Aesthetics and Creativity in the School of Postmodernism with Emphasis on the Model of Assembly in Contemporary Iranian Art

Postmodern architecture knows no clear boundaries between art and sociology. According to the idea of ​​"global culture", which is associated with the increasing production of knowledge and technology, the gap between modernity and tradition in the discourses of artistic creation is no longer a challenge to creativity and the use of the paradigm of pluralism and uncertainty makes possible the assemblage of heterogeneous words in an assembled culture. This study tries to understand the pattern of artistic montages and its undeniable relationship with identity and tradition in Iranian society. Despite their innovative ideas, these patterns are also dependent on long-standing national and religious discourses and have raised the issue of the place of postmodern artistic creativity while preserving Western approaches and national identity in contemporary Iranian art. The present study is an analytical-descriptive study in which data is collected by document analysis and the findings are analyzed by content analysis between the relationships of the main, dependent and intermediate assumptions. The findings of the study indicate that the rapid change of new facilities reduces the opportunity for their audiences to accept opinions that contradict their national identity. Since one of the global symbols of postmodern society is the disordered production and consumption of cultural signs; symbols that give rise to multifaceted narratives. As a result, according to the moral responsibility of postmodern art, by preserving the common local discourses, contemporary art concepts can be expressed in a creative way with a montage pattern in order to spread world culture alike postmodern commodity.

Research objectives:

1. To study of the position of postmodernist creativity in contemporary Iranian art. 2. To understand and interpret the patterns of integration and assembly in artistic images and its undeniable relationship with identity and tradition in Iranian society.

Research questions:

1. Can divergent assembly patterns able to provide a solution to enter the creative context of postmodern aesthetics in contemporary Iranian art? 2. What are the key themes common between the main concepts (postmodern sociology), dependent (artistic creativity) and intermediary (assembly model in contemporary Iranian art)?