Every work of art is perceived and understood in a particular spatial-temporal bed. Although the interpreter has a concrete and tangible experience of facing a work, his understanding of work's connotation and denotation is predicated on his beliefs, presupposition and concepts regarding that specific artwork. The main question in this article is whether that the influence of such beliefs and presupposition should be let in for interpreting an artwork or they may result in some kind of totalitarianism and dogmatism.

To answer the above question some presuppositions and beliefs are studied that have been used for interpretation. One of these is the Pythagorean belief in the cosmic music the influence of which can be seen in the interpretation of many thinkers and prominent figures like Plato, Zarathustra, Rumi and others. The other one is Philosophical doctrines and mystical interpretations such pantheism which is also among the most important presupposition used to interpret an artwork.

It will be argued after studying the above presuppositions that interpreter's attachments, beliefs and presupposition not only don't make a bed for dogmatism but also provide a condition in which other criticisms and interpretations will be read again and reinterpreted. It will follow that such a condition leads to new understandings and novel interpretive findings.