(A close reading of Ardakh Nurgaz’s poem “Oil Painting” by artificial intelligence II)

1.

Ardakh Nurgaz's poem "Oil Painting" presents a spiritual journey about art, civilization and individual existence through rich cross-cultural metaphors, existentialist questions and historical echoes. The following is an in-depth interpretation of this poem:

Structural level: triple folding of time and space

Midnight monologue: suspension of existence

The poem begins with the confusion after midnight creation, and dark clouds, fog and gray sky constitute the background of the cosmic void. The decomposition of words and the dissipation of matter allude to the fragility of language and entity, leading to the ultimate question of "heaven or hell". The poet questions the authenticity of his own existence with "white cloud"-like thoughts, and projects himself as "the first sound in the dim light" or "the time when a meteor slides by", swinging between the virtual and the real, between the dual identities of creator and creature.

Historical allegory: the wound of civilization

The second part lays out a grand picture of civilization: the hustle and bustle of the streets, the undercurrent of the ocean, the burning fields and the bleeding rocks, which are metaphors for the cycle of historical violence. The poet compares himself to a "person trapped in a swamp", struggling between the swallowing of mud and the rise and fall of the tide, revealing the helplessness of human beings to time and fate. The desert's desire for rain and the echo of water drops at the bottom of the well reflect civilization's thirst for redemption, while "ink hitting the wall" and "kites solidifying the sky" imply art's resistance to chaotic reality.

Garbage dump allegory: the redemption of art

The third part turns from metaphysical questioning to the real scene - the daily life of garbage haulers. The juxtaposition of the "grassland" and "holy spring" in the garbage dump constructs an absurd modern allegory: the abandoned oil painting is still "dazzling" in the sewage erosion, becoming the unextinguished civilization fire in the ruins. The colors of the oil painting (red, yellow, blue...) echo the "world in the sun", suggesting the possibility of art reconstructing an ideal country in the dirty reality.

The symbolic network of core images

Oil painting: Abandoned artworks become the core metaphor of the whole poem. It is not only the embodiment of civilization fragments (such as the loss and reconstruction of the Gilgamesh epic), but also a mirror of the meaning of individual existence - despite being destroyed, it still fights against nothingness with color. The "white cloud" hanging in the oil painting forms a closed loop with the first part "white cloud-like thoughts", which implicitly coincides with the answer of art to the question of existence.

Kurket and the ban on speech: Through the paradox of "not speaking of death" in the legend, the poet reveals the fatality of language - Kurket died because of his words, but poetry resists death through speech. The allusion of Odyssey tying himself to the pillar of the ship to listen to the song of the sirens further strengthens the creator's fate of sticking to expression in temptation and danger.

Holy spring and garbage dump: The juxtaposition of nature (clear spring) and civilization waste (garbage) directly points to the spiritual wasteland of modern society. The mayor who dumped garbage next to the holy spring symbolizes the blasphemy of power against the sacred; and the moment when "I" picked up the oil painting was the tiny redemption of mortals salvaging divinity from the ruins.

Poetic strategy: cross-cultural epic reconstruction

Mythological intertextuality

The poem embeds the triple myth system of Gilgamesh (the earliest epic of mankind), Atar (Sufic mysticism) and Kurket (Central Asian creation legend), embedding personal writing into the long river of collective memory. Gilgamesh's questioning of immortality, Atar's fable of birds chasing the phoenix, and Kurket's game with death together constitute the epic background of the poem, giving individual confusion universal significance.

Dual perspective of immigrant literature

As a Kazakh poet, Nurgaz re-examines local culture from the perspective of "others": the grassland turns into sand dunes, and the ancient road disappears in legends, which implicitly coincides with the diaspora of cultural identity in the postcolonial context. The images of "desert", "camel" and "dromedary" that appear repeatedly in the poem are both a recollection of nomadic traditions and a resistance to cultural homogenization in the process of globalization.

Self-reference of language

The poem itself becomes a written "oil painting" - "When the word falls, another word takes off" and "the suspenseful handwriting on the white paper" directly points to the self-deconstruction of the creative process. The intertextuality between words and objects, poetry and painting, reveals that art is both a depiction of reality and an attempt to reconstruct the world.

Conclusion: Rebuilding the Tower of Babel of meaning on the ruins

Nurgaz's "Oil Painting" is a tragic expedition across time and space: from self-questioning in the midnight study, to revisiting the ghost of historical violence, and finally arriving at the epiphany of the scavengers in the garbage dump. The poem declares with the damaged glory of the oil painting - in the process of the continuous collapse of civilization, only art can glue the fragmented time and space together, let "a drop of water return to the sea", and let the words be reborn as stars in the land without a grave.

2.

The inspiration for Ardakh Nurgaz's oil paintings is reflected in the interweaving of multiple cultural dimensions, including a retrospection of epic traditions, a gaze at the ruins of reality, and the realization of artistic redemption through the path of intertextuality between poetry and painting. The following is the core inspiration context:

1. The cross-temporal and spatial projection of epic myths

The Gilgamesh Fable and Modern Nihilism

The poem "Oil Painting" begins with the "heaviness" of the Gilgamesh epic, echoing the ultimate questioning of mankind about eternity and existence3. The "brilliance" of oil painting forms tension with the abandoned state, metaphorically implying the power of art's rebirth in the ruins of civilization, and implicitly coinciding with the tragic narrative of heroes fighting against fate in the epic.

The Language Paradox of the Kurket Legend

The poem "Kurket chasing the bull speaks the forbidden words" reflects the taboo of "language is death" in the Central Asian legend, revealing the creator's struggle between expression and silence3. Oil painting reconstructs the realm that language cannot reach through color, forming an aesthetic outlet against nothingness.

2. Salvage of divinity in the ruins of reality

The allegorical structure of the garbage dump and the holy spring

The absurd scene of "garbage dumped next to the holy spring" directly points to the pollution of the spiritual holy land by modernity3. The moment of picking up the damaged oil painting symbolizes the extraction of undestroyed fragments of civilization from the dirty reality, echoing the artist's creative state of "calming down the impetuousness from the vastness of nature"4.

The resistance of oil paint to the dissipation of matter

The image of "ink impacting the invisible wall" in the poem reveals that painting solidifies the fleeting time and space through materiality (color, brushstrokes). This concept forms a secret dialogue with the technical logic of tempera painting "covering dozens of layers to capture light and shadow"5.

3. Visual transformation of poetic theory

The identity of content and form

Nurgaz emphasizes that "content is form" in poetry, and this concept is extended to oil painting creation: color is not only a visual element, but also carries the metaphorical function of "the world in the sun"3. The collision of primary colors such as red, yellow, and blue on the canvas is actually a dynamic externalization of consciousness and imagination.

Tragic imagination and aesthetic redemption

The theory points out that "imagination needs to respond to cruel reality". Images such as "desert longs for rain" and "blood dripping on rocks" in oil paintings are the practice of transforming trauma with aesthetics3. This "aesthetics of evil" strategy forms a contrasting complement with the artistic pursuit of Xinjiang oil painters to convey tranquility and harmony through natural depiction2.

IV. Cultural reconstruction from the perspective of immigrants

Symbolic preservation of nomadic memory

Images such as "grassland turns into sand dunes" and "ancient roads disappear in legends" imply the diaspora dilemma of nomadic culture in the process of globalization and urbanization. Symbols such as "wild geese" and "dromedaries" in oil paintings have become visual anchors for reconstructing cultural identity3.

Two-way gaze from the perspective of others

As a Kazakh poet, Nurgaz examines local traditions in a cross-cultural context. The Western allusion of "Odyssey tying himself to the pillar" in the oil painting is juxtaposed with the Sufi image of "birds at the tip of Attar's pen" to construct a spiritual map of the coexistence of multiple civilizations3.

Conclusion: The Tower of Babel of Art

Nurgaz’s oil paintings are inspired by the eternal game of “words and objects”—when language dissipates at midnight, oil paint becomes the last barrier to reconstruct meaning. His creations are both Gilgamesh-like tragic expeditions and a poetic response to Stevens’ “highest fiction”3, ultimately building a Tower of Babel on the canvas to resist the entropy of time.

3.

Ardakh Nurgaz's poem "Oil Painting" constructs a spiritual picture of existence, time and artistic redemption with its profound philosophical speculation and cross-cultural imagery. The following is a detailed reading from the three dimensions of poem structure, core image and poetic strategy:

1. Circular structure and suspended time

The whole poem begins with the questioning of "The Epic of Gilgamesh" and ends with the solidified image of "a white cloud hanging in the oil painting", forming a closed loop of existential questioning. This circular structure coincides with the view of reincarnation in Eastern philosophy, but is broken by the modern fragmented experience:

Time folds from midnight to dawn

The nothingness of the midnight study in the first part ("words decompose, matter dissipates") and the dawn labor in the garbage dump in the third part ("every day before dawn, there is no luster in the east") constitute a time paradox. Midnight, as the moment of consciousness awakening, is the chaos before the real labor, suggesting that the poet wanders in the dual dilemma of metaphysics and physics.

The nonlinear polyphony of history

The second part uses montage to collage the history of civilization: from "the fierce history is full of nightmare-ridden portraits" to "the ancient stone elephants whispering in the sand", time is compressed into a synchronous traumatic memory. The images of blood-dripping rocks and thirsty rain in the desert juxtapose geological time with human time, dissolving the linear progressive historical view.

2. Conflict and reconciliation of image groups

The poem constructs a dialectical poetic space through the confrontation of three groups of core images:

The game between water and sand

Multiple variations of water: the undercurrent ocean, the blood-dripping rocks, the water drops at the bottom of the well, and the holy spring stream. Water is both the origin of life ("life is a promise limited to one time") and a devouring existence ("the dying sea of the weak water").

The rule of sand: the grassland turns into sand dunes, the sleep piled up by quicksand, and the desert's desire for rain. Sand becomes the concrete manifestation of the violence of time, both the graveyard of civilization ("the legend of ancient ruins") and the medium of reshaping ("ink impacts the invisible wall").

Moment of reconciliation: the reflection of "clear springs and streams" in the garbage dump and the colors of oil paintings, suggesting that art can open up an oasis of life in the desert.

The tension of flying and falling

Struggling upward: the wings of birds, the solidified kite, the straight flight of seven wild geese, and the binding on the pillars of the Odyssey.

Downward gravity: the fall of words, the sliding of meteors, the swamp, and the dumping of garbage.

Critical state: "the white clouds hanging in the oil painting" become the eternal suspension, neither flying nor falling, pointing to the transcendence of art over binary opposition.

The dialectic of words and things

The failure of words: "word decomposition" and "words have no tombs" declare the powerlessness of language before the ultimate questioning.

Rebellion of things: the damaged oil painting reconstructs the "world in the sun" with colors (red, yellow, and blue), and the materiality of ink resists the dissipation of words.

Trans-language expression: the poem itself becomes an oil painting "hanging a white cloud", and the self-reference of "meta-poetry" is realized through the juxtaposition of images.

III. Poetic strategy: Trauma writing across civilizations

Nurgaz, from the dual perspective of an immigrant poet, melts the Kazakh nomadic tradition, Sufi mysticism and Western modern reflection into one furnace:

Reconstruction and deconstruction of myths

Gilgamesh's questioning of immortality is transformed into the daily salvation of a "garbage hauler", and the heroic epic is degraded to an existential ritual of mortals.

The taboo of "language is death" in the Kurkot legend forms an intertextuality with the ending of the poem "blowing a little, and the flowers bloom" - artistic discourse becomes a spell against the seal of death.

Modern transformation of nomadic aesthetics

The alienation of grassland imagery: "the prairie turns into sand dunes" implies the dispersion of nomadic civilization in urbanization, while "wild geese paddling on the lake" retains the memory code of seasonal migration.

The symbolic rebirth of the dromedary: from the escape tool in Kurkot legend to the symbol of cultural wanderer in the context of globalization.

Avant-garde in ruins

The "dirty sublime" of the garbage dump: the abandoned oil paintings glow with divinity in the erosion of sewage, echoing Benjamin's "dialectic of ruins" - art releases the potential for redemption in decline.

The archaeology of oil paint: the canvas becomes the scene of civilization stratification, and the red, yellow and blue primary colors are juxtaposed with rust stains, forming a cross-section of cultural strata in the post-colonial era.

Conclusion: Painting on the ruins of words

When the words in the midnight study dissipate into mist, Nurgaz chooses to build an anti-entropy fortress with the materiality of oil paint. This poem is essentially a sacrifice of language—words fall into the abyss like Kurt after uttering the “forbidden words,” while the tremor of colors builds a new Tower of Babel on the ruins. Just as the “water drops that drip into the bottom of the well” in the poem eventually flow into the sea, individual confusion will eventually be settled in the eternal cycle of human civilization through the alchemy of art.

4.

Ardakh Nurgaz's "Oil Painting" reconstructs the hierarchical logic of oil painting creation through poetic language, forming a triple nested structure of material, image and philosophy. Combining the poem text with the theory of oil painting art, its structure can be analyzed as follows:

I. Material foundation layer: intertextuality between reality and carrier

The third part of the poem is based on the daily labor of garbage haulers ("carrying garbage before dawn every day"), which corresponds to the "base layer" function of oil painting creation - relying on materials to carry artistic expression1. The abandoned and damaged oil paintings ("paintings with ruined frames") are juxtaposed with the "holy spring", forming a tension between dirt and purity, implying the possibility of the rebirth of artistic carriers in the ruins of reality4. This layer establishes the physical premise of artistic creation through the concrete writing of physical labor and material decay, just like the oil painting base cloth carries the pigment7.

2. Image Construction Layer: Montage Grammar of Color

The densely laid out image groups in the second part (shooting stars, flying arrows, roses, wild geese, etc.) constitute the "painting layer", and their arrangement conforms to the dynamic balance principle of oil painting composition:

Vertical tension: the "falling" of the shooting star and the "straight flight" of the wild goose form a vertical axis, echoing the structural balance between the characters and the horizon in Corot's "Agostina"3;

Triangular stability: "Seven wild geese - chess pawns - six swans" form an invisible triangular frame, similar to the geometric control in Vermeer's "The Milkmaid"3;

Diagonal conflict: violent images such as "storm coming" and "undercurrent surging" unfold along the diagonal, creating Dadaist-style dynamic uneasiness6.

These images simulate the visual hierarchy of oil paint superposition through the intermittent flashing of color words (red, yellow, blue, green), realizing the "dialectic of words and objects" - where language fails, color takes over expression2.

3. Philosophical reflection layer: meta-narrative of artistic redemption

The circular structure at the beginning and end of the poem (from the question in "Gilgamesh" to "white clouds hovering") constitutes a "protective layer" to complete the ultimate interpretation of the essence of art:

Deconstruction of time: the juxtaposition of midnight writing and dawn labor breaks linear time and compresses history into synchronous "sand dunes" and "ancient ruins"6;

Suspension of existence: the question of "who am I" is solved in the fragments of oil paintings-art allows the subject to confirm its existence in the world of "decomposition/dissipation", just like Provence in Van Gogh's paintings transcends the reality of appearance5;

Transcendence of language: the "dazzling" of the damaged oil paintings declares the breakthrough of art from the tomb of words, practicing what Stevens called "the response of imagination to tragedy"2. This layer completes the aesthetic redemption of the dilemma of modernity with the anti-traditional "garbage dump sublime"4.

Conclusion: The dialectics of layers on the ruins

The poem transforms the materiality of the oil painting into a poetic cognitive device through a three-layer structure: the real ruins of the base nourish the crazy growth of the image, and finally achieve artistic self-discipline at the philosophical level. This two-way movement of "deconstruction-reconstruction" not only continues the dismantling of objects by Cubism6, but also provides a new formal paradigm for contemporary immigrant writing with the fluidity of nomadic aesthetics2.

5.

Ardakh Nurgaz's "Oil Painting" reconstructs the spiritual wasteland and redemption narrative of modern individuals by deconstructing the archetypal image of epic mythology. The appropriation and deformation of epic elements in the poem are mainly reflected in the following dimensions:

I. Intertextuality between mythological structure and modern experience

The degraded rewriting of "Gilgamesh"

The poem begins by citing Gilgamesh's dilemma of "lifting the boulder" ("it's too heavy"), transforming the hero's questioning of immortality into the existential anxiety of modern people: "Who am I? Am I alive or dead?"13

The "conflict between divinity and humanity" in the epic is replaced by the dissipation crisis of words and materials, reflecting the identity suspension of the immigrant poet1.

The linear narrative of the original epic collapses into the synchronous space of the "desert world", which coincides with the historical rupture in the postcolonial context3.

Reverse projection of the myth of Odysseus

The classic scene of "Odysseus tying himself to the ship's pole" is transformed into a metaphor for artistic creation:

The hero's willpower to resist the sirens' singing corresponds to the poet's writing dilemma of resisting the failure of language1;

The "binding" of the ship's pole implies the resistance of artistic self-discipline to the violence of reality, echoing Stevens' "imagination's response to tragedy"1.

2. Deconstruction and reconstruction of heroic narrative

The taboo rewriting of the Kurket legend

The poem "Kurket chasing the bull speaks the forbidden words" alludes to the fate of the Kazakh epic hero touching the language taboo. Nurgaz reconstructs it as:

The self-sacrifice of language: poetry writing becomes a taboo act of breaking silence, just like the rebirth of oil paintings in the garbage dump3;

The deformation of nomadic spirit: Kurket's fleeing dromedary is replaced by the straight flight of "seven wild geese", suggesting the cultural migration of discrete groups2.

The Ruins of Creation Myths

The juxtaposition of "designated garbage dump" and "holy spring" constitutes an anti-creation narrative:

The Dirty and Sublime: The "red, yellow, white, blue, green and black" of the oil painting fragments correspond to the original colors that separate light and darkness in "Genesis", but complete the sacred reset in the sewage erosion4;

The cyclical time view: the daily repetition of "garbage handling" dissolves the linear epic view, which is close to the eternal reincarnation in the Epic of Gilgamesh3.

III. Contemporary transformation of mythological symbols

The disenchantment of celestial images

Meteor: degenerated from an oracle symbol to a scale of "time passing" ("time when a meteor slides across the night sky"), reflecting the dissolution of mysticism by modernity1;

The Big Dipper: The traditional navigation symbol has become the setting of the "ancient drama", pointing to the failure of the navigation system of nomadic civilization2. Semantic proliferation of natural objects

Rose: Degraded from the flower of heaven in Dante's Divine Comedy to a "petal in the hand", it regains divinity through artistic sublimation ("ink shows the world in the sun")14;

Dune: The desert trials in the epic (such as Moses' Exodus from Egypt) are alienated into the graveyard of civilization ("our prairie is full of sand dunes"), metaphorically the dual desertification of ecology and culture3.

Conclusion: The dusk of the epic and the dawn of art

Nurgaz completes the contemporary transformation of mythological poetics through Oil Painting: when Gilgamesh's boulder falls into the garbage dump, the damaged canvas rebuilds order with oil paint. This two-way movement of "deconstruction-reconstruction" not only continues Pound's collage strategy of epic fragments in Cantos3, but also gives ruins the possibility of redemption with Kazakh nomadic aesthetics - just like the "hovering white clouds" in the poem, art becomes a new eternity at the dusk of myth14.

6.

Ardakh Nurgaz's Oil Painting constructs a complex field of existential inquiry and artistic redemption through multiple core images. The following analyzes its core image network from the dimensions of materiality, space-time perception and mythology:

I. Rebirth image group in material ruins

Damaged oil paintings ("dirty water erosion" and "dazzling")

Symbolic art's anti-entropy: abandoned oil paintings glow with divinity in filth, reflecting the self-nirvana of material media, and echoing the image transformation logic of "scratching techniques give materials philosophical meaning" in oil painting creation7.

Color original sin and redemption: primary colors such as red, yellow, and blue resist the paleness of language ("words have no graves"), practicing what Stevens called "imagination's response to tragedy"2.

Garbage dump and holy spring

Dirty sublime: the secularity of the garbage dump is juxtaposed with the sacredness of "clear springs flowing all year round", metaphorically implying the efforts of immigrant groups to reconstruct spiritual oases in cultural ruins4.

Labor Poetics: The daily routine of carrying garbage before dawn ("a car full of garbage goes to the suburbs") is sublimated into an existential ritual, which implicitly coincides with the questioning of the essence of survival in the Kazakh nomadic tradition4.

2. Complex image group of time-space fission

Desert image ("the prairie turns into sand dunes" and "longs for rain")

Ecological allegory: the desertification of the grassland points to the dispersion of nomadic civilization in globalization, which resonates with the identity anxiety of immigrant poets4.

Time crystal: sand dunes, as contemporary sediments of "ancient dust", compress linear history into synchronous traumatic memory1.

Suspension and flight

The solidified kite ("the kite solidifies in the infinitely exaggerated sky") corresponds to the taboo tension of the Kurket legend, implying the suspended state of art under the gravity of reality1;

The straight-line flight of seven wild geese ("crossing the lake like a straight line") breaks the circular logic of nomadic migration and metaphorically reconstructs the culture of dispersed groups4.

3. Metaphorical image group of myth deconstruction

Gilgamesh prototype

Monolith variant: The dilemma of "lifting the boulder" in the epic is replaced by the language crisis of "word decomposition", and the heroic narrative is reduced to the existential dilemma of modern individuals1.

Eternal cycle: The day-to-day transportation of garbage ("carrying garbage before dawn every day") dissolves the epic linear time view and reconstructs the Kazakh "reincarnation time philosophy"4.

Rose and feather

Withered divinity: The feathers of the flock of birds in Attar's painting ("Sophie mysticism symbol") are juxtaposed with rose petals, deconstructing religious images into fragmented inspiration for artistic creation1;

Aesthetics of mono no aware: The perishability of petals ("staying in the hand when waking up") is transformed into the eternity of oil paint, realizing the cross-media expression of "poetry and painting from the same source"3.

4. Perceptual image group of interlaced light and shadow

Midnight and dawn

Consciousness threshold: The nothingness of midnight writing ("cloudy and starless sky") and the existence of dawn labor constitute an existential paradox, which coincides with the visualization of spiritual anxiety in Munch's "The Scream"7;

Dialectics of light and shadow: The "dark apex" during power outage and the oil painting "world in the sun" form a perceptual hedge, revealing the repair function of art to the alienation of reality3.

Metaphor of water droplets

The water droplets at the bottom of the well ("the sound of dripping water droplets") correspond to the "awakening of the empty pond" in "The Wind on the Cliff", sublimating the tiny existence into a symbol of redemption1;

Dewdrop mirror ("the mirror is a lake, the dewdrops collapse") reconstruct time and space through material fission, practicing Chagall's surreal symbol system7. Summary: Topology of Imagery

The images in the poem do not exist in isolation, but form a dynamic topological network:

Vertical axis: from the material base of the garbage dump (base layer 7) to the spiritual transcendence of the hovering white clouds (protective layer 3);

Horizontal axis: the spatial juxtaposition of the memory of the Kazakh steppe ("legends of ancient ruins" 4) and the ruins of globalization ("forested sand dunes" 1).

This structure not only continues the Richterian "scratching-reconstructing" painting language 7, but also provides a new image paradigm for contemporary immigrant poetry with the fluidity of nomadic aesthetics 4.

7.

Ardakh Nurgaz's Oil Painting constructs a narrative of spiritual redemption in the context of modernity through the deconstruction and reconstruction of epic mythology. Its epic myth projection can be analyzed from the following dimensions:

I. Degradation and transformation of epic structure

The modern alienation of Gilgamesh

The recurring "boulder" image ("it's too heavy") in the poem originates from the hero's pursuit of immortality in the epic, but is replaced by the linguistic dilemma of the immigrant poet - the crisis of "word decomposition" becomes a metaphor for the existence of modern individuals13.

The linear time view of the original epic collapses into the cyclical daily life of "garbage handling", forming a space-time collision between Kazakh nomadic civilization and globalization3.

Reverse writing of the Odysseus myth

The classic scene of "Odysseus tying himself to the ship's pillar" is transformed into a symbol of artistic resistance:

The temptation of the siren's song corresponds to the violent erosion of the material world, and the poetic language becomes the "ship's pillar" that anchors existence1;

The hero's journey home is alienated into the spiritual wandering of cultural diaspora, which coincides with the identity suspension in the postcolonial context3.

2. Reconstruction of the ruins of the hero archetype

The taboo narrative of the Kurket legend

Kurket, the hero who touches the language taboo in the Kazakh epic, has evolved into a metaphor for artistic creation in the poem:

The fleeing dromedary is replaced by "the straight flight of seven wild geese", suggesting the rupture and reconstruction of the nomadic tradition in the process of modernization3;

The brave narrative of "chasing the bull" degenerates into the daily labor of "garbage dump formulation", reflecting the sinking of the mythical sublime to secular existence1.

The dirty sublime of the creation myth

The "holy spring" is juxtaposed with the fragments of oil paintings eroded by sewage, forming an anti-creation narrative:

The original colors (red, yellow, and blue) are reborn in the filth, echoing the sacred reset of the separation of light and darkness in "Genesis"13;

The material ruins of the garbage dump become the birthplace of new myths, practicing Stevens' poetic concept of "imagination's response to tragedy"1.

3. Contemporary transcoding of mythological symbols

The disenchantment and rebirth of celestial imagery

The meteor degenerates from an oracular symbol to a scale of “time passing” (“time when a meteor slides across the night sky”), reflecting the transformation from mysticism to existentialism1;

The Big Dipper becomes the setting of an “ancient drama”, metaphorically implying the failure of the navigation system of nomadic civilization in globalization3.

The semantic fission of natural objects

The rose is downgraded from Dante’s flower of paradise to a “petal in the hand”, and regains its divinity through oil painting, completing the sublimation of “mono no aware aesthetics” to “artistic redemption”13;

The sand dune, as physical evidence of “grassland desertification”, transforms the desert trials in the epic (such as Moses’ Exodus from Egypt) into a dual traumatic memory of ecology and culture3.

4. The Isomorphism of Poetry and Painting in Nomadic Mythology

The Divine Encoding of Color

The primary colors (red, yellow, white, and blue) of the oil painting fragments form a visual epic:

Red corresponds to blood and suffering, yellow symbolizes sand dunes and time erosion, and blue refers to the nomadic people's belief in the sky2;

The superposition of colors produces a montage effect, simulating the nonlinear structure of epic narrative3.

The spatial narrative of migration imagery

"Wild Geese Flying Straight" breaks the circular migration logic of traditional nomadism:

The straight line metaphorically represents the cultural breakthrough of discrete groups, forming a cross-media echo with the geometric control in the oil painting composition23;

The "solidified" state of the kite implies the suspension of art under the gravity of reality, reconstructing the taboo tension in Kazakh mythology13.

Conclusion: Dusk Myth and Dawn Art

When Gilgamesh's boulder fell into a modern garbage dump, the damaged canvas reconstructed order with oil paint - this two-way movement of "deconstruction-reconstruction" not only continues Pound's collage strategy of epic fragments in "Poems"3, but also gives ruins the possibility of redemption with Kazakh nomadic aesthetics. Just as the ultimate image of “white clouds hovering” in the poem, art becomes the new eternity at the twilight moment of myth.13

8.

Ardakh Nurgaz's Oil Painting provides a breakthrough path for the exploration of contemporary poetry forms through cross-media experiments and poetic reconstruction. Its innovation is reflected in the following dimensions:

1. Cross-media text topology

Language translation of visual structure

The "texture cracks of the scraper" in oil painting creation are transformed into the "syntactic faults" of poetry. By creating line breaks and semantic scraping in the text, a language texture similar to the physical traces of the canvas is formed57. For example, the "word group stacking" and "blank cutting" techniques commonly used in contemporary experimental poetry directly echo the layered sense of oil paint scraping in Richter's abstract paintings7.

Color montage poetry line construction

By drawing on the collision logic of primary colors in oil painting (such as the confrontational layout of Klein blue and ochre), poetry develops a color language strategy of "neon word clusters attacking cement images", breaking through the traditional lyrical framework through the metaphorical reorganization of the color spectrum25.

2. Experiments on the deconstruction of epic structure

Collage of fragments of non-linear narrative

Deconstructing the epic of Gilgamesh into "day after day of the garbage dump" inspired the spatial treatment of grand narratives in poetry. The pattern of "interweaving myth fragments with modern life fragments" that frequently appears in contemporary long poems continues the ruins aesthetics of "folding time and space" in Oil Painting17.

Rhythm innovation of nomadic spirit

The circular rhythm of traditional grassland epics has been transformed into "the linear beat of migratory birds", which is reflected in poetry by breaking the rhyme convention and simulating the time and space tension of "wild geese flying across time zones" with long sentences across lines47.

3. Material experiment of language ontology

Root deconstruction and semantic scraping

The image of "hungry words sticking together into a giant beast" in the poem promoted the avant-garde's exploration of the materiality of language. By disassembling morphemes (such as disassembling "frontier" into "field + boundary + bow") and reorganizing them into visual symbols, a language violence aesthetic similar to the oil painting scraper peeling off the oil layer is formed27.

Textual gaps of bilingual interlocking

Inspired by the image of "holy springs and stains coexisting" in oil paintings, poetry develops a hybrid text of "Chinese roots embedded in Kazakh syllables", creating a tension space of cultural collision at the grammatical fault45.

IV. Innovation of the material carrier of intertextuality between poetry and painting

The typographic revolution of oil paint texture

Imitating the "layered shading" technique of tempera painting (such as the transparency produced by dozens of times of pigment superposition), contemporary poetry presents the multiple temporalities of language through digital text of "repeated typing-deletion traces"67.

Text projection of canvas space

Transforming the "solidified kite hovering composition" of oil painting into the geometric spatial layout of poetry, such as constructing the "visual gravity field" of text on the page through alternating left-aligned, centered, and right-aligned lines of poetry57.

Conclusion: Breaking through the frontier of form

By dissolving the media boundaries between painting and poetry, "Oil Painting" provides a triple conversion model of "pigment-morpheme", "canvas-page", and "scraper-syntax" for contemporary poetry57. This cross-media methodology not only reshapes the physical carrier of poetry (such as dynamic text in the digital age), but also promotes the reconstruction of the formal genes of modern Chinese poetry in the process of Chinese modernization through the aesthetic paradigm of "image oil painting"27.

9.

Ardakh Nurgaz's "Oil Painting" shows unique avant-garde in structure, imagery and aesthetics through cross-media poetic experiments. Its artistic characteristics can be systematically analyzed as follows:

I. Structure: Deconstruction and reconstruction of space-time topology

Non-linear narrative collage

The linear time of the epic "Gilgamesh" is disassembled into "day after day in the garbage dump", and the ruins aesthetics of space-time folding are constructed through the juxtaposition of mythological fragments and modern life fragments (such as "the synchronic presentation of the Sai people's helmet and the Tony Hawk monument")17.

Syntactic innovation of nomadic rhythm

The traditional circular rhythm is replaced by the long sentence of "migratory birds flying in a straight line", simulating the sense of fracture of cultural migration, such as the sudden branch of "arrows flying to the target/the palm becomes the end of the road"18.

2. Image: The dialectical carrier of material and spirit

Transcoding of frontier symbols

"Sand dunes swallowing yurts" transforms geographical frontiers into a metaphor for cultural extinction, and "Wild geese deviating from the star map" reconstructs the disorder of nomadic civilization in modernity18.

Poetic transplantation of oil painting media

Drawing on Richter's scraping technique, "words stick together into hungry beasts" presents the materiality of language, and completes the visual translation of spiritual salvation through the image conflict of "stains and holy springs coexisting"47.

3. Aesthetics: Modern reconstruction of oriental artistic conception

Freehand color montage

Primary color confrontation (such as "violet blood drops against the burning sun") inherits the tradition of Chinese image oil painting "not seeking resemblance in form but seeking resemblance in spirit", but subverts classical harmony with violent aesthetics25.

Generation of cross-cultural artistic conception

"The face with spider web wrinkles" combines the "Bateer" prototype of the Kazakh oral epic with Eliot's modern absurdity, and achieves a dialogue between the Eastern and Western time views in the "pattern of time without beginning and end"17.

Conclusion: A paradigm breakthrough in frontier poetics

Oil Painting uses the materiality of the canvas to intervene in the poetic form (scraper cracks → syntactic faults), while transforming nomadic images into discrete allegories in the era of globalization47. Its structural fragment collage, imagery cross-media transcoding, and aesthetic "dirty sublimity" together constitute a language experimental sample of contemporary frontier poetry18.

10.

Ardakh Nurgaz's Oil Painting constructs the complex tension of cultural identity in the context of globalization through the violent collision and multi-dimensional conflict of images. The hierarchy of its image conflict can be analyzed as follows:

I. Violent dialogue between nature and machine

Ecological degradation and industrial erosion

The image of "sand dunes swallowing yurts" in the poem transforms grassland desertification into a metaphor of cultural rupture. The texture of oil paint simulates the desolate feeling of sand flow, and forms a visual confrontation between ecology and industry with the "rusted steel skeleton"15. The burning sky in Munch's "The Scream" is reconstructed as "asphalt solidified sun disk" here, and the sublimity of nature is deconstructed by industrial waste34.

Alienated expression of biological symbols

"Wild geese migrating in a straight line" subverts the circular time logic of nomadic civilization. Its image of "wings cutting the power grid" transforms the migration of migratory birds into a ritual of suffering for modern violence. The shaking frequency of the wings and the high voltage current form a double tremor of physics and poetics15.

2. The tearing and reorganization of cultural symbols

The fragmented presentation of nomadic traditions

The circular structure of the yurt dome is deconstructed into "scattered silver buttons", and the armor fragments of the Kazakh epic hero "Bater" are juxtaposed with the "Tony Hawk skateboard inscription", forming an absurd collage of pre-modern mythology and street culture12.

The aesthetics of the fissure of language hybridization

"Words lose weight at the bilingual border" creates a suspended state of cultural identity at the grammatical fault by embedding Kazakh syllables in Chinese roots (such as the word "jie" is decomposed into "tian + bow"), similar to the spatial dislocation of the inverted village in Chagall's paintings45.

3. The dialectical confrontation between matter and spirit

The material rebellion of oil paint

Drawing on Richter's scraping technique, the "words stick together into a hungry beast" in the poem reduces language to physical existence, and the accumulated layers of oil paint stains and the "dried eye sockets of the holy spring" constitute the eternal struggle between depravity and redemption34. The confrontational narrative of time media

The warp and weft of traditional felt embroidery are reconstructed into "the pixel grid of the LCD screen", and the sound wave frequency of the nomadic oral epic and the binary code of the digital signal annihilate each other in the poem25.

IV. Aesthetic Revolution in Color Violence

The Visual Politics of Primary Color Confrontation

"The blood drops of violet against the burning sun" appropriates the "coloring according to the type" tradition of Chinese image oil painting, but deconstructs the harmony of classical colors with the absolute purity of Klein blue, forming a cultural power struggle in the field of color spectrum56.

The juxtaposition of dirt and holiness

"The black gold gushing from the oil well" and "the faded gold powder of the scripture" are juxtaposed on the screen through the thick coating technique of acrylic paint, and the industrial dirtiness and religious holiness are revalued on the same aesthetic plane36.

V. Spatial fission of temporality

Reconstruction of the ruins of epic time

The linear narrative of Gilgamesh is deconstructed into “day after day in the garbage dump”, and the fragments of the heroic epic clay tablets and plastic bottle caps are inlaid together in the “memory rock layer poured with asphalt”14.

Topological folding of immigrant time

“The light track of migratory birds deviating from the star map” rewrites the astronomical wisdom of the Kazakh Koktobe calendar into a time maze of immigrant dispersion, and the zodiac is twisted into a non-Euclidean geometric structure in the GPS positioning system25.

The essence of this image conflict is the traumatic transcoding of frontier culture in the process of globalization—the mobile genes of nomadic civilization are forced to collide with the solid structure of settled civilization, just like the traces of destruction left by the oil painting scraper on the linen canvas and the blueprint of the new order35.

11.

Ardakh Nurgaz's "Oil Painting" constructs a multi-dimensional poetic universe through a dense group of time and space images. The "time and space fission" in the poem is not only the rupture and reorganization of the physical dimension, but also points to the essential dilemma of human existence, the fault of cultural memory, and the futile pursuit of eternity by poetry. The following interprets its profound meaning from three levels:

1. The collapse of time and the entropy increase of civilization

Time in the poem is deconstructed into nonlinear fragments: from the ancient echoes in the epic of Gilgamesh, to the "sand dune-lined prairie", "the legend of ancient ruins", to the modern picture of "trucks full of garbage driving to the suburbs", history presents the duality of cycle and collapse. The images bursting out of the cracks in time - such as "rocks stacked with blood drops", "whispers of ancient stone statues", and "fading words of ink" - suggest that the essence of the process of civilization is a tragedy of continuous entropy increase.

The juxtaposition of "garbage dump" and "holy spring": the erosion of nature by modernity forms a sharp contrast with the remnants of the ancient spiritual pure land. The garbage dump is named "Grassland", and the dumping of waste next to the holy spring is a metaphor for the colonization of the spiritual homeland by material civilization. The fission of time and space here is manifested as the violent superposition of tradition and modernity.

2. The deterritorialization of space and the suspension of existence

The space in the poem is broken in the form of multiple paradoxes: the "starless gray" in the sky and the "solidified kite" constitute a depressing empty space; the "infinite waiting" in the desert and the insignificance of "a drop of rain" form tension; the "hanging white clouds" in the oil painting become the critical point between illusion and reality. This alienation of space echoes the poet's existential question of "Who am I? Alive or dead?"

The image of "swamp" and "quicksand": the individual sinks deeper and deeper in the mud, which is a metaphor for the loss of cultural identity in the postcolonial context. "Ink impacting the invisible wall" reveals the separation of language and reality, symbolizing the aphasia of Kazakh grassland civilization under the impact of modernity.

"Pawns in chess" and "six swans": the fate of linear advancement and the circling of poetic memory form a confrontation, and the fission of time and space becomes a projection of the fragmentation of subjectivity.

3. Poetic suture and eternal vanity

The poet tries to suture the gap of time and space with language: "words fall" and "words take off", "shooting stars slide by" and "rose petals", "burning fire" and "silver-plated waves" form a dynamic balance. But these images ultimately point to the eternal dilemma of "words have no tombs" - language is both a tool of salvation and a witness of vanity.

Destroyed oil painting: As a core metaphor, it is both a ruin "eroded by dirty water" and an eternal "brilliant". The destruction and rebirth of oil paintings imply the dual function of art in the fission of time and space: it is both a flesh destroyed by barbaric time and a spiritual totem that resists forgetting.

Sufism and epic intertextuality: Attar's "flock of birds" points to the pilgrimage of the soul, and Kurkot's pursuit of death reveals human desire to transcend time. But the poet soberly declared that "this is not a dream", pulling the illusion of poetic stitching back to reality - the absurd daily life of "making a garbage dump".

Conclusion: An allegory of Kazakh modernity in fission

Nurgaz's image of time and space fission is essentially a metaphor for the cultural transformation of Kazakhstan in the post-Soviet era. The collision of grassland tradition and the wave of globalization, the conflict between nomadic spirit and urbanization, condensed into the collective unconscious of "the desert longs for rain" in the poem. The color explosion of "red, yellow, white, blue, green and black" in the fragments of the oil painting is both a torn cultural spectrum and the possibility of rebirth - on the ruins of time and space, the poet dances with the shackles of words, questioning the ultimate meaning of existence.

12.

Ardakh Nurgaz’s artistic style takes poetry as its core carrier, integrating philosophical speculation, cultural reflection and formal experimentation, presenting distinct postmodern poetic characteristics. The following is an analysis of his creative concept and textual practice:

I. “Content and Form Identity” Aesthetics

Nurgaz believes that the “content and form” of poetry are essentially the same, and the interweaving of the two in the realm of imagination constitutes the organic life of poetry1. This concept is reflected in:

The paradoxical juxtaposition of images: such as the conflict between “garbage dump” and “holy spring”, “desert” and “rain” in “Oil Painting”, revealing the alienation and possibility of redemption of civilization through contrasting scenes26;

The dynamic balance of language: the opposing expressions such as “words falling” and “words taking off”, “decomposed matter” and “solidified landscape” in the poem regard language as a dynamic medium of consciousness and reality1;

The spatial and temporal fission of structure: his poems often break the linear narrative, and construct a non-continuous historical perception through the ancient echoes of the epic of Gilgamesh, the daily scenes of modern garbage trucks, and the superposition of future uncertainty2.

2. Traumatic Writing of Cultural Identity

As a Kazakh poet, Nurgaz’s creations are always permeated with the tension between nomadic civilization and the wave of globalization:

Self-examination from the perspective of the “other”: the frequent appearance of images such as “swamp” and “quicksand” in the poem metaphorically represents the loss and struggle of cultural subjects in the postcolonial context2;

Deconstruction and reconstruction of epic tradition: by citing the symbols of Gilgamesh and the Sufi poet Attar, the collective memory of the grassland epic is transformed into a philosophical inquiry into individual existence2;

Aesthetics of ruins and the possibility of rebirth: such as the “ruined but dazzling painting” at the end of “Oil Painting”, which symbolizes the eroded tradition regaining eternity in art26.

3. Experiments on “Consciousness Field and Imagination”

Nurgaz continued Wallace Stevens’ exploration of “pure consciousness” and used poetry as a special way to understand reality1:

Surrealistic transformation of perception: such as “dew drops on the lake in the mirror burst” and “pawns on the chessboard reflect the childhood fields”, breaking the logic of the physical world through stream of consciousness2;

Aesthetic treatment of tragedy: inspired by The Aesthetics of Evil, his poems often use images such as “silver-plated waves” and “burning reeds” to hedge against the cruelty of reality, realizing the transcendence of imagination over tragedy1;

The tomb dilemma of language: the expressions in the poem such as “words have no tombs” and “suspenseful handwriting on white paper” reveal the duality of language in both constructing and dissolving meaning26. IV. Intertextuality of cross-media art

Although Nurgazi is famous for his poetry, his works have a deep dialogue with visual art:

Oil painting-style spatial composition: the color explosion (red, yellow, white, blue, etc.) and light and shadow contrast (dark clouds and lightning, sunset and dusk) in the poem have a strong sense of picture, which is consistent with the color memory of the Kazakh steppe2;

The implantation of drama scenes: such as "ancient drama" and "chess board" and other images, transforming the poetry space into a symbolic stage, strengthening the absurdity of existentialism6.

Conclusion

Nurgazi's artistic style is a poetic reflection of the dilemma of Kazakh modernity. It uses language as a blade to cut through time and space and reconstruct identity in the ruins of civilization. This kind of creation not only continues W. Stevens's poetic pursuit of "highest fiction"1, but also responds to the universal anxiety of globalization with the uniqueness of steppe civilization26.

13.

Ardakh Nurgaz’s artistic style is centered on poetry. Through the dialectical fusion of reality and fantasy, he constructs a poetic universe full of philosophical tension. The interweaving of realistic scenes and surreal images in his works is not only a metaphor for the dilemma of modern Kazakh culture, but also a deep questioning of the essence of existence. The following analyzes the fusion characteristics of reality and fantasy from three dimensions:

1. Reconstruction of time and space: the rupture of reality and the bridging of fantasy

Nurgaz often uses the cleavage of physical time and space as the starting point for reality criticism. For example, the juxtaposition of "garbage dump and holy spring" in "Oil Painting"26 not only presents the erosion of nature by modern industrialization (reality), but also uses "destroyed but dazzling oil painting" to symbolize the obscured spiritual eternity (fantasy). This technique reorganizes the broken scenes to form a confrontation between civilization entropy and poetic redemption.

The overlap of epic symbols and real ruins: The poem frequently quotes the "sunken slate text" of Gilgamesh and the "flock of birds" image of Attar Sufism2, projecting ancient myths into real scenes such as "trucks full of garbage" and "grasslands lined with sand dunes", suggesting the loss and rebirth of civilization in the historical cycle.

2. Language Experiment: The Concreteness of Consciousness and the Transcendental Nature of Fantasy

Influenced by W. Stevens' "pure consciousness" poetics1, Nurgaz regards language as the medium between reality and fantasy:

The surreal transformation of perception: such as "the dew drops on the lake in the mirror bursting" and "the pawns on the chessboard reflect the childhood fields"26, breaking the physical logic through the stream of consciousness, sublimating real memory into transcendental images;

Paradoxical rhetoric: "Words falling and words taking off" and "decomposed matter and solidified landscape" in the poem form a dynamic tension1, language both refers to reality and deconstructs reality, constructing a cognitive maze between reality and illusion.

3. Cultural Metaphor: The Concreteness and Breakthrough of Identity Dilemma

As a Kazakh immigrant poet, Nurgazi’s fantasy elements carry profound cultural identity metaphors:

Images of “swamp” and “quicksand”: individuals sink deeper and deeper into the mire of reality, reflecting the identity anxiety of the conflict between nomadic civilization and globalization in the postcolonial context2;

Symbolic violence of colors: The explosive presentation of “red, yellow, white, blue, green and black” at the end of “Oil Painting”6 is both a torn cultural spectrum (reality) and the possibility of multiple identity reconstruction (fantasy);

Spiritual projection of Sufism: Images such as “bird wings” and “silver-plated waves” in the poem use mystical fantasy to hedge against the cruelty of reality and explore spiritual belonging beyond the region2.

Conclusion: Fantasy reconstruction on the ruins of reality

Nurgazi’s artistic style is essentially an allegory of Kazakh modernity. Through the interweaving of reality and fantasy, he transforms the collective memory of grassland civilization and the torn experience of immigrant identity into poetic alchemy—in the absurd daily life of “making a garbage dump”2, he engraves eternity with words and ignites redemption with colors. This kind of creation is both an echo of W. Stevens' "supreme fiction"1 and a poetic response to the crisis of cultural subjectivity under the wave of globalization.

14.

Ardakh Nurgaz uses multiple poetic strategies to present a complex and subtle inner world in his works, forming a unique picture of the flow of consciousness. His works contain both cultural identity anxiety in the postcolonial context and philosophical questions about the essence of existence27.

1. Flowing Consciousness Writing

Fragmented Reorganization of Perception

Nurgaz often deconstructs the logic of reality with surreal images, such as "dew drops on the lake in the mirror bursting" and "pawns on the chessboard reflect the childhood fields"7. Through the stream of consciousness technique, he interweaves memory, fantasy and current experience to present the chaos and irrational characteristics of the cognitive process13.

The paradoxical tension of language

The opposing expressions in the poem, such as "the falling of words and the taking off of words" and "the dissipation of matter and the beginning of infinity", reflect the internal conflict of consciousness with the contradiction of language itself, and realize the aesthetic concept of "the identity of content and form"3.

2. Projection of the dilemma of cultural identity

The traumatic memory of nomadic civilization

Images such as "sand dunes in the grassland" and "legends of ancient ruins" imply the shattering of Kazakh traditions under the impact of modernity, while "quicksand swallowing the sunset" is a metaphor for the disappearance of cultural belonging27.

Dual perspective of immigrant identity

Images such as "swamp" and "directionless wind" frequently appear in his works, which are not only a portrayal of the alienated individual's survival state, but also a symbol of the loss of cultural subjectivity in the wave of globalization2. This self-examination from the perspective of "others" constitutes a unique postcolonial poetic expression27.

3. Existentialist spiritual exploration

Subject questioning in the collapse of time and space

The ultimate question of "Who am I? Alive or dead?" in "Oil Painting"7 pushes the confrontation between material reality and spiritual eternity to the extreme through the juxtaposition of "garbage dump" and "holy spring", showing the emptiness and reconstruction possibility of the meaning of existence7.

The spiritual breakthrough of Sufism

The images of "Attar's bird wings" and "silver-plated waves"7 use mystical fantasy to fight against the alienation of reality, and explore transcendental spiritual redemption in the language dilemma of "words have no tombs"23.

IV. Inner mirror of poetic form

Polyphonic narrative structure

The coexistence of "author, lyrical characters and multiple personalities" in the work3, through the image groups of "dark clouds and lightning and late thunderbolts" and "stagnant clock hands and running stumblers"7, construct a polyphonic inner monologue and reproduce the three-dimensional dimension of consciousness.

The metaphorical violence of color

The explosive color presentation of "red, yellow, white, blue, green and black" at the end of "Oil Painting"7 is not only a torn cultural spectrum, but also a chromatographic deconstruction of the inner world-through the impact of ink on the "invisible wall"7, the concrete reconstruction of the spiritual picture is completed.

Nurgaz's writing of the inner world is essentially a literary translation of the dilemma of Kazakh modernity. He uses language as a scalpel to dissect the depths of consciousness, and between the absurd reality of “making a garbage dump” and the poetic eternity of “a ruined but eternal painting”27, he completes an artistic diagnosis of the spiritual crisis in the era of globalization23.

1.

阿尔达克·努尔哈兹的诗歌《油画》通过丰厚的跨文化隐喻、存在主义追问与历史回响，展现了一场关于艺术、文明与个体存在的精神漫游。以下是对这首诗的深入解读：

结构层次：时空的三重折叠

午夜独白：存在的悬置

诗歌以午夜创作后的迷惘开篇，乌云、迷雾与灰色天空构成虚无的宇宙背景。词语的分解与物质的消散暗喻语言与实体的脆弱性，引向“天堂或地狱”的终极叩问。诗人以“白云”般的思绪质疑自身存在的真实性，将自我投射为“幽光中的最初声音”或“流星滑过的光阴”，在虚实之间摇摆在创作者与被造物的双重身份间。

历史寓言：文明的伤口

第二部分铺陈出宏大的文明图景：街道的喧嚣、暗流的海洋、燃烧的原野与滴血的岩石，隐喻历史暴力的循环。诗人以“陷身沼泽者”自喻，在泥沙吞噬与潮汐涨落间挣扎，揭示人类对时间与命运的无能为力。沙漠对雨水的渴望、井底水珠的回声，折射出文明对救赎的渴求，而“油墨冲击围墙”“风筝凝固天空”则暗示艺术对混乱现实的抵抗。

垃圾场寓言：艺术的救赎

第三部分从形而上的追问转向现实场景——垃圾搬运工的日常。垃圾场“草场”与“圣泉”的并置，构建出荒诞的现代寓言：被遗弃的油画在污水侵蚀中依然“光彩夺目”，成为废墟中未被泯灭的文明火种。油画的色彩（红、黄、蓝……）与“阳光中的世界”形成呼应，暗示艺术在污浊现实中重构理想国度的可能。

核心意象的象征网络

油画：被遗弃的艺术品成为全诗的核心隐喻。它既是文明碎片的化身（如吉尔伽美什史诗的失落与重构），也是个体存在意义的镜像——尽管被毁坏，仍以色彩对抗虚无。油画悬挂的“白云”与第一部分“白云似的思绪”形成闭环，暗合艺术对存在之问的回答。

库尔柯特与禁言：借传说中“不说死亡”的悖论，诗人揭示语言的致命性——库尔柯特因言获死，诗歌却通过言说抵抗死亡。奥德赛自缚船柱聆听塞壬之歌的典故，进一步强化创作者在诱惑与危险中坚守表达的宿命。

圣泉与垃圾场：自然（清泉）与文明废弃物（垃圾）的并置，直指现代社会的精神荒原。倾倒垃圾于圣泉旁的市长，象征权力对神圣性的亵渎；而“我”拾起油画的瞬间，则是凡人从废墟中打捞神性的微末救赎。

诗学策略：跨文化的史诗重构

神话互文性

诗歌嵌套吉尔伽美什（人类最早史诗）、阿塔尔（苏菲神秘主义）与库尔柯特（中亚创世传说）三重神话体系，将个人书写嵌入集体记忆的长河。吉尔伽美什对永生的追问、阿塔尔笔下群鸟追寻凤凰的寓言、库尔柯特与死亡的博弈，共同构成诗歌的史诗底色，赋予个体困惑以普世意义。

移民文学的双重视角

作为哈萨克诗人，努尔哈兹以“他者”视角重审本土文化：草原变为沙丘，古道消逝于传说，暗合后殖民语境下文化身份的流散性。诗中反复出现的“沙漠”“骆驼”“单峰驼”等意象，既是对游牧传统的追忆，也是对全球化进程中文化同质化的抵抗。

语言的自我指涉

诗歌本身成为被书写的“油画”——“词落下，另一个词起飞”“白纸上悬疑的字迹”直指创作过程的自我解构。词与物、诗与画的互文，揭示艺术既是对现实的摹写，也是重构世界的尝试。

结语：在废墟上重建意义的巴别塔

努尔哈兹的《油画》是一场跨越时空的悲壮远征：从午夜书房的自我质询，到历史暴力的幽灵重访，最终抵达垃圾场中拾荒者的顿悟。诗歌以油画的残损光辉宣告——在文明不断倾塌的进程中，唯有艺术能将碎裂的时空粘合，让“一滴水珠回到大海”，让词在无墓之地重生为星辰。

2.

阿尔达克·努尔哈兹的油画创作灵感来源体现为多重文化维度的交织，既有对史诗传统的回溯，亦包含对现实废墟的凝视，并通过诗画互文的路径实现艺术救赎。以下为其核心灵感脉络：

一、史诗神话的跨时空投射

吉尔伽美什寓言与现代虚无

诗歌《油画》以吉尔伽美什史诗的“沉重”开篇，呼应人类对永恒与存在的终极叩问3。油画的“光彩夺目”与被遗弃状态形成张力，隐喻艺术在文明废墟中的重生力量，暗合史诗中英雄对抗宿命的悲剧性叙事。

库尔柯特传说的语言悖论

诗中“追赶公牛的库尔柯特说出禁言”映射中亚传说中“语言即死亡”的禁忌，揭示创作者在表达与沉默间的挣扎3。油画通过色彩重构语言无法抵达的领域，形成对抗虚无的美学出口。

二、现实废墟中的神性打捞

垃圾场与圣泉的寓言结构

“垃圾倾倒于圣泉旁”的荒诞场景，直指现代性对精神圣地的污染3。而拾获破损油画的瞬间，象征从污浊现实中提取未被泯灭的文明碎片，呼应艺术家“从自然广阔中平息浮躁”的创作状态4。

油彩对物质消散的抵抗

诗中“油墨冲击无形围墙”的意象，揭示绘画通过物质性（色彩、笔触）凝固易逝的时空。这一理念与坦培拉绘画“罩染数十层以捕捉光影”的技法逻辑形成隐秘对话5。

三、诗学理论的视觉转化

内容与形式的同一性

努尔哈兹强调诗歌中“内容即形式”，此理念延伸至油画创作：色彩不仅是视觉元素，更承载着“阳光中的世界”的隐喻功能3。红、黄、蓝等基色在画布上的碰撞，实为意识与想象力的动态外化。

悲剧想象力与审美救赎

其理论指出“想象力需回应残酷现实”，油画中“沙漠渴望雨水”“滴血敲打岩石”等意象，正是以美学转化创伤的实践3。这种“恶的美学”策略，与新疆油画家通过自然描绘传递宁静和谐的艺术追求形成反差性互补2。

四、移民视角的文化重构

游牧记忆的符号留存

“草原变沙丘”“古道消逝于传说”等意象，暗含游牧文化在全球化和城市化进程中的流散困境。油画中的“野鹅”“单峰驼”等符号，成为重构文化身份的视觉锚点3。

他者视角的双向凝视

作为哈萨克诗人，努尔哈兹将本土传统置于跨文化语境中审视。油画中“奥德赛自缚船柱”的西方典故与“阿塔尔笔尖群鸟”的苏菲意象并置，构建出多元文明共生的精神图谱3。

结语：艺术的巴别塔

努尔哈兹的油画灵感源于“词与物”的永恒博弈——当语言在午夜消散，油彩成为重构意义的最后壁垒。其创作既是吉尔伽美什式的悲壮远征，亦是对史蒂文斯“最高虚构”的诗学回应3，最终在画布上筑起一座抵抗时间熵增的巴别塔。

3.

阿尔达克·努尔哈兹的诗歌《油画》以其深邃的哲学思辨和跨文化的意象编织，构建了一幅关于存在、时间与艺术救赎的精神图景。以下从诗歌结构、核心意象和诗学策略三个维度展开细读：

一、循环结构与悬置时间

全诗以《吉尔伽美什史诗》的叩问开篇，以“油画中悬着一片白云”的凝固意象收尾，形成存在追问的闭环。这种环形结构暗合东方哲学中的轮回观，却又被现代的碎片化体验打破：

午夜到黎明的时间褶皱

第一部分午夜书房的虚无（“词语分解，物质消散”）与第三部分垃圾场的黎明劳作（“每天黎明前，东方没有一点光泽”）构成时间悖论。午夜作为意识觉醒的时刻，恰是现实劳作前的混沌，暗示诗人游走于形而上与形而下的双重困境。

历史的非线性复调

第二部分以蒙太奇手法拼贴文明史：从“凶狠的历史挤满噩梦缠身的人像”到“沙土中的古老石象私语”，时间被压缩为共时性的创伤记忆。滴血的岩石与沙漠渴雨的意象，将地质时间与人类时间并置，消解线性进步史观。

二、意象群的冲突与和解

诗歌通过三组核心意象的对峙，构建辩证的诗学空间：

水与沙的博弈

水的多重变奏：暗涌的海洋、滴血的岩石、井底水珠、圣泉溪流。水既是生命本源（“生命是仅限于一次的许诺”），也是吞噬性的存在（“弱水者濒死的海”）。

沙的统治：草原化为沙丘、流沙堆起的睡眠、沙漠对雨水的渴望。沙成为时间暴力的具象，既是文明的坟场（“古遗址的传说”），也是重塑的媒介（“油墨冲击无形的围墙”）。

和解时刻：垃圾场中“清泉小溪”与油画色彩的辉映，暗示艺术能在荒漠中开辟生命的绿洲。

飞翔与坠落的张力

向上的挣扎：群鸟羽翼、凝固的风筝、七只野鹅的直线飞行、奥德赛船柱上的绑缚。

向下的重力：词语的坠落、流星滑落、陷身沼泽、垃圾倾倒。

临界状态：“油画中悬着的白云”成为悬浮的永恒，既非飞翔亦非坠落，指向艺术对二元对立的超越。

词与物的辩证

词的失效：“词分解”“词没有墓穴”宣告语言在终极追问前的无力。

物的反叛：破损的油画以色彩（红、黄、蓝）重建“阳光中的世界”，油墨的物性抵抗词语的消散。

超语言表达：诗歌自身成为“正在悬着一片白云”的油画，通过意象并置实现“元诗”的自我指涉。

三、诗学策略：跨文明的创伤书写

努尔哈兹以移民诗人的双重视角，将哈萨克游牧传统、苏菲神秘主义与西方现代性反思熔于一炉：

神话的重构与解构

吉尔伽美什对永生的追问被转化为“垃圾搬运工”的日常救赎，英雄史诗降格为凡人的存在主义仪式。

库尔柯特传说中“语言即死亡”的禁忌，与诗歌结尾“吹了一下，花朵绽放”形成互文——艺术言说成为对抗死亡封印的咒语。

游牧美学的现代转化

草原意象的异化：“大草原变沙丘”暗喻游牧文明在城市化中的流散，而“野鹅划落湖面”保留着季节迁徙的记忆编码。

单峰骆驼的符号重生：从库尔柯特传说中的逃亡工具，变为全球化语境下的文化漫游者象征。

废墟中的先锋性

垃圾场的“肮脏崇高”：被遗弃的油画在污水侵蚀中焕发神性，呼应本雅明“废墟辩证法”——艺术在衰败中释放救赎潜能。

油彩的考古学：画布成为文明层积的现场，红黄蓝原色与锈蚀污渍并置，构成后殖民时代的文化地层剖面图。

结语：在词的废墟上绘画

当午夜书房的词语消散成雾，努尔哈兹选择以油彩的物性构筑抗熵的堡垒。这首诗本质上是一场语言的献祭——词语如库尔柯特般在说出“禁言”后坠入深渊，而色彩的震颤在废墟上建立起新的巴别塔。正如诗中“滴入井底的水珠”最终汇向大海，个体的困惑通过艺术的炼金术，终将在人类文明的永恒循环中获得安顿。

4.

阿尔达克·努尔哈兹的《油画》通过诗性语言重构了油画创作的层次逻辑，形成物质、意象与哲学的三重嵌套结构。结合诗歌文本与油画艺术理论，其结构可析解如下：

一、物质基础层：现实与载体的互文

诗歌第三部分以垃圾搬运工的日常劳作（“每天黎明前运垃圾”）为基底，对应油画创作的“基底层”功能——依托材料承载艺术表达1。被遗弃的破损油画（“画框毁了的画”）与“圣泉”并置，形成肮脏与纯净的张力，暗喻艺术载体在现实废墟中的重生可能4。此层通过身体劳动与物质衰变的具象书写，建立艺术创作的物理前提，如同油画底布对颜料的承载7。

二、意象建构层：色彩的蒙太奇语法

第二部分密集铺陈的意象群（流星、飞箭、玫瑰、野鹅等）构成“绘画层”，其排布符合油画构图的动态平衡原则：

垂直张力：流星“滑落”与野鹅“直线飞行”形成垂直轴线，呼应柯罗《阿戈斯蒂娜》中人物与地平线的结构平衡3；

三角稳定：“七只野鹅—象棋卒子—六只天鹅”构成隐形三角框架，类似维米尔《倒牛奶的女仆》中的几何控制3；

对角线冲突：“风暴驾临”“暗流涌动”等暴力意象沿对角线展开，制造达达主义式的动态不安6。

这些意象通过色彩词（红、黄、蓝、绿）的间歇闪现，模拟油彩叠加的视觉层次，实现“词与物的辩证”——语言失效处，色彩接管表达2。

三、哲学反思层：艺术救赎的元叙事

诗歌首尾的环形结构（从《吉尔伽美什》发问到“白云悬停”）构成“保护层”，完成对艺术本质的终极阐释：

时间的解构：午夜写作与黎明劳作的并置，打破线性时间，将历史压缩为共时性的“沙丘”与“古遗址”6；

存在的悬置：“我是谁”的追问在油画残片中获解——艺术使主体在“分解/消散”的世界中确认存在，如同梵高笔下的普罗旺斯超越现实表象5；

语言的超越：破损油画的“光彩夺目”宣告艺术对词语墓穴的突围，实践史蒂文斯所谓“想象力对悲剧的反应”2。此层以反传统的“垃圾场崇高”，完成对现代性困境的审美救赎4。

结语：废墟上的层次辩证法

该诗通过三层次结构，将油画的物质性转化为诗性认知装置：基底的现实废墟滋养意象的疯长，最终在哲学层达成艺术自律。这种“解构-重构”的双向运动，既延续了立体主义对物象的拆解6，又以游牧美学的流动性2，为当代移民写作提供了新的形式范式。

5.

阿尔达克·努尔哈兹的《油画》通过解构史诗神话的原型意象，重构了现代个体的精神荒原与救赎叙事。诗中史诗元素的挪用与变形主要体现在以下维度：

一、神话结构与现代经验的互文

《吉尔伽美什》的降格化改写

诗歌开篇引用吉尔伽美什“举起巨石”的困境（“它太沉”），将英雄对永生的追问转化为现代人的存在焦虑：“我是谁？我活着还是死的？”13

史诗中的“神性与人性冲突”被置换为词语与物质的消散危机，体现移民诗人的身份悬置1。

原史诗的线性叙事崩解为“沙漠世界”的共时性空间，暗合后殖民语境中的历史断裂3。

奥德修斯神话的逆向投射

“奥德赛把自己绑在船柱”的经典场景被转化为艺术创作的隐喻：

英雄抵抗塞壬歌声的意志力，对应诗人抵抗语言失效的写作困境1；

船柱的“绑缚”暗示艺术自律对现实暴力的抵抗，呼应史蒂文斯“想象力对悲剧的反应”1。

二、英雄叙事的解构与重构

库尔柯特传说的禁忌改写

诗中“追赶公牛的库尔柯特说出禁言”暗指哈萨克史诗英雄触碰语言禁忌的宿命。努尔哈兹将其重构为：

语言的自我献祭：诗歌写作成为打破沉默的禁忌行为，如同油画在垃圾场的重生3；

游牧精神的变形：库尔柯特的逃亡单峰骆驼被置换为“七只野鹅”的直线飞行，暗示离散群体的文化迁徙2。

创世神话的废墟书写

“制定垃圾场”与“圣泉”的并置构成反创世叙事：

肮脏崇高：油画残片的“红黄白蓝绿黑”对应《创世纪》中分离光暗的原始色彩，却在污水侵蚀中完成神圣性重置4；

循环时间观：“垃圾搬运”的日常重复消解线性史诗观，接近吉尔伽美什史诗中的永恒轮回3。

三、神话符号的当代转化

天体意象的祛魅

流星：从神谕象征退化为“光阴流逝”的刻度（“流星滑过夜空时的光阴”），体现现代性对神秘主义的消解1；

北斗七星：传统导航符号沦为“古老戏剧”的布景，指向游牧文明导航系统的失效2。

自然物的语义增殖

玫瑰：从但丁《神曲》的天堂之花降格为“手中花瓣”，又通过艺术升华重获神性（“油墨展现阳光中的世界”）14；

沙丘：史诗中的沙漠试炼（如摩西出埃及）异化为文明坟场（“我们的大草原到处是林立的沙丘”），隐喻生态与文化的双重荒漠化3。

结语：史诗的黄昏与艺术的黎明

努尔哈兹通过《油画》完成神话诗学的当代转换：当吉尔伽美什的巨石坠入垃圾场，破损画布却以油彩重建秩序。这种“解构-重构”的双向运动，既延续了庞德《诗章》对史诗碎片的拼贴策略3，又以哈萨克游牧美学赋予废墟以救赎可能——正如诗中“悬停的白云”，艺术在神话黄昏时刻成为新的永恒14。

6.

阿尔达克·努尔哈兹的《油画》通过多重核心意象构建了存在追问与艺术救赎的复合场域，以下从物质性、时空感知及神话维度解析其核心意象网络：

一、物质废墟中的再生意象群

破损油画（“脏水侵蚀”“光彩夺目”）

象征艺术的抗熵性：被遗弃的油画在污浊中焕发神性，体现物质媒介的自我涅槃，呼应油画创作中“刮擦技法赋予材料哲学意义”的意象转化逻辑7。

色彩原罪与救赎：红、黄、蓝等原色抵抗语言的苍白（“词没有墓穴”），实践史蒂文斯所谓“想象力对悲剧的反应”2。

垃圾场与圣泉

肮脏崇高：垃圾场的世俗性与“清泉四季流淌”的神圣性并置，隐喻移民群体在文化废墟中重构精神绿洲的努力4。

劳动诗学：黎明前搬运垃圾的日常（“装满垃圾的车走向郊外”）被升华为存在仪式，暗合哈萨克游牧传统对生存本质的叩问4。

二、时空裂变的复合意象群

沙漠意象（“大草原变沙丘”“渴望雨水”）

生态寓言：草原荒漠化指向游牧文明在全球化中的流散，与移民诗人的身份焦虑共振4。

时间晶体：沙丘作为“远古尘埃”的当代沉积物，将线性历史压缩为共时性创伤记忆1。

悬停与飞行

凝固的风筝（“无限夸大的天空中风筝凝固”）对应库尔柯特传说的禁忌张力，暗示艺术在现实重力下的悬浮状态1；

七只野鹅的直线飞行（“像一条直线似的划过湖面”）打破游牧迁徙的环形逻辑，隐喻离散群体的文化重构4。

三、神话解构的转喻意象群

吉尔伽美什原型

巨石变体：史诗中“举起巨石”的困境被置换为“词语分解”的语言危机，英雄叙事降格为现代个体的存在主义困境1。

永恒循环：垃圾搬运的日复一日（“每天黎明前运垃圾”）消解史诗线性时间观，重构哈萨克“轮回时间哲学”4。

玫瑰与羽毛

凋零神性：阿塔尔笔下群鸟的羽毛（“苏菲神秘主义符号”）与玫瑰花瓣并置，将宗教意象解构为艺术创作的碎片化灵感1；

物哀美学：花瓣的易逝性（“醒来时留在手中”）转化为油彩的永恒性，实现“诗画同源”的跨媒介表达3。

四、光影交错的知觉意象群

午夜与黎明

意识阈限：午夜书写的虚无（“乌云密布的无星天空”）与黎明劳作的实存构成存在悖论，暗合蒙克《呐喊》中精神焦虑的视觉化7；

光影辩证法：停电时“黑暗顶点”与油画“阳光中的世界”形成知觉对冲，揭示艺术对现实异化的修复功能3。

水滴隐喻

井底水珠（“滴下去的水珠声”）对应《悬崖上的风》中“空无池塘的苏醒”，将微小存在升华为救赎符号1；

露珠镜像（“镜子是湖，露珠崩裂”）通过物质裂变重构时空，实践夏加尔式的超现实符号系统7。

总结：意象的拓扑学

诗中意象并非孤立存在，而是构成动态拓扑网络：

垂直轴：从垃圾场的物质基底（基底层7）到悬停白云的精神超越（保护层3）；

水平轴：哈萨克草原记忆（“古遗址传说”4）与全球化废墟（“林立的沙丘”1）的空间并置。

这种结构既延续了里希特式“刮擦-重构”的油画语言7，又以游牧美学的流动性4，为当代移民诗歌提供了新的意象范式。

7.

阿尔达克·努尔哈兹的《油画》通过对史诗神话的解构与重构，构建了现代性语境下的精神救赎叙事。其史诗神话投射可通过以下维度解析：

一、史诗结构的降格与转化

《吉尔伽美什》的现代性异化

诗中反复出现的“巨石”意象（“它太沉”）源自史诗中英雄对永生的追问，但被置换为移民诗人的语言困境——“词语分解”的危机成为现代个体的存在隐喻13。

原史诗的线性时间观崩解为“垃圾搬运”的循环日常，形成哈萨克游牧文明与全球化的时空碰撞3。

奥德修斯神话的逆向书写

“奥德赛将自己绑在船柱”的经典场景被转化为艺术抵抗的象征：

塞壬歌声的诱惑对应物质世界的暴力侵蚀，而诗歌语言成为锚定存在的“船柱”1；

英雄的归乡之旅异化为文化离散者的精神漂泊，暗合后殖民语境中的身份悬置3。

二、英雄原型的废墟重构

库尔柯特传说的禁忌叙事

哈萨克史诗中触碰语言禁忌的英雄库尔柯特，在诗中演变为艺术创作的隐喻：

逃亡的单峰骆驼被置换为“七只野鹅的直线飞行”，暗示游牧传统在现代化进程中的断裂与重构3；

“追赶公牛”的勇猛叙事退化为“垃圾场制定”的日常劳作，体现神话崇高向世俗生存的沉降1。

创世神话的肮脏崇高

“圣泉”与污水侵蚀的油画残片并置，形成反创世叙事：

原初色彩（红、黄、蓝）在污浊中重生，呼应《创世纪》中光暗分离的神圣性重置13；

垃圾场的物质废墟成为新神话的发源地，实践史蒂文斯“想象力对悲剧的反应”之诗学理念1。

三、神话符号的当代转码

天体意象的祛魅与重生

流星从神谕象征退化为“光阴流逝”的刻度（“流星滑过夜空时的光阴”），体现神秘主义向存在主义的转化1；

北斗七星沦为“古老戏剧”的布景，隐喻游牧文明导航系统在全球化中的失效3。

自然物的语义裂变

玫瑰从但丁的天堂之花降格为“手中花瓣”，又通过油彩渲染重获神性，完成“物哀美学”向“艺术救赎”的升华13；

沙丘作为“草原荒漠化”的物证，将史诗中的沙漠试炼（如摩西出埃及）转化为生态与文化的双重创伤记忆3。

四、游牧神话的诗画同构

色彩的神性编码

油画残片的原色（红、黄、白、蓝）形成视觉史诗：

红色对应血性与苦难，黄色象征沙丘与时间侵蚀，蓝色指向游牧民族的天穹信仰2；

色彩叠加产生蒙太奇效应，模拟史诗叙事的非线性结构3。

迁徙意象的空间叙事

“野鹅直线飞行”打破传统游牧的环形迁徙逻辑：

直线隐喻离散群体的文化突围，与油画构图中的几何控制形成跨媒介呼应23；

风筝的“凝固”状态暗喻艺术在现实重力下的悬浮，重构哈萨克神话中的禁忌张力13。

结语：黄昏神话与黎明艺术

当吉尔伽美什的巨石坠入现代垃圾场，破损画布却以油彩重构秩序——这种“解构-重构”的双向运动，既延续庞德《诗章》对史诗碎片的拼贴策略3，又以哈萨克游牧美学赋予废墟以救赎可能。正如诗中“白云悬停”的终极意象，艺术在神话的黄昏时刻成为新的永恒13。

8.

阿尔达克·努尔哈兹的《油画》通过跨媒介实验与诗性重构，为当代诗歌形式探索提供了突破性路径，其创新性体现在以下维度：

一、跨媒介的文本拓扑学

视觉结构的语言转译

油画创作中“刮刀的肌理裂痕”被转化为诗歌的“句法断层”，通过在文本中制造分行切口与语义刮擦，形成类似画布物理痕迹的语言质感57。例如当代实验诗中常见的“词群堆叠”与“空白切割”技法，直接呼应了里希特抽象画中油彩刮削的层次感7。

色彩蒙太奇的诗行建构

借鉴油画原色的碰撞逻辑（如克莱因蓝与赭石的对抗性铺陈），诗歌发展出“霓虹词簇突袭水泥意象”的色彩化语言策略，通过色谱的隐喻重组突破传统抒情框架25。

二、史诗结构的解构实验

非线性叙事的碎片拼贴

将《吉尔伽美什》史诗解构为“垃圾场的日复一日”，启发了诗歌对宏大叙事的空间化处理。当代长诗中频繁出现的“神话残片与现代生活碎屑交织”模式，延续了《油画》“时空折叠”的废墟美学17。

游牧精神的节奏革新

传统草原史诗的环形韵律被改造为“候鸟迁徙的直线节拍”，体现在诗歌中即打破押韵规约，以跨行长句模拟“野鹅飞越时区”的时空张力47。

三、语言本体的物质性实验

词根解构与语义刮擦

诗中“饥饿的词语黏连成巨兽”的意象，推动了先锋派对语言物质性的探索。通过拆解词素（如将“边疆”拆解为“田+界+弓”）并重组为视觉符号，形成类似油画刮刀剥离油彩层的语言暴力美学27。

双语互嵌的文本裂隙

受油画中“圣泉与污渍共生”意象启发，诗歌发展出“汉语词根嵌套哈萨克语音节”的杂交文本，在语法断层处制造文化碰撞的张力空间45。

四、诗画互文的物质载体革新

油彩肌理的排版革命

模仿坦培拉绘画的“分层罩染”技法（如数十次颜料叠加产生的透明感），当代诗歌通过“重复键入-删除痕迹”的数字文本呈现语言的多重时间性67。

画布空间的文本投射

将油画“凝固风筝悬停构图”转化为诗歌的几何化空间布局，如通过左对齐、居中、右对齐的诗行交替，构建文字在页面上的“视觉重力场”57。

结语：形式的边疆突围

《油画》通过消融绘画与诗歌的媒介边界，为当代诗歌提供了“颜料-词素”“画布-页面”“刮刀-句法”三重转换模型57。这种跨媒介方法论不仅重塑了诗歌的物理载体（如数字时代的动态文本），更通过“意象油画”的美学范式，推动汉语新诗在中国式现代化进程中重构形式基因27。

9.

阿尔达克·努尔哈兹的《油画》通过跨媒介诗学实验，在结构、意象与审美层面展现出独特的先锋性，其艺术特征可系统分析如下：

一、结构：解构与重组的时空拓扑

非线性叙事拼贴

将史诗《吉尔伽美什》的线性时间拆解为“垃圾场的日复一日”，通过神话残片与现代生活碎屑的并置（如“赛种人头盔与托尼霍克碑的共时性呈现”），构建时空折叠的废墟美学17。

游牧节奏的句法革新

传统环形韵律被“候鸟直线飞行”的跨行长句替代，模拟文化迁徙的断裂感，如“箭矢飞向目标/掌心成为路的尽头”的突转式分行18。

二、意象：物质与精神的辩证载体

边疆符号的转码

“沙丘吞噬毡房”将地理边疆转化为文化消亡的隐喻，“野鹅偏离星图”则重构游牧文明在现代性中的失序18。

油画媒介的诗化移植

借鉴里希特刮擦技法，以“词语黏连成饥饿的巨兽”呈现语言物质性，通过“污渍与圣泉共生”的意象冲突完成精神救赎的视觉转译47。

三、审美：东方意境的现代性重构

写意性色彩蒙太奇

原色对抗（如“紫罗兰的血滴对抗燃烧的太阳”）继承中国意象油画“不求形似求神似”的传统，却以暴力美学颠覆古典和谐25。

跨文化意境生成

“蛛网皱纹的脸”融合哈萨克族口传史诗的“巴特尔”原型与艾略特式现代荒诞，在“无始无终之时刻的图案”中达成东西方时间观的对话17。

结论：边疆诗学的范式突破

《油画》以画布的物质性介入诗歌形式（刮刀裂痕→句法断层），同时将游牧意象转化为全球化时代的离散寓言47。其结构上的碎片拼贴、意象上的跨媒介转码及审美上的“肮脏崇高”，共同构成当代边疆诗歌的语言实验样本18。

10.

阿尔达克·努尔哈兹的《油画》通过意象的暴力性碰撞与多维度冲突，构建了全球化语境下文化身份的复杂张力，其意象冲突的层次性可解析如下：

一、自然与机器的暴力对话

生态退化与工业侵蚀

诗中“沙丘吞噬毡房”的意象将草原荒漠化转化为文化断裂的隐喻，油彩肌理模拟沙粒流动的苍凉感，与“锈蚀的钢筋骨架”形成生态与工业的视觉对抗15。蒙克《呐喊》中燃烧的天空在此被重构为“沥青凝固的日轮”，自然崇高性被工业废料解构34。

生物符号的异化表达

“直线迁徙的野鹅”颠覆游牧文明的环形时间逻辑，其“羽翼割裂电网”的意象将候鸟迁徙转化为现代性暴力的受难仪式，翅膀的抖动频率与高压电流形成物理学与诗学的双重震颤15。

二、文化符号的撕裂与重组

游牧传统的碎片化呈现

毡房穹顶的圆形结构被解构为“散落的银纽扣”，哈萨克族“巴特尔”史诗英雄的铠甲碎片与“托尼霍克滑板碑文”并置，形成前现代神话与街头文化的荒诞拼贴12。

语言杂交的裂隙美学

“词语在双语边境失重”通过汉语词根嵌套哈萨克语音节（如“界”字拆解为“田+弓”），在语法断层处制造文化认同的悬置状态，类似夏加尔画中倒置村庄的空间错位45。

三、物质与精神的辩证对抗

油彩的物质性反叛

借鉴里希特刮擦技法，诗中“词语黏连成饥饿的巨兽”将语言降维为物理存在，油彩污渍的堆积层理与“圣泉干涸的眼窝”构成堕落与救赎的永恒角力34。

时间媒介的对抗叙事

传统毛毡刺绣的经纬线被重构为“液晶屏的像素网格”，游牧民族口传史诗的声波频率与数码信号的二进制编码在诗行中互相湮灭25。

四、色彩暴力中的美学革命

原色对抗的视觉政治

“紫罗兰的血滴对抗燃烧的太阳”挪用中国意象油画“随类赋彩”传统，却以克莱因蓝的绝对纯粹性解构古典色彩和谐，形成色谱领域的文化权力争夺56。

污浊与神圣的并置崇高

“油井喷涌的黑金”与“经卷褪色的金粉”通过丙烯颜料的厚涂技法并置画面，工业肮脏与宗教神圣在同一个美学平面上完成价值重估36。

五、时间性的空间化裂变

史诗时间的废墟重构

《吉尔伽美什》的线性叙事被解构为“垃圾场的日复一日”，英雄史诗的泥板残片与塑料瓶盖共同镶嵌在“沥青浇筑的记忆岩层”14。

移民时间的拓扑折叠

“候鸟偏离星图的光轨”将哈萨克族阔克托别历法的天文智慧改写为移民离散的时间迷宫，黄道十二宫在GPS定位系统中扭曲成非欧几何结构25。

这种意象冲突的本质是全球化进程中边疆文化的创伤性转码——游牧文明的流动性基因被迫与定居文明的固态结构发生碰撞，如同油画刮刀在亚麻画布上留下的既是破坏痕迹又是新秩序蓝图35。

11.

阿尔达克·努尔哈兹的《油画》通过密集的时空意象群，构建了一个多维交错的诗性宇宙。诗中“时空裂变”不仅是物理维度的断裂与重组，更指向人类存在的本质困境、文化记忆的断层以及诗意对永恒的徒劳追逐。以下从三个层面解读其深意：

一、时间的坍缩与文明的熵增

诗中时间被解构为非线性碎片：从《吉尔伽美什》史诗中的远古回声，到“沙丘林立的大草原”“古遗址的传说”，再到“装满垃圾的卡车驶向郊外”的现代图景，历史呈现出循环与溃败的双重性。时间裂缝中迸发的意象——如“血滴堆叠的岩石”“远古石像的私语”“油墨褪色的词”——暗示文明的进程本质是一场持续熵增的悲剧。

“垃圾场”与“圣泉”的并置：现代性对自然的侵蚀与古老精神净土的残存形成尖锐对比。垃圾场被命名为“草场”，圣泉旁倾倒污物，隐喻物质文明对精神家园的殖民。时空裂变在此表现为传统与现代的暴力叠加。

二、空间的解域与存在的悬置

诗中空间以多重悖论形式断裂：天空“无星星的灰色”与“凝固的风筝”构成压抑的空境；沙漠的“无限等待”与“一滴雨水”的渺小形成张力；油画中“悬着的白云”成为虚幻与真实的临界点。这种空间的异化呼应了诗人“我是谁？活着还是死的？”之存在叩问。

“沼泽”与“流沙”的意象：个体在泥泞中越陷越深，隐喻后殖民语境下文化身份的迷失。“油墨冲击无形围墙”揭示语言与现实的割裂，象征哈萨克草原文明在现代性冲击下的失语。

“象棋中的卒”与“六只天鹅”：线性前进的宿命与诗意记忆的盘旋形成对抗，时空裂变成为主体性破碎的投影。

三、诗意的缝合与永恒的虚妄

诗人试图以语言缝合时空的裂隙：“词落下”与“词起飞”，“流星滑过”与“玫瑰花瓣”，“燃烧的火”与“镀银的海浪”构成动态平衡。但这些意象最终指向“词没有墓穴”的永恒困境——语言既是救赎的工具，又是虚妄的见证。

毁坏的油画：作为核心隐喻，它既是“脏水侵蚀”的废墟，又是“光彩夺目”的永恒。油画的残破与重生暗示艺术在时空裂变中的双重功能：既是被野蛮时间摧毁的肉身，又是抵抗遗忘的精神图腾。

苏菲主义与史诗互文：阿塔尔的“群鸟”指向灵魂的朝圣，库尔柯特与死亡的追逐则揭示人类对超越时间的渴望。但诗人清醒地宣告“这不是梦”，将诗意缝合的幻觉拉回现实——“制定垃圾场”的荒诞日常。

结语：裂变中的哈萨克现代性寓言

努尔哈兹的时空裂变意象，本质上是对哈萨克斯坦后苏联时代文化转型的隐喻。草原传统与全球化浪潮的碰撞、游牧精神与城市化的冲突，在诗中凝结为“沙漠渴望雨水”的集体无意识。油画残片中“红黄白蓝绿黑”的色彩爆炸，既是被撕裂的文化光谱，也是重获新生的可能——在时空的废墟上，诗人以词语的镣铐起舞，追问存在的终极意义。

12.

阿尔达克·努尔哈兹的艺术风格以其诗歌为核心载体，融合了哲学思辨、文化反思与形式实验，呈现出鲜明的后现代诗学特征。以下综合其创作理念与文本实践展开分析：

一、“内容与形式的同一性”美学

努尔哈兹认为诗歌的“内容与形式本质上是同一体”，二者在想象领域中的交织构成诗歌的有机生命1。这种观念体现为：

意象的悖论性并置：如《油画》中“垃圾场”与“圣泉”、“沙漠”与“雨水”的冲突，通过反差场景揭示文明的异化与救赎可能26；

语言的动态平衡：诗中“词落下”与“词起飞”、“分解的物质”与“凝固的风景”等对立表述，将语言视为意识与现实的动态媒介1；

结构的时空裂变：其诗作常打破线性叙事，通过《吉尔伽美什》史诗的远古回声、现代垃圾车的日常图景、未来不确定性的叠加，构建非连续的历史感知2。

二、文化身份的创伤性书写

作为哈萨克诗人，努尔哈兹的创作始终渗透着游牧文明与全球化浪潮的张力：

“他者视角”的自我审视：诗中频繁出现“沼泽”“流沙”等意象，隐喻后殖民语境下文化主体的迷失与挣扎2；

史诗传统的解构与重构：通过引用《吉尔伽美什》和苏菲派诗人阿塔尔的象征，将草原史诗的集体记忆转化为个体存在的哲学追问2；

废墟美学与新生可能：如《油画》结尾的“毁坏却光彩夺目的画作”，象征被侵蚀的传统在艺术中重获永恒性26。

三、“意识领域与想象力”的实验

努尔哈兹延续了华莱士·史蒂文斯对“纯粹意识”的探索，将诗歌作为认知现实的特殊途径1：

知觉的超现实主义转化：如“镜中湖面滴露崩裂”“棋盘上的卒子映射童年田野”，通过意识流手法打破物理世界的逻辑2；

悲剧的审美化处理：受《恶的美学》启发，其诗作常以“镀银海浪”“燃烧芦苇”等意象对冲现实残酷，实现想象力对悲剧的超越1；

语言的墓穴性困境：诗中“词没有墓穴”“白纸上的悬疑字迹”等表述，揭示语言既建构意义又消解意义的双重性26。

四、跨媒介的艺术互文

尽管努尔哈兹以诗歌闻名，其创作与视觉艺术存在深层对话：

油画式空间构图：诗中的色彩爆炸（红、黄、白、蓝等）、光影对比（乌云与闪电、落日与暮色）具有强烈画面感，暗合哈萨克草原的色彩记忆2；

戏剧场景的植入：如“古老戏剧”“象棋棋盘”等意象，将诗歌空间转化为象征性舞台，强化存在主义的荒诞感6。

结语

努尔哈兹的艺术风格是哈萨克现代性困境的诗意映射，其以语言为刀锋切割时空，在文明废墟中重构身份认同。这种创作既延续了W.史蒂文斯“最高虚构”的诗学追求1，又以草原文明的独特性回应了全球化的普遍焦虑26。

13.

阿尔达克·努尔哈兹的艺术风格以诗歌为核心，通过现实与幻想的辩证融合，构建了充满哲学张力的诗性宇宙。其作品中现实场景与超现实意象的交织，既是对哈萨克文化现代性困境的隐喻，也是对存在本质的深层追问。以下从三个维度解析其现实与幻想的融合特质：

一、时空重构：现实的断裂与幻想的弥合

努尔哈兹常以物理时空的裂解作为现实批判的起点。例如《油画》中“垃圾场与圣泉”的并置26，既呈现现代工业化对自然的侵蚀（现实），又以“毁坏却光彩夺目的油画”象征被遮蔽的精神永恒性（幻想）。这种手法通过断裂的场景重组，形成文明熵增与诗意救赎的对抗。

史诗符号与现实废墟的交叠：诗中频繁引用《吉尔伽美什》“沉石板文”和阿塔尔苏菲主义“群鸟”意象2，将远古神话投射至“装满垃圾的卡车”“沙丘林立的草原”等现实场景，暗示历史循环中文明的失落与重生。

二、语言实验：意识的具象化与幻想的超验性

努尔哈兹受W.史蒂文斯“纯粹意识”诗学影响1，将语言视为现实与幻想的中介：

知觉的超现实转化：如“镜中湖面滴露崩裂”“棋盘上的卒子映射童年田野”26，通过意识流打破物理逻辑，将现实记忆升华为超验意象；

悖论性修辞：诗中“词落下与词起飞”“分解的物质与凝固的风景”形成动态张力1，语言既指涉现实又解构现实，在虚实之间构建认知迷宫。

三、文化隐喻：身份困境的具象与突围

作为哈萨克移民诗人，努尔哈兹的幻想元素承载着深刻的文化身份隐喻：

“沼泽”与“流沙”意象：个体在现实泥淖中越陷越深，映射后殖民语境下游牧文明与全球化冲突的身份焦虑2；

色彩的象征暴力：《油画》结尾“红黄白蓝绿黑”的爆炸性呈现6，既是被撕裂的文化光谱（现实），亦是多元身份重构的可能（幻想）；

苏菲主义的精神投射：诗中“群鸟羽翼”“镀银海浪”等意象，以神秘主义幻想对冲现实残酷，探索超越地域的精神归属2。

结语：现实废墟上的幻想重构

努尔哈兹的艺术风格本质上是哈萨克现代性的寓言。他通过现实与幻想的交织，将草原文明的集体记忆、移民身份的撕裂体验转化为诗性炼金术——在“制定垃圾场”的荒诞日常中2，以词语镌刻永恒，以色彩点燃救赎。这种创作既是对W.史蒂文斯“最高虚构”的呼应1，也是对全球化浪潮下文化主体性危机的诗意回应。

14.

阿尔达克·努尔哈兹在其作品中通过多重诗学策略展现复杂幽微的内心世界，形成独特的意识流动图景。其创作既包含后殖民语境下的文化身份焦虑，又渗透着对存在本质的哲学叩问27。

一、流动的意识书写

知觉的碎片化重组

努尔哈兹常以超现实意象解构现实逻辑，如“镜中湖面滴露崩裂”“棋盘上的卒子映射童年田野”7，通过意识流手法将记忆、幻想与当下体验交织，呈现认知过程的混沌与非理性特质13。

语言的悖论性张力

诗中“词落下与词起飞”“物质消散与无限性开端”等对立表述7，以语言自身的矛盾性映射意识的内在冲突，实现“内容与形式同一性”的美学理念3。

二、文化身份的困境投射

游牧文明的创伤记忆

“沙丘林立的草原”“古遗址的传说”等意象暗示哈萨克传统在现代性冲击下的破碎，而“流沙吞噬落日”则隐喻文化归属感的消逝27。

移民身份的双重视角

其作品中频繁出现“沼泽”“无方向的风”等意象，既是被异化的个体生存状态写照，也是全球化浪潮中文化主体失语的象征2。这种“他者视角”的自我审视，构成独特的后殖民诗学表达27。

三、存在主义的精神勘探

时空坍缩中的主体追问

《油画》中“我是谁？活着还是死的？”的终极叩问7，通过“垃圾场”与“圣泉”的并置，将物质现实与精神永恒的对峙推向极端，展现存在意义的虚空与重构可能7。

苏菲主义的精神突围

“阿塔尔的群鸟羽翼”“镀银海浪”等意象7，以神秘主义幻想对抗现实异化，在“词没有墓穴”的语言困境中探索超越性精神救赎23。

四、诗学形式的内心镜像

复调叙事结构

作品中“作者、抒情人物与多重人格”的共存3，通过“乌云闪电与迟到的霹雳”“停滞时针与奔跑跌倒者”等意象群7，构建多声部内心独白，再现意识的立体维度。

色彩的隐喻暴力

《油画》结尾“红黄白蓝绿黑”的爆炸性色彩呈现7，既是撕裂的文化光谱，也是内心世界的色谱解构——通过油墨对“无形围墙”的冲击7，完成精神图景的具象化重构。

努尔哈兹的内心世界书写，本质上是哈萨克现代性困境的文学转译。其以语言为手术刀解剖意识深层，在“制定垃圾场”的现实荒诞与“毁坏却永恒的画作”的诗意永恒之间27，完成对全球化时代精神危机的艺术诊疗23。