This article explores the principle of character formation, namely, the artistic synthesis of mythologism and folklorism – the most important structural and substantive trends in the literary and folkloric interactions in Ossetian literature of the 1940s and 1950s. We will analyze the essence of this principle using E. Uruymagova’s novel «Towards Life» (1948) as an example. In creating artistic character, the author comprehensively utilizes the «energy» of mythologism and folklorism, achieving a full disclosure of the essence of the national character in her characters. E. Uruymagova’s artistic concept is based on the premise that folklorism is based on folk wisdom, while the essence of mythologism lies in the «collective unconscious» (C. Jung), which shapes folk wisdom, the invaluable spiritual and moral experience of the Ossetians and their distant ancestors. Linked by the logic of cause and effect, mythologism and folklorism «mesh» in the structure of artistic character in E. Uruymagova’s novel «Towards Life.» This complex, systemic «fusion» occurs through folk wisdom and its essence — the collective unconscious. The author realizes her concept through archetypes, i.e., archetypal images, ideas, ideals, and behavior patterns of the characters. Folklorism, along with mythologism, played a significant role in the development of the ethnic ideal/anti-ideal of the Ossetians in the novel, also vividly demonstrating its artistic and aesthetic functions in the process of character development. Firstly, it drew on the «energy» and power of folk wisdom and the socio-philosophical, moral, and aesthetic ideals of the Ossetians and their distant ancestors shaped and refined by it over centuries. In general, the author defines the principle of artistic synthesis of mythologism and folklorism as fundamental in the process of character formation. The article addresses a topic of current interest in Ossetian literary studies. The current state of scholarly thought necessitates a more in-depth study of artistic issues. The research’s scientific novelty is also evident. For the first time in Ossetian literary studies, the role of literary and folkloric interaction in the process of character formation is explored so thoroughly. The purpose of this article is to explore the essence of this principle and E. Uruymagova’s innovation in character formation. The results of this study can be used in further research on character issues and, of course, E. Uruymagova’s work.