EN
The standard approach to the problem of meaning in art is based on the supposedly unquestionable assumption that the art itself is a kind of lingua abscondita. Consequently the two main goals of the theories consist in unearthing the hidden linguistic dimensions of art, and construing an adequate semantic field for it. Theauthor proposes the reversal of this strategy. He argues that the realm of artworks could serve as the alternative semantic field for the ethnical languages.