Abstract This study is an attempt to stand on the criticism of the Andalusian poetic text, reading it and discussing it in light of its criticism, and monitoring the effectiveness of critical approaches in the hope of identifying the methodology of its presentation, as this presentation required discussing critical readings and standing on some concepts and terms within the limits of receiving the poetic text, and the nature of the study necessitated that the period of the sample of the Andalusian poetic text extend from the era of the Taifa Kings to the end of the fall of Granada; In order for the researcher to have the freedom to choose critical studies that dealt with the Andalusian poetic text in a way that serves the nature of the subject and its divisions, the study excluded many critical studies despite the ease of obtaining them, as it became clear that most of them were studies in the history of Andalusian literature, including poetry, more than they were studies in the literature of the poetic text, and many of them lacked critical pauses that constitute critical opinions that can be discussed, interpreted, and criticism of criticism practiced on them, which made it difficult for the research to choose critical studies that constitute the research material, in addition to other difficulties represented in the nature of the Andalusian poetic text, as it is a clear text characterized by easy words and clear expressions, so its criticism lacked critical opinions that constitute a source of disagreement and critical debate among critics compared to other literary eras, and the subject naturally relies on critical and controversial opinions, although the nature of the study does not adopt a comparative approach as much as it tends to discussion, reading, and interpretation. The study discussed in the first chapter the trends of criticism of the Andalusian poetic text, including the semiotic trend, the psychological trend, and the cultural trend. The study in the second chapter focused on the techniques of poetic expression of Andalusian poets, and among the techniques that the study focused on were the poetic image and intertextuality. As for the third chapter, it was devoted to studying the dimensions of interpretation and reception in the criticism of the Andalusian poetic text, and two models of Andalusian poetry were chosen, one by Ibn Zaydoun, and the other by Ibn Khafajah Al-Andalusi. The study would not have reached its end without putting a set of visions inspired by our journey with critical studies and readings, including: • Analysis of poetic discourse (intertextuality strategy), and in the semiotics of ancient Arabic poetry, a theoretical and applied study by the Moroccan researcher Muhammad Miftah. • The aesthetics of cultural criticism towards a vision of cultural systems in Andalusian poetry by Dr. Ahmed Jamal Al-Maraziq. • Andalusian poetry between literary schools, Dr. Jumana Rajab Pasha. • Poetry in the era of the Almoravids and Almohads in Andalusia, Muhammad Majid Al-Saeed. • The recipient in Andalusian poetry, a study of the types of recipient and response structures, Dr. Sanaa Sajit Haddab. • The text and the echo of the text, a new vision in Andalusian poetry, Dr. Hussein Majeed Rustum Al-Hassouna. • The self and the other in Andalusian poetry, Dr. Montaser Nabeeh Siddiq. • The philosophy of Sufism in Andalusian poetry, Dr. Hamida Saleh Al-Baldawi. In addition to poetry collections and other critical sources, the research excluded academic studies from theses and dissertations for many reasons, including that most of these studies focus on specific aspects and specific poetic production, so critical opinions and points of view are also limited to specific aspects. It must be noted that there is an importance that governs the poetic experience, which makes us stand on it within a group of data related to its creative components and its special attachments to reading and interpretation and its formations that have become a prominent landmark of poetic experiences, and its contents that are distinguished by the features of depth and suggestion, and perhaps such characteristics were the main incentive for the other side represented by the experience of critical discourse on the poetic text with all its manifestations, and this poetic text was able to form several methodologies for critical reading, whether at the level of hypothesis or procedure, and within data of multiple orientations and visions.