati t\u00eb nj\u00eb nd\u00ebrlidhjeje hyjnore, ku artisti shp\u00ebrb\u00ebhet n\u00eb ndjesi t\u00eb shum\u00ebfishta brenda vet\u00eb qenies s\u00eb tij. Duke e shnd\u00ebrruar perceptimin ndaj lakuriq\u00ebsis\u00eb n\u00eb semiotik\u00eb themelore rreth t\u00eb cil\u00ebs mblidhen t\u00eb gjitha p\u00ebmasat e ekzistenc\u00ebs, si: erotizmi, dashuria, joshja, eksitimi, flurimi shpirt\u00ebror, p\u00ebrkat\u00ebsia territoriale, socializimi, antropologjia e frym\u00ebs\u00a0etj… \u2013 Lakuriq\u00ebsia p\u00ebrpos interpretimit nga artist\u00ebt pamor ka sh\u00ebrbyer si \u201cMuz\u00eb frym\u00ebzimi\u201d edhe p\u00ebr zb\u00ebrthimin e\u00a0Magnum opus<\/em>-it t\u00eb mendimit ontologjik per\u00ebndimor, nga Herakliti te Heidegeri e deri te filozofia bashk\u00ebkohore francez me Georges Bataille dhe Jean-Luc Nancy, ku lakuriq\u00ebsia ngrihet n\u00eb nj\u00eb tem\u00eb thelb\u00ebsore, vendimtare p\u00ebr filozofin\u00eb e s\u00eb ardhmes.\u00a0<\/p>\n\n\n\n

Padyshim lakuriq ishin edhe \u201cet\u00ebrit\u201d tan\u00eb zanafillor Adami dhe Eva t\u00eb cil\u00ebt simbolizojn\u00eb qart\u00eb metafor\u00ebn e kalimit t\u00eb njeriut nga gjendja shtazore n\u00eb gjendjen e vet\u00ebdijes, me pasoj\u00eb marrjen e p\u00ebrgjegj\u00ebsis\u00eb dhe fitimin e vullnetit t\u00eb lir\u00eb p\u00ebr t\u00eb menduar e vepruar. Ndaj n\u00eb k\u00ebt\u00eb pik\u00ebpamje nuk b\u00ebhet fjal\u00eb p\u00ebr nj\u00eb m\u00ebkat, por p\u00ebr nj\u00eb p\u00ebrparim zhvillimor t\u00eb qenies njer\u00ebzore: fillimi i rrug\u00ebtimit t\u00eb njeriut drejt dijes.<\/p>\n\n\n\n

Nj\u00eb vet\u00ebdije, e cila e vendos trupin e zhveshur lakuriq p\u00ebrball\u00eb njohjes me vetveten dhe n\u00eb marr\u00ebdh\u00ebnie erotike-estetike me t\u00eb tjer\u00ebt. Nj\u00eb marr\u00ebdh\u00ebnie e till\u00eb nxjerr n\u00eb pah brisht\u00ebsin\u00eb fragmentare t\u00eb ndar\u00eb n\u00eb zona t\u00eb ve\u00e7anta, nj\u00eb shum\u00ebsi pjes\u00ebsh trupore, q\u00eb \u201cshkurajojn\u00eb\u201d \u00e7do p\u00ebrpjekje t\u00eb trupit p\u00ebr ta par\u00eb veten t\u00eb nj\u00ebtrajtsh\u00ebm dhe t\u00eb bashkuar n\u00eb m\u00ebnyr\u00eb harmoniken\u00eb nj\u00eb t\u00eb vet\u00ebm e kuptimplot\u00eb. <\/p>\n\n\n\n

T\u00eb pikturosh e aq m\u00eb tep\u00ebr t\u00eb interpretosh t\u00eb padukshmen e nj\u00eb trupi lakuriq \u00ebsht\u00eb si t\u00eb dep\u00ebrtosh p\u00ebrtej nj\u00eb t\u00eb v\u00ebrtete reale, sepse lakuriq\u00ebsia nuk \u00ebsht\u00eb vet\u00ebm nj\u00eb subjekt i ngurt\u00eb pajet\u00eb, por nj\u00eb shum\u00ebsi ndjesish, perceptimesh, ndjenjash, p\u00ebrfytyrimesh dhe marr\u00ebdh\u00ebniesh t\u00ebr\u00ebsisht vetjake e intime, q\u00eb artisti ka me modelin n\u00eb studion e tij. Element\u00eb t\u00eb cil\u00ebt nxisin imagjinat\u00ebn e krijuesit (artistit) p\u00ebr ta rikrijuar at\u00eb, pasi trupi lakuriq nd\u00ebrvepron n\u00eb heshtje me hap\u00ebsir\u00ebn p\u00ebrreth, atmosfer\u00ebn dhe kontaktin e drejtp\u00ebrdrejt\u00eb me syrin e artistit.<\/p>\n\n\n\n

Joshja e nd\u00ebrsjell\u00eb e pashprehur, por e ndjer\u00eb mes piktorit\/es dhe modeles\/it \u00ebsht\u00eb e pashmangshme. Jan\u00eb pjes\u00eb t\u00eb ve\u00e7anta t\u00eb lakuriq\u00ebsis\u00eb t\u00eb cilat p\u00ebrhumbin v\u00ebmendjen e artistit, duke zgjuar n\u00eb n\u00ebnvet\u00ebdijen e tij ndjesin\u00eb e erotizmit. Ndaj ky proces krijues \u00ebsht\u00eb sa njoh\u00ebs p\u00ebr anatomin\u00eb e trupit t\u00eb njeriut nga ana e artistit, aq edhe i nd\u00ebrlikuar p\u00ebr p\u00ebrfshirjen erotike n\u00eb t\u00eb. Tensioni seksual \u00ebsht\u00eb emblema e marr\u00ebdh\u00ebnieve nd\u00ebrmjet trupave t\u00eb cil\u00ebt nuk jan\u00eb t\u00eb orientuar drejt arritjes s\u00eb nj\u00eb marr\u00ebdh\u00ebnie p\u00ebrfundimtare, sesa p\u00ebr ruajtjen e baraspesh\u00ebs dikotomike t\u00eb ndjenjave. T\u00eb qendruarit p\u00ebrball\u00eb nj\u00ebri-tjetrit, piktor-model p\u00ebrt\u00ebrin\u00eb \u00e7do her\u00eb ndjesin\u00eb e k\u00ebnaq\u00ebsis\u00eb dhe eksitimit, e cila shtohet gjithmon\u00eb e m\u00eb shum\u00eb. Imazhi i lakuriq\u00ebsis\u00eb mund t\u00eb shfaqet vet\u00ebm n\u00eb nj\u00eb trup t\u00eb zhveshur [\u2026]. Nj\u00eb trup n\u00eb t\u00eb cilin l\u00ebkura \u00ebsht\u00eb membrana e ndarjes s\u00eb dy bot\u00ebve, asaj brenda dhe jasht saj. E v\u00ebrteta e k\u00ebrkuar n\u00ebn l\u00ebkur\u00eb, n\u00eb t\u00eb v\u00ebrtet\u00eb gjendet n\u00eb bukurin\u00eb e sip\u00ebrfaqes s\u00eb saj. L\u00ebkura n\u00eb nj\u00eb trup lakuriq nuk mbulon misterin e shpirtit, p\u00ebrkundrazi ajo \u00ebsht\u00eb vet\u00eb \u201cforma e shpirtit\u201d.<\/p>\n\n\n\n

P\u00ebrtej bukuris\u00eb s\u00eb l\u00ebkur\u00ebs, q\u00eb hijeshon lakuriq\u00ebsin\u00eb n\u00eb vetvete, ajo na d\u00ebshmon p\u00ebr nj\u00eb t\u00eb v\u00ebrtet\u00eb t\u00eb pakund\u00ebrshtueshme: \u2013 nuk ka m\u00eb asgj\u00eb p\u00ebr t\u00eb par\u00eb p\u00ebrtej k\u00ebsaj lakuriq\u00ebsie! L\u00ebkura \u00ebsht\u00eb \u201ckufindar\u00ebsja\u201d midis dy hap\u00ebsirave: reales dhe irracionales. \u00cbsht\u00eb sip\u00ebrfaqja e vetme e mundshme p\u00ebr t\u00eb dep\u00ebrtuar t\u00eb panjohur\u00ebn e lakuriq\u00ebsis\u00eb. Ndaj t\u00eb k\u00ebrkosh nj\u00eb shpirt t\u00eb n\u00ebndhesh\u00ebm n\u00eb t\u00eb do t\u00eb thot\u00eb \u201ct\u00eb rrjep\u00ebsh l\u00ebkur\u00ebn nga trupi\u201d. \u00c7do e v\u00ebrtet\u00eb shfaqet n\u00eb m\u00ebnyr\u00eb misterioze mbi l\u00ebkur\u00eb, sepse ajo \u00ebsht\u00eb harta e ndjesive t\u00eb nj\u00eb trupi lakuriq, aty, ku shihen e p\u00ebrftohen t\u00eb gjitha emocionet, druatjet dhe brisht\u00ebsit\u00eb e qenies njer\u00ebzore. 
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P\u00ebr t\u00eb kuptuar lakuriq\u00ebsin\u00eb \u00ebsht\u00eb e nevojshme t\u00eb shkohet p\u00ebrtej asaj q\u00eb ajo shfaq dhe asaj q\u00eb ne p\u00ebrftojm\u00eb me shikim t\u00eb par\u00eb. Kjo, sepse lakuriq\u00ebsia nuk kufizohet vet\u00ebm n\u00eb shfaqen e organeve gjenitale, apo pjes\u00ebve t\u00eb tjera specifike t\u00eb trupit. Kur gjendemi p\u00ebrball\u00eb nj\u00eb trupi lakuriq, ne do t\u00eb duhet t\u00eb shohim p\u00ebrtej lakuriq\u00ebsis\u00eb si imazh, pasi ajo \u00ebsht\u00eb pjes\u00eb e nj\u00eb realiteti ontologjiko-fenomenologjik dhe antropologjik-kulturor, t\u00eb njohjes me vetveten. \u2013 Asnj\u00eb trup nuk mund t\u00eb shmang\u00eb lakuriq\u00ebsin\u00eb si ekzistenc\u00eb reale dhe p\u00ebrmas\u00eb ndjesore. Nj\u00eb trup lakuriq i pa shfaqur \u00ebsht\u00eb nj\u00eb trup i paqen\u00eb. Lakuriq\u00ebsia \u00ebsht\u00eb liria e vet\u00eb trupit p\u00ebr t\u00eb shp\u00ebrfaqur e p\u00ebrcjell identitetin e tij, ashtu si\u00e7 \u00ebsht\u00eb me bukurin\u00eb, deformimet dhe t\u00eb metat q\u00eb e karakterizojn\u00eb. Nj\u00eb trup lakuriq mbart nj\u00eb identitet t\u00eb mir\u00eb p\u00ebrcaktuar, i cili p\u00ebrfaq\u00ebson nj\u00eb vend, kultur\u00eb, tradit\u00eb, mend\u00ebsi, p\u00ebrkat\u00ebsi dhe antropologji. <\/p>\n\n\n\n

Ndaj lakuriq\u00ebsia duhet hetuar n\u00eb shum\u00eb drejtime si m\u00ebnyra e vetme p\u00ebr ta kuptuar dhe \u00e7liruar at\u00eb nga hermetizmi i druajtjes. Platoni lakuriq\u00ebsin\u00eb e konsideronte si zanafill\u00ebn e ekzistenc\u00ebs, duke u nisur nga kuptimi i s\u00eb v\u00ebrtet\u00ebs dhe i mendimit parasokratik, ku aletheia<\/em>[grc]<\/sup> \u00ebsht\u00eb mish\u00ebrimi i lakuriq\u00ebsis\u00eb.<\/p>\n\n\n\n

Ndaj t\u00eb pikturosh, apo t\u00eb modelosh nj\u00eb trup lakuriq e aq m\u00eb tep\u00ebr ta p\u00ebrfaq\u00ebsosh e konkretizosh at\u00eb n\u00ebp\u00ebrmjet estetik\u00ebs semiotike \u2013 \u00ebsht\u00eb di\u00e7ka t\u00ebr\u00ebsisht tjet\u00ebr nga ajo q\u00eb realisht shohim e prekim n\u00eb realitet. Nj\u00eb qasje e till\u00eb do t\u00eb thot\u00eb t\u00eb dish ta kuptosh at\u00eb, p\u00ebr at\u00eb q\u00eb \u00ebsht\u00eb n\u00eb t\u00eb v\u00ebrtet\u00eb: pjes\u00ebn e dukshme t\u00eb lakuriq\u00ebsis\u00eb, q\u00eb nuk \u00ebsht\u00eb gj\u00eb tjet\u00ebr ve\u00e7se \u201cmb\u00ebshtjell\u00ebsja e shpirtit\u201d njer\u00ebzor.<\/p>\n\n\n\n

N\u00eb k\u00ebt\u00eb proces osmoz\u00eb midis \u201cgjeniut\u201d krijues brenda artistit dhe nevoj\u00ebs p\u00ebr t\u00eb shijuar e p\u00ebr t\u2019u joshur nga bukuria rrezatuese e lakuriq\u00ebsis\u00eb \u00ebsht\u00eb semantika e gjuh\u00ebs s\u00eb p\u00ebrdorur nga artisti n\u00eb komunikim me mas\u00ebn. Gj\u00eb, e cila e ngjit n\u00eb pjetestal tharmin e lakuriq\u00ebsis\u00eb, duke gjurmuar n\u00ebp\u00ebr shtigjet e linjave poetike dhe estetike t\u00eb nj\u00eb trupi t\u00eb zhveshur.<\/p>\n\n\n\n

P\u00ebrpos gjith\u00e7kaje artisti bashk\u00ebkohor ka nj\u00eb qasje krejt\u00ebsisht t\u00eb ve\u00e7ant\u00eb, vetjake dhe semio-semantike p\u00ebr p\u00ebrfaq\u00ebsimin e trupit lakuriq, duke hequr dor\u00eb nga raporti i tij me t\u00eb bukur\u00ebn dhe me t\u00eb hijshme (me \u00e7do kusht). Sepse lakuriq\u00ebsin\u00eb ai e shikon si \u201chart\u00ebn e shpirtit\u201d, t\u00eb ekzistenc\u00ebs s\u00eb qenies njer\u00ebzore antropo-fenomenologjike, pjes\u00eb e nj\u00eb mend\u00ebsie, e nj\u00eb psiko-dinamike t\u00eb re, e nj\u00eb konteksti shoq\u00ebror, politik, historik dhe social t\u00eb cilat form\u00ebsojn\u00eb dhe kodifikojn\u00eb bashk\u00ebkoh\u00ebsin\u00eb e tij.<\/p>\n\n\n\n

Nga Fabjola Kuburi<\/p>\n\n\n\n

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NUDE <\/strong><\/p>\n\n\n\n

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To see, to observe, to perceive and even more to touch and paint a naked body (nude) means to know everything, the embryo of life. Nudity is a sensory, comprehensive and multifaceted phenomenon, which goes beyond the subject of the nakedness of a human body. Sitting in front of a naked body is about a state of “ecstasy”, almost of a divine connection, where the artist dissolves into multiple sensations within his own being. By transforming the perception of nudity into a fundamental semiotic around which all dimensions of existence gather, such as: eroticism, love, seduction, excitement, spiritual flow, territorial belonging, socialization, anthropology of the spirit, etc\u2026\u2013 Nudity, in addition to being interpreted by visual artists, has also served as a \u201cMuse of inspiration\u201d for the analysis of the Magnum opus<\/em> of Western ontological thought, from Heraclitus to Heidegger to contemporary French philosophy with Georges Bataille and Jean-Luc Nancy, where nudity is raised to an essential theme, decisive for the philosophy of the future.<\/p>\n\n\n\n

Undoubtedly, our original \u201cfathers\u201d Adam and Eve were also naked, who clearly symbolize the metaphor of man\u2019s transition from the animal state to the state of consciousness, with the consequent taking responsibility and gaining free will to think and act. Therefore, in this view, it is not a sin, but a developmental progress of the human being: the beginning of man\u2019s journey towards knowledge. <\/p>\n\n\n\n

A consciousness that places the naked body in the face of self-knowledge and in erotic-aesthetic relationships with others. Such a relationship highlights the fragmentary fragility divided into separate areas, a multitude of body parts that \u201cdiscourage\u201d any attempt of the body to see itself as uniform and harmoniously united into a single and meaningful whole. <\/p>\n\n\n\n

To paint and even more so to interpret the invisible of a naked body is like penetrating beyond a real truth, because nudity is not just a solid, inanimate subject, but a multitude of sensations, perceptions, feelings, imaginations and completely personal and intimate relationships that the artist has with the model in his studio. Elements that stimulate the imagination of the creator (artist) to recreate it, since the naked body interacts silently with the surrounding space, the atmosphere and direct contact with the artist\u2019s eye. <\/p>\n\n\n\n

The unspoken but felt mutual attraction between the painter and the model is inevitable. There are specific parts of the nudity that capture the artist’s attention, awakening in his subconscious the feeling of eroticism. Therefore, this creative process is as much a cognitive process for the artist about the anatomy of the human body as it is a complex one for the erotic involvement in it. Sexual tension is the emblem of the relationship between bodies that are not oriented towards achieving a final relationship, but rather towards maintaining the dichotomous balance of feelings. Standing face to face, the painter-model renews each time the feeling of pleasure and excitement, which increases more and more. The image of nudity can only appear in a naked body [\u2026]. A body in which the skin is the membrane separating two worlds, the one inside and the one outside. The truth sought under the skin is actually found in the beauty of its surface. The skin on a naked body does not cover the mystery of the soul, on the contrary, it is the very \u201cform of the soul\u201d.<\/p>\n\n\n\n

Beyond the beauty of the skin, which adorns nudity in itself, it testifies to an irrefutable truth: \u2013 there is nothing left to see beyond this nudity! The skin is the \u201cboundary\u201d between two spaces: the real and the irrational. It is the only possible surface to penetrate the unknown of nudity. Therefore, to seek an underground soul in it means \u201cto strip the skin from the body\u201d. Every truth appears mysteriously on the skin, because it is the map of the sensations of a naked body, where all the emotions, fears and fragility of the human being are seen and experienced. <\/p>\n\n\n\n

To understand nudity, it is necessary to go beyond what it reveals and what we perceive at first glance. This is because nudity is not limited to the display of genitals or other specific parts of the body. When we find ourselves faced with a naked body, we will have to look beyond nudity as an image, since it is part of an ontological-phenomenological and anthropological-cultural reality, of self-knowledge. \u2013 No body can avoid nudity as a real existence and sensory dimension. An unmanifested naked body is a non-existent body. Nudity is the freedom of the body itself to reveal and convey its identity, as it is with the beauty, deformities and flaws that characterize it. A naked body carries a well-defined identity, which represents a place, culture, tradition, mentality, belonging and anthropology. <\/p>\n\n\n\n

Therefore, nudity must be investigated in many directions as the only way to understand and free it from the hermeticism of fear. Plato considered nudity as the origin of existence, starting from the meaning of truth and pre-Socratic thought, where aletheia<\/em>[<\/sup>grc<\/sup>]<\/sup> <\/sup>is the embodiment of nudity.<\/p>\n\n\n\n

Therefore, to paint or model a naked body, and even more so to represent and concretize it through semiotic aesthetics \u2013 is something completely different from what we actually see and touch in reality. Such an approach means knowing how to understand it, for what it really is: the visible part of nudity, which is nothing more than the \u201cenvelope of the human soul\u201d. <\/p>\n\n\n\n

In this process of osmosis between the creative \u201cgenius\u201d within the artist and the need to enjoy and be seduced by the radiant beauty of nudity is the semantics of the language used by the artist in communication with the masses. Something that elevates the yeast of nudity to a pedestal, tracing the paths of the poetic and aesthetic lines of a naked body. <\/p>\n\n\n\n

Above all, the contemporary artist has a completely unique, personal and semio-semantic approach to the representation of the naked body, giving up its relationship with beauty and grace (at all costs). Because he sees nudity as the “map of the soul”, of the existence of the anthropo-phenomenological human being, part of a mindset, of a new psycho-dynamics, of a social, political, historical and social context which shape and codify his contemporaneity.<\/p>\n\n\n\n

\u200b\u200b\u200b\u200b<\/p>\n","protected":false},"excerpt":{"rendered":"

T\u00eb shoh\u00ebsh, t\u00eb v\u00ebzhgosh, t\u00eb perceptosh e aq m\u00eb tep\u00ebr t\u00eb prek\u00ebsh e t\u00eb pikturosh nj\u00eb trup lakuriq (nudo) do t\u00eb thot\u00eb t\u00eb njoh\u00ebsh gjith\u00e7ka, embrionin e jet\u00ebs. Lakuriq\u00ebsia \u00ebsht\u00eb fenomen shqisor, gjith\u00ebp\u00ebrfshir\u00ebs dhe shum\u00ebplan\u00ebsh, q\u00eb shkon p\u00ebrtej vet\u00eb subjetit t\u00eb t\u00eb q\u00ebnurit lakuriq t\u00eb nj\u00eb trupi njer\u00ebzor. T\u00eb ndenjurit p\u00ebrball\u00eb nj\u00eb trupi lakuriq ka […]<\/p>\n","protected":false},"author":5,"featured_media":32497,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3854],"tags":[3984,4103,4104,3347],"class_list":["post-32462","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art-kulture","tag-ekspozita","tag-lakuriq","tag-nude","tag-oltsen-gripshi"],"_links":{"self":[{"href":"https:\/\/intervista.al\/web\/wp-json\/wp\/v2\/posts\/32462","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/intervista.al\/web\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/intervista.al\/web\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/intervista.al\/web\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/intervista.al\/web\/wp-json\/wp\/v2\/comments?post=32462"}],"version-history":[{"count":0,"href":"https:\/\/intervista.al\/web\/wp-json\/wp\/v2\/posts\/32462\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/intervista.al\/web\/wp-json\/wp\/v2\/media\/32497"}],"wp:attachment":[{"href":"https:\/\/intervista.al\/web\/wp-json\/wp\/v2\/media?parent=32462"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/intervista.al\/web\/wp-json\/wp\/v2\/categories?post=32462"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/intervista.al\/web\/wp-json\/wp\/v2\/tags?post=32462"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}