Aesthetics and Creativity in the School of "Postmodernism" with Emphasis on the Pattern of Assemblage in Contemporary Iranian Art

Postmodern architecture distinguishes no unblemished 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 the gathering of dissimilar words possible in an assembled culture.  This study attempts to apprehend the pattern of artistic assemblages 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 its findings were examined by content analysis method in the relationships between main, dependent and intermediate assumptions. The findings indicate that rapid changes in new facilities reduce the opportunity for their audiences to accept votes that are inconsistent with national identity since one of the global symbols of postmodern society is the disordered production and consumption of cultural symbols; signs 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 creative means with a assemblage pattern in order to spread world culture similar to postmodern commodity.

1. A study on the position of postmodernist creativity in contemporary Iranian art. 2. Understanding and interpreting patterns of integration and assembly in artistic images and its undeniable relationship with identity and tradition in Iranian society.

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