Polyartistry as an Ontological Principle of the Synesthetic Comprehension of anArtwork.

Authors

  • Liudmyla Stepanova Author

DOI:

https://doi.org/10.31392/UDU-nc.series14.2026.35.16

Keywords:

artistic culture, artistic perception, inter-art interpretation, interdisciplinarity, multi-artism, future teachers of art disciplines, choreography, musical art, students of art education

Abstract

Polyartism as an ontological principle of synesthetic understanding of an artistic work. Annotation. The article substantiates the theoretical and methodological foundations and practical aspects of the polyartistic approach, which is considered as the ontological principle of synesthetic comprehension of an artistic work by a person. It involves deciphering and living the artistic text through the interchangeability of auditory, visual and kinesthetic meanings. The relevance of the study is determined by the contradiction between the integrative nature of modern art and the fragmented nature of the autonomous teaching of disciplines to students of art and pedagogical education. It is proved that the ontological status of polyartistic interaction is based on the genetic unity of auditory, visual and kinesthetic dimensions of art, where synesthesia acts as a cognitive mechanism of intermodal meaning transfer. It is proved that the ontological status of polyartistic interaction is based on the genetic unity of auditory, visual and kinesthetic dimensions of art, where synesthesia acts as a cognitive mechanism of intermodal meaning transfer. The three-dimensional structure of the understanding of an artistic image is detailed: the theoretical-analytical dimension within the limits of artistic culture, the praxeologicalcreative dimension in the plane of choreographic modeling of sound, and the integrative-methodical dimension in the space of the translation of a holistic artistic experience. In practical terms, this strategy is implemented through a system of interconnected artistic and game methods. An end-to-end matrix of integrative interaction of adjacent interdisciplinary educational components is presented, which illustrates the mechanism of formation of integral artistic thinking and the ability to inter-artistic interpretation of the phenomenon at the border of the fields of knowledge "Education" and "Culture and Art".

Author Biography

  • Liudmyla Stepanova

    Candidate of Pedagogical Sciences, Associate Professor,
    Head of the Department of Musical Art and Choreography,
    State Educational Service "South Ukrainian National Pedagogical University named after K.D. Ushinsky"
    https://orcid.org/0000-0002-9899-1871
    st.nova.mila@gmail.com

References

Published

2026-06-25