{"id":782,"date":"2023-09-01T10:40:57","date_gmt":"2023-09-01T10:40:57","guid":{"rendered":"https:\/\/russlink.ir\/?page_id=782"},"modified":"2025-09-05T23:59:06","modified_gmt":"2025-09-05T23:59:06","slug":"dmitri-shostakovich","status":"publish","type":"page","link":"https:\/\/russlink.ir\/index.php\/musicians\/dmitri-shostakovich\/","title":{"rendered":"Dmitri Shostakovich"},"content":{"rendered":"\n
<\/div>\n\n\n\n

Dmitri Shostakovich, The Composer of Two Faces: Navigating Life and Art Under Soviet Tyranny<\/h2>\n\n\n\n

Imagine being an artist in a world where a single, unapproved melody could cost you your life, and where every note you wrote was a perilous act of defiance or a painful act of compromise. That was the life of Dmitri Shostakovich<\/strong>, a man who navigated the treacherous waters of Soviet tyranny with a deceptive, brilliant grace. He was a composer of two faces: the public face, which smiled and produced state-approved works, and the private face, which cried out in a language of dissonance and irony against the very system that controlled him. His music is a secret diary, a coded message filled with pain, sorrow, and a defiant, unyielding spirit. He was not just a composer; he was a master of survival, a brilliant artist who proved that even in the face of absolute terror, the human spirit could find a way to whisper the truth. His work stands as one of the most powerful and complex artistic testaments to the struggle for freedom in the 20th century.<\/p>\n\n\n\n

\n\n\n\n

The Early Years: A Prodigy in a Tumultuous World<\/h3>\n\n\n\n

To understand the immense pressure that shaped Shostakovich’s life, we must first look at his beginnings. He was a child prodigy who came of age during one of the most violent and transformative periods in Russian history.<\/p>\n\n\n\n

A Childhood Shaped by Revolution and Upheaval<\/h4>\n\n\n\n

Born in 1906, Shostakovich was just 11 years old when the Russian Revolution erupted. His childhood was shaped by the chaos and uncertainty of the era. Despite this, his musical talent was clear from a very young age. He began piano lessons at nine, and his progress was so rapid that he soon began composing his own works. His family, though not wealthy, was highly cultured, and his home was filled with music and literature. This early environment, rich with intellectual life and the drama of a changing world, was the crucible in which his genius was forged.<\/p>\n\n\n\n

The Prodigy of the Petrograd Conservatory<\/h4>\n\n\n\n

At the age of 13, he was accepted into the Petrograd Conservatory, where he studied piano and composition. He was a brilliant student, a young man of immense talent and promise. His teachers were captivated by his technical skill and his unique creative voice. He was, in a sense, a child of the revolution, a young artist who was expected to create a new kind of Soviet art, an art that would celebrate the new ideals of the state.<\/p>\n\n\n\n

The Symphony No. 1 and a Promising Debut<\/h4>\n\n\n\n

In 1926, at the age of 19, Shostakovich wrote his Symphony No. 1<\/strong>, a work that immediately catapulted him to international fame. The symphony was a brilliant blend of classical tradition and modern dissonance, a work of youthful energy and immense creative promise. It was performed to great acclaim both in Russia and in the West, and it established him as a major new voice in 20th-century music.<\/p>\n\n\n\n

A Young Composer’s Initial Freedom<\/h4>\n\n\n\n

At this point in his life, Shostakovich was a young composer with a great deal of artistic freedom. The state had not yet fully consolidated its control over the arts, and there was still a sense of creative experimentation and a certain amount of artistic freedom. He was a star, a young man who was seen as the future of Soviet music. But this period of freedom would not last long. The clouds of tyranny were gathering, and the naive, young composer would soon find himself in a world where every note he wrote was an act of political consequence.<\/p>\n\n\n\n

\n\n\n\n

The Shostakovich Style: A Voice of Dissonance and Irony<\/h3>\n\n\n\n

Shostakovich\u2019s music is a fascinating puzzle, a complex tapestry of sounds that are both beautiful and unsettling. His style is a direct reflection of the world he lived in, a world filled with a sense of unease, of fear, and of a quiet, unyielding defiance.<\/p>\n\n\n\n

The Juxtaposition of the Public and the Private<\/h4>\n\n\n\n

One of the most striking features of his music is the way it juxtaposes the public and the private. On the one hand, he wrote music that was grand, epic, and celebratory, music that was meant to be performed for the masses and that outwardly conformed to the state\u2019s demands. But on the other hand, in that same music, he hid a secret language of pain, of sorrow, and of profound irony. It was as if he was telling two stories at once: the story that the state wanted to hear and the story that he, in his heart, needed to tell.<\/p>\n\n\n\n

The Use of Satire and Musical Ciphers<\/h4>\n\n\n\n

Shostakovich was a master of satire<\/strong> and musical ciphers<\/strong>. He often used distorted, jarring sounds and musical quotes from other works to mock the very ideology he was forced to praise. He famously used the musical motif of his initials (D-S-C-H, based on the German notation for his name) as a kind of signature, a way of putting his own personal stamp on a work that was meant to be a collective, a work of the state. This private, secret language was a way for him to maintain his artistic integrity in a world that demanded his public surrender. .<\/p>\n\n\n\n

The Symphonic Dialogue: A Battle of Ideals<\/h4>\n\n\n\n

His symphonies, in particular, are a perfect example of this duality. They are not just musical pieces; they are a kind of symphonic dialogue, a battle between two opposing forces. There are moments of immense, glorious sound, moments of triumph and celebration. But there are also moments of deep, painful sorrow, of grotesque, sarcastic humor, and of a quiet, unyielding despair. His music is a reflection of the great political and moral battles of his time, a canvas for the conflicting ideals of a world that was tearing itself apart.<\/p>\n\n\n\n

A Conflict Between Joy and Despair<\/h4>\n\n\n\n

In his music, you can hear a constant conflict between joy and despair, a struggle between the optimistic, celebratory music of the state and the melancholic, tormented music of the soul. He was a composer who, with every note he wrote, was asking a profound question: in a world of lies, how do you find a way to tell the truth?<\/p>\n\n\n\n

\n\n\n\n

The Great Terror and the Turning Point<\/h3>\n\n\n\n

The year 1936 was a turning point in Shostakovich’s life. It was a year that marked the beginning of a period of immense terror, a period that would change the very nature of his art.<\/p>\n\n\n\n

The Lady Macbeth Crisis and the Pravda Attack<\/h4>\n\n\n\n

In 1936, Shostakovich\u2019s opera, Lady Macbeth of the Mtsensk District<\/em><\/strong>, was a huge success. The opera, with its raw, sexual, and violent themes, was praised by critics both in Russia and in the West. But then, on January 28, 1936, a devastating and anonymous article, almost certainly written at Stalin\u2019s personal order, appeared in the official Communist Party newspaper, Pravda<\/em><\/strong>. The article, titled “Muddle Instead of Music,”<\/strong> condemned the opera as “coarse,” “primitive,” and “leftist muddle.”<\/p>\n\n\n\n

A Life on the Brink<\/h4>\n\n\n\n

The Pravda<\/em><\/strong> article was not just a music review; it was a death sentence. It was a direct, public condemnation from the highest levels of the Soviet state. Overnight, Shostakovich went from being a national hero to being an enemy of the people. His music was banned, his friends and family were arrested, and he lived in constant fear of being sent to the gulags. He was a man who, in a single day, had found himself on the brink of an abyss.<\/p>\n\n\n\n

The Symphony No. 5: A Forced Celebration<\/h4>\n\n\n\n

After the Pravda<\/em><\/strong> attack, Shostakovich was in a perilous position. He knew that he had to write a work that would appease the state, a work that would prove his loyalty to the party. He wrote his Symphony No. 5<\/strong>, a work that, on the surface, seemed to be a perfect example of socialist realism. The symphony, with its triumphant finale, was a grand, epic, and celebratory work that was immediately embraced by the state.<\/p>\n\n\n\n

The Public Smile and the Private Tear<\/h4>\n\n\n\n

The symphony was given the subtitle “A Soviet artist’s practical creative reply to just criticism.” But in reality, the symphony was a brilliant act of subversion. The triumphant finale, with its loud, forced celebration, is filled with a sense of profound irony. Many historians believe that the finale is not a celebration at all, but a grotesque, sarcastic expression of a hollow, forced joy. It was a perfect example of Shostakovich\u2019s duality: a public smile and a private tear, a work that pleased the state while whispering a profound truth to those who were able to hear it.<\/p>\n\n\n\n

\n\n\n\n

The Wartime Years and the Symphony of Leningrad<\/h3>\n\n\n\n

During the dark years of World War II, Shostakovich became a symbol of Russian defiance and patriotism, but even this period was not without its complexities.<\/p>\n\n\n\n

The Symphony No. 7 and a Global Audience<\/h4>\n\n\n\n

When the Nazi siege of Leningrad began in 1941, Shostakovich began composing his Symphony No. 7<\/strong>, a work that would become known as the “Leningrad Symphony.”<\/strong> The symphony, with its powerful, epic themes, was a direct response to the horrors of the war. It was a work of immense national pride and a powerful statement of the Russian people\u2019s unwavering spirit in the face of a terrible enemy. The symphony was a global sensation. It was performed around the world, and it became a symbol of the Allied fight against fascism.<\/p>\n\n\n\n

The Power of a Musical Message<\/h4>\n\n\n\n

The symphony was famously performed in the middle of the siege of Leningrad itself, by an orchestra of starving musicians who were playing in an auditorium that was surrounded by enemy fire. The performance was a testament to the power of art to inspire hope and to defy a terrible enemy. But even this symphony, with its public message of patriotism, was filled with a deeper, more complex meaning. Some music historians believe that the symphony’s themes are not just a condemnation of fascism but also a coded condemnation of the totalitarian system of the Soviet Union itself.<\/p>\n\n\n\n

The Return to Persecution: Post-War Years<\/h4>\n\n\n\n

After the war, Shostakovich\u2019s life returned to its familiar cycle of fame and persecution. In 1948, he was once again condemned by the state in a series of purges known as the Zhdanov Decree<\/strong>. This was a brutal crackdown on all forms of “formalist” art, an attack on any artist who was not conforming to the rigid rules of socialist realism.<\/p>\n\n\n\n

The Zhdanov Decree and Another Round of Censorship<\/h4>\n\n\n\n

The Zhdanov Decree forced Shostakovich to publicly renounce his own work, and it forced him to write music that was simple, accessible, and inoffensive. He was, once again, a man who was forced to live with a dual life, a man who was forced to hide his true artistic voice. This period of renewed censorship was a particularly painful time for the composer, a time that saw many of his friends and colleagues arrested or sent to labor camps.<\/p>\n\n\n\n

\n\n\n\n

Shostakovich’s Enduring Legacy<\/h3>\n\n\n\n

Shostakovich\u2019s life was a journey through a century of storms, and his legacy is a complex and powerful one. He is, without a doubt, one of the greatest composers of the 20th century, but he is also something more: he is a moral authority, a symbol of artistic defiance.<\/p>\n\n\n\n

The Moral Compass of his Art<\/h4>\n\n\n\n

Shostakovich\u2019s art is a moral compass, a guide to a world that was filled with moral and political complexity. His work teaches us that art is not just about beauty; it is about honesty, it is about truth, and it is about the power of the human spirit to defy a brutal system. He was a man who, in a world that demanded his silence, found a way to speak, a man who, with a single, ironic melody, could tell a whole world of secrets.<\/p>\n\n\n\n

A Composer Who Spoke for His People<\/h4>\n\n\n\n

He was a composer who, in a sense, spoke for his people. He wrote music that was not just his own private confession; it was a collective cry of a nation that was living under a dark and terrible cloud. He was a man who, in his own, quiet, and brilliant way, became a voice for the voiceless.<\/p>\n\n\n\n

The Unsolved Mysteries: The Enigmatic Private Man<\/h4>\n\n\n\n

Even today, Shostakovich remains an enigmatic figure. We still do not fully know the man behind the music. His public face was one of a loyal Soviet citizen, a man who was, at times, a public speaker for the state. But his private face, the face that is revealed in his music, is one of a tormented, brilliant, and defiant artist. The mystery of the private man and the public figure is one of the most fascinating aspects of his legacy.<\/p>\n\n\n\n

\n\n\n\n

Conclusion: The Unmistakable Echo of a Tortured Genius<\/h3>\n\n\n\n

Dmitri Shostakovich was a tortured genius, a man who was forced to live a life of painful compromise and a life of brilliant defiance. He was a composer who, with every note he wrote, was asking a profound question: how do you maintain your humanity and your artistic integrity in a world that demands your surrender? His music is a testament to the idea that a man who is forced to live with two faces can, in the end, produce an art that is more truthful and more profound than a man who has only one. His legacy is an unmistakable echo of a tortured genius, a voice that speaks to us across the years, a voice that tells us that the struggle for truth is a struggle that is always, and forever, worth fighting for.<\/p>\n\n\n\n

\n\n\n\n

Frequently Asked Questions (FAQs)<\/h2>\n\n\n\n

1. What was the “Muddle Instead of Music” article?<\/strong><\/p>\n\n\n\n

The “Muddle Instead of Music” article was a devastating and anonymous review that appeared in the official Communist Party newspaper, Pravda<\/em><\/strong>, in 1936. The article, which was almost certainly ordered by Stalin himself, condemned Shostakovich’s opera, Lady Macbeth of the Mtsensk District<\/em><\/strong>, and it marked the beginning of a long period of persecution for the composer.<\/p>\n\n\n\n

2. What is the significance of the musical cipher D-S-C-H?<\/strong><\/p>\n\n\n\n

The musical cipher D-S-C-H is a musical motif that Shostakovich famously used as a kind of signature in many of his later works. The letters correspond to the German musical notation for his initials. The motif was a way for him to put his own personal stamp on a work, a secret way for him to sign his music in a world that demanded his artistic anonymity.<\/p>\n\n\n\n

3. What is the story behind the Symphony No. 5?<\/strong><\/p>\n\n\n\n

The Symphony No. 5<\/strong> was Shostakovich’s response to the “Muddle Instead of Music” article. On the surface, it is a grand, epic, and celebratory work that was praised by the Soviet government. But many music historians believe that the symphony’s triumphant finale is filled with a sense of profound irony and that the symphony is a brilliant act of subversion, a private critique of the very system it was meant to praise.<\/p>\n\n\n\n

4. How did Shostakovich\u2019s music change after the start of World War II?<\/strong><\/p>\n\n\n\n

During World War II, Shostakovich’s music became more grand, more patriotic, and more epic. His Symphony No. 7<\/strong>, known as the “Leningrad Symphony,”<\/strong> became a global symbol of the Allied fight against fascism. However, even these works were filled with the same kind of irony and personal sorrow that characterized his earlier work.<\/p>\n\n\n\n

5. Why is Shostakovich\u2019s music considered so complex?<\/strong><\/p>\n\n\n\n

Shostakovich\u2019s music is considered complex because of its many layers of meaning. On one hand, it is filled with beautiful melodies and grand orchestrations, but on the other hand, it is filled with a secret language of satire, irony, and coded messages. His music is a reflection of the political and moral complexities of his time, a canvas for a profound and difficult emotional landscape.<\/p>\n\n\n\n

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\"Pyotr<\/a><\/figure>\n<\/div>\n\n\n
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Pyotr Ilyich Tchaikovsky<\/a><\/strong><\/h3>\n<\/div>\n\n\n\n
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Sergei Rachmaninoff<\/strong><\/a><\/h3>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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Igor Stravinsky<\/a><\/strong><\/h3>\n<\/div>\n\n\n\n
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\"Alexander<\/a><\/figure>\n<\/div>\n\n\n
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Alexander Scriabin<\/a><\/strong><\/h3>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Dmitri Shostakovich, The Composer of Two Faces: Navigating Life and Art Under Soviet Tyranny Imagine being an artist in a world where a single, unapproved melody could cost you your life, and where every note you wrote was a perilous act of defiance or a painful act of compromise. That was the life of Dmitri Shostakovich, a man who navigated the treacherous waters of Soviet tyranny with a deceptive, brilliant grace. He was a composer of two faces: the public face, which smiled and produced state-approved works, and the private face, which cried out in a language of dissonance and irony against the very system that controlled him. His music is a secret diary, a coded message filled with pain, sorrow, and a defiant, unyielding spirit. He was not just a composer; he was a master of survival, a brilliant artist who proved that even in the face of absolute terror, the human spirit could find a way to whisper the truth. His work stands as one of the most powerful and complex artistic testaments to the struggle for freedom in the 20th century. The Early Years: A Prodigy in a Tumultuous World To understand the immense pressure that shaped Shostakovich’s life, we must first look at his beginnings. He was a child prodigy who came of age during one of the most violent and transformative periods in Russian history. A Childhood Shaped by Revolution and Upheaval Born in 1906, Shostakovich was just 11 years old when the Russian Revolution erupted. His childhood was shaped by the chaos and uncertainty of the era. Despite this, his musical talent was clear from a very young age. He began piano lessons at nine, and his progress was so rapid that he soon began composing his own works. His family, though not wealthy, was highly cultured, and his home was filled with music and literature. This early environment, rich with intellectual life and the drama of a changing world, was the crucible in which his genius was forged. The Prodigy of the Petrograd Conservatory At the age of 13, he was accepted into the Petrograd Conservatory, where he studied piano and composition. He was a brilliant student, a young man of immense talent and promise. His teachers were captivated by his technical skill and his unique creative voice. He was, in a sense, a child of the revolution, a young artist who was expected to create a new kind of Soviet art, an art that would celebrate the new ideals of the state. The Symphony No. 1 and a Promising Debut In 1926, at the age of 19, Shostakovich wrote his Symphony No. 1, a work that immediately catapulted him to international fame. The symphony was a brilliant blend of classical tradition and modern dissonance, a work of youthful energy and immense creative promise. It was performed to great acclaim both in Russia and in the West, and it established him as a major new voice in 20th-century music. A Young Composer’s Initial Freedom At this point in his life, Shostakovich was a young composer with a great deal of artistic freedom. The state had not yet fully consolidated its control over the arts, and there was still a sense of creative experimentation and a certain amount of artistic freedom. He was a star, a young man who was seen as the future of Soviet music. But this period of freedom would not last long. The clouds of tyranny were gathering, and the naive, young composer would soon find himself in a world where every note he wrote was an act of political consequence. The Shostakovich Style: A Voice of Dissonance and Irony Shostakovich\u2019s music is a fascinating puzzle, a complex tapestry of sounds that are both beautiful and unsettling. His style is a direct reflection of the world he lived in, a world filled with a sense of unease, of fear, and of a quiet, unyielding defiance. The Juxtaposition of the Public and the Private One of the most striking features of his music is the way it juxtaposes the public and the private. On the one hand, he wrote music that was grand, epic, and celebratory, music that was meant to be performed for the masses and that outwardly conformed to the state\u2019s demands. But on the other hand, in that same music, he hid a secret language of pain, of sorrow, and of profound irony. It was as if he was telling two stories at once: the story that the state wanted to hear and the story that he, in his heart, needed to tell. The Use of Satire and Musical Ciphers Shostakovich was a master of satire and musical ciphers. He often used distorted, jarring sounds and musical quotes from other works to mock the very ideology he was forced to praise. He famously used the musical motif of his initials (D-S-C-H, based on the German notation for his name) as a kind of signature, a way of putting his own personal stamp on a work that was meant to be a collective, a work of the state. This private, secret language was a way for him to maintain his artistic integrity in a world that demanded his public surrender. . The Symphonic Dialogue: A Battle of Ideals His symphonies, in particular, are a perfect example of this duality. They are not just musical pieces; they are a kind of symphonic dialogue, a battle between two opposing forces. There are moments of immense, glorious sound, moments of triumph and celebration. But there are also moments of deep, painful sorrow, of grotesque, sarcastic humor, and of a quiet, unyielding despair. His music is a reflection of the great political and moral battles of his time, a canvas for the conflicting ideals of a world that was tearing itself apart. A Conflict Between Joy and Despair In his music, you can hear a constant conflict between joy and despair, a struggle between the optimistic, celebratory music of the state and the melancholic, tormented music of the soul. He was a composer who, with every note he wrote, was asking a profound question: in a world of lies, how do you find a way to tell the truth? The Great Terror and the Turning Point The year 1936 was a turning point in Shostakovich’s life. It was a year that marked the beginning of a period of immense terror, a period that would change the very nature of his art. The Lady Macbeth Crisis and the Pravda Attack In 1936, Shostakovich\u2019s opera, Lady Macbeth of the Mtsensk District, was a huge success. The opera, with its raw, sexual, and violent themes, was praised by critics both in Russia and in the West. But then, on January 28, 1936, a devastating and anonymous article, almost certainly written at Stalin\u2019s personal order, appeared in the official Communist Party newspaper, Pravda. The article, titled “Muddle Instead of Music,” condemned the opera as “coarse,” “primitive,” and “leftist muddle.” A Life on the Brink The Pravda article was not just a music review; it was a death sentence. It was a direct, public condemnation from the highest levels of the Soviet state. Overnight, Shostakovich went from being a national hero to being an enemy of the people. His music was banned, his friends and family were arrested, and he lived in constant fear of being sent to the gulags. He was a man who, in a single day, had found himself on the brink of an abyss. The Symphony No. 5: A Forced Celebration After the Pravda attack, Shostakovich was in a perilous position. He knew that he had to write a work that would appease the state, a work that would prove his loyalty to the party. He wrote his Symphony No. 5, a work that, on the surface, seemed to be a perfect example of socialist realism. The symphony, with its triumphant finale, was a grand, epic, and celebratory work that was immediately embraced by the state. The Public Smile and the Private Tear The symphony was given the subtitle “A Soviet artist’s practical creative reply to just criticism.” But in reality, the symphony was a brilliant act of subversion. The triumphant finale, with its loud, forced celebration, is filled with a sense of profound irony. Many historians believe that the finale is not a celebration at all, but a grotesque, sarcastic expression of a hollow, forced joy. It was a perfect example of Shostakovich\u2019s duality: a public smile and a private tear, a work that pleased the state while whispering a profound truth to those who were able to hear it. The Wartime Years and the Symphony of Leningrad During the dark years of World War II, Shostakovich became a symbol of Russian defiance and patriotism, but even this period was not without its complexities. The Symphony No. 7 and a Global Audience When the Nazi siege of Leningrad began in 1941, Shostakovich began composing his Symphony No. 7, a work that would become known as the “Leningrad Symphony.” The symphony, with its powerful, epic themes, was a direct response to the horrors of the war. It was a work of immense national pride and a powerful statement of the Russian people\u2019s unwavering spirit in the face of a terrible enemy. The symphony was a global sensation. It was performed around the world, and it became a symbol of the Allied fight against fascism. The Power of a Musical Message The symphony was famously performed in the middle of the siege of Leningrad itself, by an orchestra of starving musicians who were playing in an auditorium that was surrounded by enemy fire. The performance was a testament to the power of art to inspire hope and to defy a terrible enemy. But even this symphony, with its public message of patriotism, was filled with a deeper, more complex meaning. Some music historians believe that the symphony’s themes are not just a condemnation of fascism but also a coded condemnation of the totalitarian system of the Soviet Union itself. The Return to Persecution: Post-War Years After the war, Shostakovich\u2019s life returned to its familiar cycle of fame and persecution. In 1948, he was once again condemned by the state in a series of purges known as the Zhdanov Decree. This was a brutal crackdown on all forms of “formalist” art, an attack on any artist who was not conforming to the rigid rules of socialist realism. The Zhdanov Decree and Another Round of Censorship The Zhdanov Decree forced Shostakovich to publicly renounce his own work, and it forced him to write music that was simple, accessible, and inoffensive. He was, once again, a man who was forced to live with a dual life, a man who was forced to hide his true artistic voice. This period of renewed censorship was a particularly painful time for the composer, a time that saw many of his friends and colleagues arrested or sent to labor camps. Shostakovich’s Enduring Legacy Shostakovich\u2019s life was a journey through a century of storms, and his legacy is a complex and powerful one. He is, without a doubt, one of the greatest composers of the 20th century, but he is also something more: he is a moral authority, a symbol of artistic defiance. The Moral Compass of his Art Shostakovich\u2019s art is a moral compass, a guide to a world that was filled with moral and political complexity. His work teaches us that art is not just about beauty; it is about honesty, it is about truth, and it is about the power of the human spirit to defy a brutal system. He was a man who, in a world that demanded his silence, found a way to speak, a man who, with a single, ironic melody, could tell a whole world of secrets. A Composer Who Spoke for His People He was a composer who, in a sense, spoke for his people. He wrote music that was not just his own private…<\/p>\n","protected":false},"author":2,"featured_media":784,"parent":28,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-782","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/russlink.ir\/index.php\/wp-json\/wp\/v2\/pages\/782","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/russlink.ir\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/russlink.ir\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/russlink.ir\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/russlink.ir\/index.php\/wp-json\/wp\/v2\/comments?post=782"}],"version-history":[{"count":4,"href":"https:\/\/russlink.ir\/index.php\/wp-json\/wp\/v2\/pages\/782\/revisions"}],"predecessor-version":[{"id":1318,"href":"https:\/\/russlink.ir\/index.php\/wp-json\/wp\/v2\/pages\/782\/revisions\/1318"}],"up":[{"embeddable":true,"href":"https:\/\/russlink.ir\/index.php\/wp-json\/wp\/v2\/pages\/28"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/russlink.ir\/index.php\/wp-json\/wp\/v2\/media\/784"}],"wp:attachment":[{"href":"https:\/\/russlink.ir\/index.php\/wp-json\/wp\/v2\/media?parent=782"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}