The syncretism of P. Tychyna's figurative world which is expressed in the organic and indivisible unities of different kinds of art (literature - with music and painting) is researched in the thesis. The notion of the synthesis of arts as a literary phenomenon is revealed; the available methodology and factology expertise of the comprehension this phenomenon is generalized; in connection with this the significant interpretations of the synthetic effects in the works by P. Tychyna is analyzed; the adequate methodology to studying the artistic texts which are united a word, music, and painting (that of the analysis from the receptive positions) is determined. The artists-synthesisers' creativities of the end of the XIX-th - the beginning of the XX-th century as the context where P. Tychyna's becoming was being formed are considered. The European and Ukrainian artists' influences on the poet are defined. Special attention is paid to such genial persons as the composer O. Skryabin, the painter M. Chyurlonis, the French poets-symbolists of the end of the XIX-th century (particularly P. Verlen), the poet O. Blok, the writer M. Kotsyubynsky, the painters M. Zhuk and Yu. Mykhajliv. The musical and pictorial components of P. Tychyna's artistic thought are defined. These musically-pictorial peculiarities of the lyrist's artistic thought are considered as the important regulators of his poetical system. Trying to express the depth of feelings and senses in the adequate way, the master of a word used the specific methods and techniques of different kinds of art, first of all music and painting, in the literary sphere. The ways code translation of the musical and pictorial languages to the verbal level in the poetries by P. Tychyna and the peculiarities of their function in the texts in verse by the poet are researched. Specifically, the main methods of the making musical a literary word are studied. The achieving musical effects with the specific literary modes, the inculcation music with the semantics way, the using of the musical terminology, the adapting musical genres and methods to the literary level are fetched out and are investigated in the poetries by P. Tychyna. The choreographically-musical component is examined. The code translation of the choreographic language to the literary area in the works by the artist is analyzed on the basis of the poetries "The studio of the ballet", "The dances on the sword (from the Scottish cyclus)", and the fragment of the poem "The journey to Ihtiman". The master created the vision of the dance with a word, fixing and expressing movements, gestures, aesthetic impressions. The syncretism of a word and painting in the poetries by P. Tychyna is retraced. The main ways of the making pictorial a literary text by the poet-painter are studied. The verbal images are interpreted through the different categories of the fine arts (a colour, a contrast, a chiaroscuro, a line etc.); in the light of the painting techniques (the specific drawing picturesque views with a word, the accordance verbal pieces with pictorial figures etc.). The poet visualized vivid canvases with words. Such parti-coloured pictures were written according to the laws of painting. They are fallen into the main painting genres (the landscape and the portrait) in the dissertation. In the context of the code translation of the nonverbal languages to verbal, the poetic images in works by P. Tychyna which were generated with the synaesthesis are researched. Such images evoke the musically-picturesque effects in the literary text. They construct on the musical or pictorial sources, expressing binary impressions. The reduction of the musical and pictorial components in the poetries by the lyrist is ascertained in the thesis. The research of the syncretism of P. Tychyna's figurative world discoveres the poet's synthetic creativities as the unique phenomenon in the Ukrainian and foreign literatures.
