Oliver,
I'm not sure what you mean by the term 'meta' color profiles, but I'll take a stab at what I "think" you are asking. There are some fairly widely accepted "standards" out there for both RGB and CMYK.
In the RGB world, for example, sRGB, Adobe RGB (and to some extent, ProPhoto RGB) have a fairly wide following. These are all ICC profiles, which nail down the boundaries of the color gamut and the definitions of any tri-stimulus combination of red, green and blue. Basically, they are matrix profiles that establish the positions of the Red, Green and Blue primaries, and these positions define the outer limits, or color gamut, of the color space. sRGB is a relatively small color space, so some viewable and printable colors get clipped (sRGB is the general internet, email standard and is widely assumed for many non-color managed appplications, printers, etc). sRGB can handle a fairly wide range of colors, but does clip some colors in brightly colored originals. It has the advantage of being the most widely adopted standard, plus the steps between colors are very close together. I use sRGB for average images, most people pictures, etc. Adobe RGB spreads the primaries further apart, so it describes a wider color gamut. Because the primaries are further apart, the steps are slightly larger from one color to the next, but marginally so. I use Adobe RGB for most of my brightly colored images that will get clipped in sRGB. Adobe RGB is also generally a good choice for images that will ultimately go to a printing press or inkjet. ProPhoto RGB pushes the primaries WAY apart, so it describes a HUGE color gamut...in fact, many of the colors that can be defined in ProPhoto fall outside human vision, and certainly monitors and printers.Due to the wide spacing of steps in ProPhoto RGB, images should be worked in in 16 bit, otherwide you may see some banding and posterization if large edits are made.
In the CMYK world, certain "standards" have been established, mainly for commercial offset printers (both web and sheetfed presses). By creating a standard, they are trying to establish the ink limit, densities, color gamut, dynamic range, gray balance, etc, of a "generic" sheet of commercial printing paper on the average well-maintained press using standard ISO inks, using good process control, mesurements, etc. By it's nature, this process has to encompass a wide cross section of presses, so it may act as a limitation on what some modern presses are capable of, but that's what standards usually do. If a good printer, with a modern press and great process control decides to sidestep the standard, they can probably extend color gamut, dynamic range, etc, but at the cost of no longer being "standardized". If commercial printers are "truly" trying to meet the standard, they will run tests, take measurements, and adjust their entire workflow so it matches the standard, within acceptable tolerances. Lots of shops "claim" to adhere to SWOP or GRACoL standards, but the majority of them don't. Standards for presses make some sense, because blending CMYK inks together (especially if they use ISO standard inks) on paper usually has a reasonably narrow range that works, though the paper makes a huge difference. (the same cannot be said for inkjets, monitors and many other processes, so they generally do not have standards). So for presses, there are standards for matte and coated papers, web presses, sheetfed presses, newsprint, etc. Each of these standards has its own ICC profile (or a family of profiles) that establishes ink limits, color gamuts, etc.
All ICC profiles have the necessary tags and data to comply with the ICC specification. One of those requirements is a "profile connection space", which is usually L*a*b* or a variant. So, an file on your computer may be tagged as an Adobe RGB file, and if you wish to prepare it for a sheetfed press using glossy stock, you could convert the file to GRACoL2006_Coated1v2.ICC (an industry standard profile for No. 1 coated stock on a sheetfed press). Since both files have the ability to "speak Lab" a translation can be made from one color space to the other. The numbers in the Adobe RGB file will be converted to L*a*b* (the universal translator), and then the L*a*b* numbers will be converted to CMYK, specifically GRACoL2006_Coated1v2.ICC. So, now you have a file in CMYK space with new numbers. It is worth noting that RGB has only three colorants to define colors, but CMYK has four. So, while in RGB there is only one way to define a specific color, in CMYK, there are many possible combinations that can generate many colors. This adds complexity to the equation. The CMY colors are called subtractive primaries, and are opposites of RGB (additive primaries). The "K" (black ink) is added for text, line art, neutrality, extra Dmax, and because the CMY inks are not pure and don't deliver a true black all by themselves. If the inks and paper were perfect, you could theoretically get away with CMY all by themselves, except for registration issues, text, line art, etc. Also, the additional "K" ink can help reduce the total ink limit, save ink, reduce costs, and improve quality.
Sorry for the book. This is not a simple subject, and we have only touched the surface.
Lou
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