The master's thesis deals with those aspects of the artwork related to its time and truth, exposing the problem of the functioning of painting in the area of illusion. In individual cases, the landscape is analyzed through its basic building blocks, as well as deeper dimensions, such as the area of memory and sublime. Due to the specificity of the genre, Chinese landscape painting is specifically addressed with its unique aesthetic position.
Art explores the field of the transitory, therefore the artwork questions why comprehend and accept one’s (own) transience, both, from the perspective/point of view of human and the artist. The theme of time is presented primarily in the philosophical context and in several possible relations; with (un) boundedness, that is, with eternity versus transience, with presence as an exposed time segment, as well as with time in relation to the very motif of the landscape itself. On this basis, the transformation of the work turning to timelessness is explained. In addition to the time dimension, the spatial is also emphasized, which is already indicated in the chapter of the motif of the landscape. The goal is to explore, within art and landscape painting, what is eternal, and the multi-layeredness of space. The own series of works, which forms part of the thesis, is based on a spatial study of the chosen motif and is an interpretation of the personal experience of a journey, opening up as a space of self-awareness, desire and transition.