The article considered the synthesis of art in the light of the formation and functioning of the non-classical cultural paradigm. The mystery religious roots of synthesis in traditional culture are revealed, and the connection between the idea of synthesis in modernism and the crisis of Enlightenment and positivism on the one hand, and religious consciousness on the other, is traced. Synthesis as a search for a “big style” in a culture that has lost its stylistic unity is associated with the category of myth and aims to break through to the totality of being. The anthropological dimension of the phenomenon of synthesis in non-classical culture is associated with the need to overcome the “particularity” of man as a subject of cognition, as well as the problem of the atomization of individuals in society. Based on a comparative analysis of non-classical artistic practices and philosophical attitudes, the logic of the movement of Romanticism, neo-Romanticism, symbolism, Art Nouveau and avantgarde through mythologization and world-building towards a new total synthesis is analyzed. These directions are analyzed from the point of view of the synthetism of form and the commonality of metaphysical, anthropological and aesthetic attitudes. The article reveals a common temporal component in the culture of modernism, uniting its various trends and serving as the basis for synthesis at both the substantive and formal levels.