This review offers a critical appraisal of I. V. Shvedova’s monograph Axiological-Visual Structures of Ethno-Artistic Experience: Ornament as a Means of Expressing Human Weltanschauung (2024) and constitutes a comprehensive evaluation of the work’s theoretical framework, methodological design, and empirical realization. The text systematically reconstructs the book’s central claims – notably the status of ornament as a metalinguistic code of culture, the notion of “axiological-visual structures” as carriers of ethnocultural identity, and the proposed method for “reading” ornamental texts through a combined hermeneutic, phenomenological, comparative and iconological approach. Special attention is paid to the monograph’s empirical basis – a corpus of homespun textiles from the Belgorod State Museum of Folk Culture (approximately 1,500 items) – and to the procedures by which the author reconstructs archetypal ideograms (the Creator, Creation, the Tree of Life, etc.), which she advances as universals of the regionally grounded world-view. The review assesses the work’s strengths (the rigor of its methodological assemblage, a well-devised and heuristically rich illustrative apparatus, and conceptual clarity in terms such as “ethno-artistic experience”, “axiological-visual structure” and “sociocode”) and formulates measured reservations (the risk of overgeneralization, the need for more detailed source-criticism of certain parallels, and a call for broader case studies in ethno-futurism and the anthropology of things). On the basis of juxtaposing theoretical premises with practical reconstructions, the reviewer concludes that the monograph makes a significant contribution to the development of a philosophical-cultural approach to vernacular art studies and proposes a viable methodology for the further reconstruction of regional metalanguages within contemporary artistic and educational practices. The review recommends the book to scholars in cultural studies and ethnography as well as to specialists in museology, design and applied arts who are engaged in a context-sensitive reintegration of ornament into contemporary cultural practice.