In this article, the images of BĀYSONGORĪ ŠĀH-NĀMA (833 Ah) are studied based on the two principal components of time and place. By studying the method of representation and manifestation of these two inseparable and intertwined phenomena in these images, we try to open a way into their world; namely, the world that emerges in the consciousness and perception of the artist, and consequently the viewer, not the universe in itself. Therefore, we’ve chosen the phenomenological approach which is based on the functions of consciousness. This approach will help us unravel how the artist’s consciousness and perceptual mechanism affect his creation as he encounters the phenomena of time and place. The coexistence of different times in one picture, the simultaneity of the representation of inside and outside, and a lack of one-point perspective are the main features related to time and place that are studied in this article. Eventually we’ll see that the nature of time and place in these pictures are not always heavenly, but in fact they are very familiar and worldly, and their source is entirely in nature and the truth of the artist’s consciousness.