The study examines Turkisms as lexical markers of a transcultural worldview in Olzhas Suleimenov’s poem “The Clay Book.” The study employs a broad understanding of Turkisms, which also includes Kazakhisms. The analysis demonstrates that the use of Turkic lexical elements allows the author to construct a multilayered poetic worldview in which the cultural codes of various traditions resonate with one another, reflecting the integration of local and global cultural experiences. In this context, transculturality is manifested through the synthesis of linguistic, historical, and cultural elements, which contributes to the formation of a universal artistic space. The poet’s transcultural artistic and aesthetic worldview enables the use of “explicit” and “recognizable” Turkisms as instruments of linguistic play, paradox, and grotesque, constructed in contrast with the languages of other ethnic traditions. A special role is played by Turkisms with sacred meanings, including proper names. The author’s transcultural approach allows the reader to comprehend the complexity of cultural interactions and to perceive the commonalities within the diversity of cultural phenomena.