The article deals with the issue of the interpretation chronology by Russian literary criticism of the «pure art» theory as an aesthetic code. In the center of attention are the names of the prominent figures of the Russian criticism who were involved in the interpretation of the concept in the period from the 40s of the 19th century up to the turn of the 19th and 20th century, the time marked by the entry of the decadence in the literature, which took on arms much of what was at the heart of the program of the «pure art». An analysis of the reasons for their positive or negative attitude toward the «pure art» promotes the «liberation» of the content of aesthetic principles from the network of passions inherent to the time. There are highlighted the main apologists and opponents of the «pure art», the contradictory opinions and assessments of which, Belinsky in particular. He played a fundamental role in determining and comprehending the aesthetic literary positions of the «pure art» and later acted as the chief exposer of this code. It is being emphasized that the scheme of the ideological coordinates, approved in Russia after October 1917, has long since outlived itself and it is necessary to objectify the issue in modern historical and cultural realities, looking at its fundamental significance in accordance with its inherent status.