Explanation of the Concept of Theoretical Critique in Relation to the History and Philosophy of Art

Among the existing academic texts on plastic art criticism in Iran, and of course among the approaches that are practically applied in writing critique, theoretical criticism has been vastly overlooked. Awareness of the theoretical criticism attributes will help us to achieve a personal perception of artistic media. Such a realization, first of all, has hermeneutic dimensions; because in it, the work of art, as the occurrence of an experience, does not necessarily reveal all its features however the way of its interpretation determines the character of the collection to which the work belongs. This paper is intended to provide a definition of theoretical criticism and determine the relation between this domain and a range of plastic criticism definition, that the applied approach is its beginning and academic approach is the end.Crisis occurrence of significance in modern art led to the emerging of theories such as formalism, abstraction, institutional theory of art and in order to provide a definition of art. Parallel with these theories, there was a development, revival or birth of the media. The contemporary situation led to a situation that can be considered as the end of artists' art and the beginning of their tendency to create a kind of philosophy through the creation of works of art. Attempting at theoretical critique can be very effective in realizing and receiving this development. The present study aims to redefine the relationship of the domain of discussion between philosophy and art history.A documentary and library method has been used to collect the material; and as the philosophy of critique is central to the subject matter, the text has a metacritique structure.Theoretical criticism explains the media intrinsic values by examining a few limited number works. This approach seeks to create a pluralistic history based on discourses. Theoretical critique transforms the relation of critique to the philosophy of art from a one-way relation in which critique is the only consumer of concepts to dialectical cycles.