The authors appeal to the issues relevant to researchers of contemporary culture and art in the field of figurative language of culture, the two-level intertext and paradigm of metavirtualism. The object of research is a figurative, upper layer of two – level intertext, the carrier of the the-saurus of virtual images, constructions and concepts that make up the semantic field of culture. The subject of the research is the property of the image layer of the two-level intertext manifested in mini-mizing the representation of concepts in their translation into material texts of culture. The aim of the work is to substantiate the tendency to minimization of artistic concepts as an objective consequence of the influence of the upper, figurative layer of intertext on the integral process of development of artis-tic culture and to generalize this trend as a law of minimization of representation of artistic concepts. The ratio of the concept and the image associated with never validate of thinking and the idea of consciousness as a two-layer phenomenon, combining the imaginative and the rational (reflective) layer. In contrast to the relatively rigid verbal-reflexive level, the thesaurus of the “upper” (figurative) layer of intertext has a high degree of semantic dynamism, flexibility, and elasticity; these or other images by their very nature can not acquire a strictly defined “meaning”, meaning, rigid and unambig-uous interpretation – their specific manifestations are always and first of all concrete, individual and unique. In this sense, they can be compared with the “archetypes” of K. G. Jung. Researchers of modern poetic texts notice a steady reduction in the average length of the poem from the collection to the collection, a decrease in the number of stanzas, the desire for laconism, which grows into gravitation to poetic miniature. Sometimes they talk about the compression of infor-mation, the increment of meaning, content and at the same time minimize the means of expression, the growth of information capacity of signs. There is an obvious tendency to make the picturesque lan-guage of portrait, landscape, sculpture more laconic. Such a manifestation of conciseness, apparent simplification of the artistic language, minimization is actually aimed at concentrating the viewer on the images generated by the work of art (representation of the concept). This minimization of means of expression, from our point of view, is an objective consequence of the impact of the upper, figurative layer of intertext on the whole process of development of artistic culture, and can be generalized as a law of minimization of representation of artistic concepts. It is also promising to continue and deepen the analysis of the harmonious coexistence of cultural and artistic processes of “minimization” and “expansion” in the framework of the synthesis of arts.
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