The present paper shall principally consider two essential theoretical paradigms in semiotics. The first belongs to the post-structural paradigm designated by Greimas and Fontanille, whereas the second belongs to a recent paradigm named existential semiotics, authored by Tarasti. This text shall, therefore, explore how “artistic realities” are created through two semiotic methods: structural and existential semiotics. Theoretically speaking, there is a necessity to demonstrate how “semiotics of passions” enhanced such reality on the one hand and how existential semiotics asserted the “action” and “performativity” notion through the transcending signs on the other. I will focus on determined “classical” works of art (e.g., characters’ positioning, text concepting, etc.) to demonstrate the epistemological background of the artistic being (through their pre-, act and post-signs). Semioticizing an artistic object of analysis ( as known in existential semiotics through the "Daisen" ), in my opinion, can enhance, either inducing or deducing meaning. Such sort of semioticizing exposes us to various kinds of "existential statuses" of discussable "semiotic objects"( in our case, artworks). By exemplifying fictive characters in the arts in general, I aim to reach a specific meaning of the existence of each of them: a fact that theoretically justifies an epistemology of semiotics.