Category: Chapter 64
Protected: Painter Of The Night: Sex and passion 😍 (second version)
Painter Of The Night: Love and Sex 👨❤️👨 (second version)
This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents: https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night/
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When I examined the sex scenes from the first season (see the analysis “Sex or Love?), I realized that each character had different expectations from the sexual encounters. They were either looking for sex or for love, but each time they were not able to express their desire and even to recognize the distinction. Why couldn’t they sense the difference? It is related to the way the characters were raised.
1. Sex and philosophy
On the one hand, Baek Na-Kyum was taught by the learned sir and Heena noona that sex and as such homosexuality was dirty
(chapter 34), only spiritual love was allowed
(chapter 19)
(chapter 68). This signified that in his education, not only sex was prohibited, but also sexual desires were denied. Although love was expressed through hugs
(chapter 66)
(chapter 68) and caresses
(chapter 10)
(chapter 68), they were devoid of sexuality. The painter experienced love, but was not allowed to experience sexuality. He was only authorized to paint it for the scholar’s sake. On the other side, Yoon Seungho was raised the opposite: love was not allowed, as it was a sign of submission and weakness. Sex was permitted, because it was considered as a fight in order to defeat his opponent. These were the butler’s doctrines. That way, he could still have a connection to the main lead. If he came to love someone (the pedophile), the lord could definitely abandon the valet and reveal his betrayals. In other words, he used pity as a way to tame the lord. At the same time, sex also served to gain some benefit, as it was an exchange of favors (giving versus receiving),
(Chapter 71). I connect this philosophy to the king and indirectly to the butler. With sex, the nobles could exchange some favors. These huge divergences in the mindset explicate why there were so many misunderstandings between Yoon Seungho and Baek Na-Kyum, as their education diverged so much.
2. Sex and prostitution
Yet, despite the contrast, both educations had something in common: prostitution. Heena noona hates sex, because it is related to her work. The scholar rejects it, for it is beneath him. He expects the low-borns (Baek Na-Kyum and Heena noona) to become his prostitutes, if it’s necessary, while he can maintain his image of a proper scholar. Father Yoon used his son as a prostitute, and the main lead realized it after his father’s betrayal and abandonment. This explicates why “prostitution” stands in the center of the second season. For Baek Na-Kyum was brought to the mansion against his will, but he received certain privileges, his status was never clearly defined. Although Yoon Seungho thought, he had won the battle
(chapt45), as the painter had accepted him as his sexual partner, he had to realize slowly that he was wrong. He imagined that since the artist had remained by his side and was accepting to have sex with him, he had achieved what he wanted: in his unconscious it was to be loved. Yet, it was just an illusion. The painter saw himself as a whore and the master as a man consumed by lust. As you can see, the noble was forced to judge the nature of the sexual encounters differently. He had associated sex to love due to their Wedding night, therefore he imagined that the moment the painter was accepting him, the problem was solved. He would be able to relive this wonderful moment, but however nothing like that happened. He felt never satisfied, as there were no feelings at all. Hence he even had sex during the day
, believing that the artist’s lack of experience was the problem.
(Chapter 45) While the lord became Baek Na-Kyum’s sexual emancipator, the painter became the lord’s teacher for love. This explicates why the low-born forced the lord to question his own identity and feelings.
But let’s return our focus on the common denominator: prostitution. As long as the painter chose to stay, because he had a roof over his head and could eat properly, we could definitely say that till 49 his stay at the mansion was indeed closer to prostitution
than a master- servant relationship, because the commoner was never treated like a domestic. He only had sex with the lord and had some privileges.
(chapter 46) He was never asked to do other work, although the artist tried to change his situation. Since he was behaving like a whore, he felt that he had no right to express any thought and emotion. He couldn’t show any pleasure. That’s why there were no feelings in their sex encounters, and the lord could sense the difference. Consequently, when the lord realized that he was still perceived as a man consumed by sex
(chapter 48), he changed his behavior. He acted like a real client at the brothel
(chapter 48), but at the same time he cornered the painter to have multiple climaxes in order to let him experience that he liked having sex with him.
(chapter 49) As you can observe, the lord linked sensuality to love. If he could provoke ejaculations, then it meant that the artist was definitely feeling something for him. However, the moment the lord liberated the painter from his pejorative perception about himself (he is a prostitute), the painter reacted the exact opposite. Now, he was the one using Yoon Seungho, the latter was his plaything.
(Chapter 49), his prostitute, for he was the one procuring pleasure to Yoon Seungho. As you can see, the roles had been switched. This means that now the painter had the upper-hand in their relationship. We could even say that the noble was willing to accept his fate.
(Chapter 49) Yet there was a difference from the past. Yoon Seungho would feel pleasure as well. This is not surprising that Kim chose to intervene and separate the couple right after. Without sex, the painter had no power over the master. That’s the reason why the butler revealed his knowledge the morning after. The protagonist had to hear from his butler the real cause for Baek Na-Kyum’s passivity and torpor:
(chapter 50). Through this revelation, the lord was indirectly confronted by his own reflection: he was indeed asking from Baek Na-Kyum sexual favors in exchange for his stay at the mansion. That’s the reason why the lord had a “relapse“ and kept his distance from the painter.
3. Abstinence and love
However, because Yoon Seungho was now associating sexual pleasure with the painter, the noble was no longer able to have sex at all. Don’t forget that Baek Na-Kyum symbolizes love. Seungho-Ya 😉 couldn’t even get an erection with a fellatio given by someone else.
(chapter 52). This was important, because for the noble, it meant that he could no longer have sex with other partners. Without sex, the lord was forced to question himself and ponder on the true nature of his relationship with Baek Na-Kyum. He felt jealousy during that night, he was very protective as well.
(Chapter 52) His sexuality had already become an expression of his love, although the main lead was still unaware of his own feelings. That’s why I come to the conclusion, chapter 52 was actually revealing Yoon Seungho’s monogamy, although it looked the opposite. And this becomes truly visible, when the gangrape was about to occur. He felt no urge, when he was with the guests, yet the moment he brought the artist to the bedchamber, he couldn’t stop himself from kissing his loved one.
(chapter 54) He was definitely longing for his warmth. This explicates why the noble got so infuriated, when he was confronted with the consequence of his bad decision:
(chapter 54) the artist was on the verge to be no longer monogamous, as he would be tasted by other aristocrats. In this scene, the lord would have indeed become a client and pimp, if he hadn’t chased away his guests. Although the painter was indeed upset afterwards about this incident
(chapter 55), deep down he sensed that his master had protected him. This night was important for the main lead: he was forced to admit his own feelings for the painter. Therefore, we could say that the issue with the prostitution was solved after chapter 54. Yoon Seungho thought that the moment he confessed, the painter would get scared and run away, but it didn’t happen. Why? Love among men and especially between a brutal noble and a commoner, was a taboo, like Min had underlined. Secondly, if the lord had indeed feelings for him, he had behaved like a beast during that night. He had mistreated Baek Na-Kyum. In his mind, the artist would never accept him.Besides, the painter had clearly denied the affection from the main lead. In his eyes, the painter’s words were indicating a rejection.
(chapter 54) Thus I conclude that Yoon Seungho and Baek Na-Kyum had come to an implicit agreement: they had a master-servant relationship
(chapter 56), although Baek Na-Kyum started perceiving himself as a domestic from chapter 51 on again. He kept following the head-maid
and Kim
(chapter 51) in order to help them. Therefore the readers could witness the return of the white headband in chapter 52: his task was to paint for his master.
(Chapter 52)
However, this new situation didn’t last long due to the artist’s abduction. The lord thought that since he had properly confessed to his servant
(chapter 62) here, he whispered to Baek Na-Kyum that he adored him), he would bind the artist to himself.
4. The real relapse: sex, the symbol of submission
Nevertheless the commoner disappeared making Yoon Seungho think that the moment he revealed his vulnerability, he got betrayed and abandoned. This explicates why the noble punished the artist, when he was found. Since they had a master-servant relationship and the artist had run away, this meant that Baek Na-Kyum was rejecting the lord’s love. Hence he could only treat him like his sex toy
(chapter 63), exactly like he had wished in chapter 49. The only difference is that this time, the painter was here for the lord’s pleasure. The roles had been switched again. As the manhwaphiles can perceive, the noble and painter had a similar reaction: they both tried to deny the existence of love in their relationship. That’s the reason why the noble stopped the artist from confessing:
(chapter 63) They just had a sexual relationship which could provoke pleasure, but that was it. But in order to ensure that the artist wouldn’t run away again, he used sex to “tame“ Baek Na-Kyum. If the main lead could procure multiple climaxes to the artist, then the latter was forced to admit that only Yoon Seungho could be his “partner“. This explicates why the noble kept pointing out how the artist would react to his lover’s body.
(Chapter 63)
(chapter 64) He was moaning and would ejaculate constantly thanks to the main lead. Yet, during this second marathon, the noble was actually deceiving himself.
(Chapter 62)
5. Love and servitude
Although he treated the painter like a servant, as the latter was asked to paint, Yoon Seungho couldn’t help himself cleaning Baek Na-Kyum and bringing him to his bedchamber.
(Chapter 65) This shows that the painter had gained a new position: he was indeed a favored servant. He was allowed to spend the night in his lover’s bed and he could see the lord getting dressed.
(Chapter 65) The slight change was that now the main lead was aware of this. This truly exposes the lord’s affection for the artist. He might have treated him like a plaything in the shed, in reality he had attempted to show “his skills“ as a lover. He had licked him, bit him and the painter had felt pleasure, though he kept saying no! This is not surprising that Yoon Seungho had denied the kiss in the study.
(Chapter 64) Because that’s how he had been deceived that night in the study.
(Chapter 49) Baek Na-Kyum had silenced him with the kiss, as the main lead was about to protest.
(Chapter 49) When he mentioned the kiss, the symbol for love, in his confession, it was connected to sensuality and not affection. Hence he didn‘t kiss him at the end of the second marathon. As a conclusion, by bringing the artist to his bedchamber, the lord never realized that his action was betraying his words from the night before. They were definitely more than 2 naked bodies. The lord trusted the painter so that he could lie down next to him in the bed.
(Chapter 65) Striking is that Heena noona’s intervention destroyed their terrible but short-lived master-servant relationship, because the noble was faced with the truth: he had brought back the artist to the mansion against his will.
(chapter 65) What caught my attention is that the painter’s disappearance mirrored the lord’s wrongdoing. Lee Jihwa and the main lead had both kidnapped the artist. That’s why I believe that when he heard Heena’s words in the study
(chapter 68), the noble could only come to the following conclusion: he could only let the painter choose his destiny. But the moment the artist decided to remain by his side, he needed to change Baek Na-Kyum’s position in the mansion. He was no longer a servant, but a noble guest. Hence the lord tied the scarf like aristocrats did.
(chapter 69) Consequently, we could say that the painter had a similar status than Jung In-Hun. Yet, there was a huge difference: the owner of the mansion was now acting like the painter’s servant. Hence Deok-Jae’s words came true:
(chapter 46).
6. Nobility and love
From chapter 69 on, there were two masters in the mansion:
(chapter 71). Why? It is because the lord made the decision that the painter chose him, then this means that he became his wife, though at the end of season 2, he was not thinking about marriage yet. He was not aware of this perception. By becoming his official partner, the spouse obtains the status of his husband: nobility. This explicates why the lord ate with his lover
(chapter 74) and allowed him to smoke. Then in season 3, he gave him ladies-in-waiting in order to give him some company.
(Chapter 78) He even gave him the music box, which was mistaken as a dowry. However, the problem is that the painter was still fighting his own feelings for the protagonist due to Heena noona’s words and past experience with the scholar. He feared that this new situation was too beautiful to be true, hence he thought that the lord’s feelings would fade away. But there was another reason for doubting the lord’s affection: there was no sex.
(chapter 74) The painter had come to associate sex with love too. Yet, the moment he relived his trauma, he only found comfort and safety in the lord’s embrace.
(Chapter 76) The main lead didn’t reject the painter’s urge for a hug in front of commoners. At no moment, Yoon Seungho felt embarrassment. He treated him like a special treasure. That’s how the painter came to realize that Yoon Seungho‘s love for him was true and genuine. Consequently, he decided to rely on him and to trust him. That’s why in this panel, the painter closed his eyes:
(chapter 76) We could say that he was reminded of his own past. When he was a child, he sensed love through hugs and caresses. Since the painter could feel the lord’s genuine affection and warmth, he recognized that even when there was no sex, love was present. All his senses made him perceive the lord’s love:
(chapter 76) His words showed his care and concern, then he bought him an expensive music box.
(Chapter 76)
7. The symbols for the couple‘s love
But by accepting the noble’s affection, the painter was also incited to question his affection for Yoon Seungho. On the other hand till chapter 94, he hadn’t voiced it yet. As you can see, the abstinence at the end of season 2 and the beginning of season 3 had a important function. It helped the painter to admit the existence of love and more precisely the lord’s affection for him, a reflection of the lord’s situation in season 2 (50-54). Simultaneously, it meant that the painter could no longer deny his attachment to Yoon Seungho too. Therefore it is not surprising that in the bedchamber, when the artist tried to initiate a kiss, it could be perceived as the start of a love confession.
(Chapter 80) And now, you comprehend why the painter didn‘t confess during that night. He got interrupted. The kiss was the symbol for their love. Thus it is no coincidence that just after his confession,.
(Chapter 94) the painter initiated a long and sensual kiss with his “husband“.
(Chapter 95) Since the painter had received caresses and embraces in his childhood, he came to view the kiss as the symbol for true love. And note that the kisses exchanged in the gibang were full of passion and love. This was the perfect combination of love and sex.
(Chapter 95)
On the other hand, the lord had developed a different preference: the locked gaze, the warm embrace and the joined hands. Thus when he confessed his affection for the painter in the kisaeng house, observe what he did:
(Chapter 96) This shows that Yoon Seungho has always longed for a pure and spiritual love in the first place. His sexual preferences were already palpable in the last love session (season 2):
(chapter 72) We could say that he discovered all his sexual preferences thanks to the painter.
Thus my prediction in the first version that the painter would express his love through sex later came true. He tried to initiate it with a kiss. He was moved by the lord’s loving gaze and smile.
(Chapter 80) But he failed due to the intervention of the butler and other schemers. Besides, the whispering of „Kyumah“ could only make his heart race. Let’s not forget that his painting in the sand
(chapter 1) externalized his own philosophy: love and sex can’t be separated. Note that the couple is is hugging and kissing at the same time! 😍 This picture will represent the peak of their love! Striking is that when the couple confirmed their mutual affection, they did in the kisaeng house, the symbol for prostitution. This truly exposed that Yoon Seungho had been treated like a male night servant in the past. .
As you can imagine, I am expecting a new version of this love session.
(chapter 72) in the next season, for the painter is still calling his lover “lord Seungho“
(chapter 99)
(chapter 102) This means that he is still viewing himself as a low-born. But note that contrary to the past, Baek Na-Kum is now wearing a hanbok and he has no other clothes. Thus I am deducing that the painter’s next lesson is to drop his notion that he is a commoner. He will be taught to view himself as an equal to Yoon Seungho. Only when he has internalized that there is no gap between him and his lover, then he will be able to address him as “Seungho-YA!“ At the same time, both protagonists will come to realize that they can express their love differently. Poetry, painting and more importantly through their desire to protect their loved one. The lord will start protecting Baek Na-Kyum more actively, just like the painter will decide to show more interests in his lover’s skills and past life. Baek Na-Kyum will feel responsible for the bloodshed in the shaman’s house. In my opinion, the lord will confide to him what happened to Min and the other nobles. I am assuming this, for the lord remained silent, when the messenger of his father came to the mansion. He didn’t want to scare his lover because of his brutal outburst.
(chapter 84)
8. Sex, passion and confession
What caught my attention is that unlike in the first season, where characters came to find love and had sex or the reverse, the second season presented each sexual encounter as a sex session, but at some point love came to the surface.
- chapter 45:
The trigger for the change is the noble’s words. The latter keeps talking to the painter asking for an reply. Hence in my eyes, there are glimpses of love the moment Baek Na-Kyum said this:
It sounded like a confession, hence the seme became more passionate: 
- chapter 48/49:
Here the lord acted like a client. Yet, notice that the lord is speaking again forcing to express himself. And the moment the painter cried and started voicing his own opinion, the sexual encounter was affected.
(Chapter 49) The lord comforted the artist and hugged him:
(chapter 49) An expression of love and affection, but the painter rejected it, as he mistrusted his own judgement. He couldn’t help thinking of the learned sir’s fake embrace. Striking is that despite the rejection, the painter kissed and hugged back his lover
(chapter 49), which made the lord believe that he could only get embraced by the painter, if they had sex. - This explicates why in chapter 63, the lord forced the painter to hug him:
. Although the second sex marathon starts like a pure sex session, the moment the painter calls Yoon Seungho differently
, the lord’s attitude changes. The painter is turned around and faces his lover
, a sign that they are getting closer. Striking is that again through their conversation, the painter is pressured to think about his own emotions.
However, due to his own insecurities and fear, the noble still can’t trust the artist’s words, therefore there’s no confession.
As you can see, love was not absent
, it is just that both main leads were in denial.
Naturally, the night in chapter 58 and 70, 71, 72 and 73, are different. Although in chapter 58, the noble confessed and made love to the painter, he was also cornering his lover. The latter was not really able to move. He was trapped under his body, the lord was blaming him for turning him into a wreck.
(Chapter 58) Thus he should become responsible for him. Yoon Seungho was unconsciously trying to push the painter to reciprocate his feelings, an imitation of Lee Jihwa‘s confession. Nevertheless, the painter remained silent, therefore it meant that his love was still denied. That’s why it stands more under the sign of dream and illusion. Consequently, the night in chapter 70, 71, 72 and 73 contrasts so much to the one from chapter 58. This time, it symbolizes the lord’s pure love. As such, the sex is already a real expression of love. That’s why the lord asked to be called intimately: Seungho-Ya
(chapter 72) On the other hand, this love session was strongly intertwined with the notion of forgiveness and punishment as well. This is important, it reveals that Yoon Seungho had internalized that sex was the expression to redeem himself. He had been tasked in the past that if he desired to obtain “forgiveness“, then he should have sex. And by comparing all these sexual encounters, I came to the following conclusion: the lord’s words definitely contributed to change the nature of the sex session, just like the hug.
And observe that the lord started hugging the painter more often outside sex, but the painter could never sense his affection. In chapter 49, he judged the warmth as fake.
In chapter 66, he had a flashback, hence he couldn’t witness his lord’s attention and care.
But the lord discovered this kind of embrace, when he helped the painter in chapter 53:
That’s how the noble experienced the embrace as a source of comfort and affection. Therefore you can comprehend, why I wrote above that the painter was teaching the lord how to love properly, but also why the embrace became the symbol for love in the lord‘s eyes. He had never been embraced before by a man. And Lee Jihwa had recognized the true signification of this gesture, when he spied on the couple (chapter 43). That‘s how he knew the friend‘s biggest desire: and was deeply hurt after this discovery
(Chapter 57) However, this shows that Yoon Seungho is a quick learner, because he knew what to do, when the painter was in pain and destress. At the same time, it explains why he could fake the embrace in chapter 62:
This hug stands in opposition to the one at the end of season 3:
(chapter 102) The artist was forgiving his lover! Love represents selflessness, tolerance, forgiveness, warmth, affection and assistance which is transmitted by the embrace. Now, you understand why Yoon Seungho was still not satisfied after the sex session in the study, he was longing for the hug.
(Chapter 84) In his unconscious, he knew that if the artist hugged him, he would have forgiven him. But he had no idea about it, thus he couldn’t suggest this. So far, he had experienced the embrace from the artist while having sex. Deep down, he had already internalized the embrace to forgiveness. So we could say that the absence of the embrace in this scene was the lord‘s punishment for the fake hug in the shed. And the painter let him discover the true nature of a warm embrace:
(chapter 88) This is not surprising that this hug was not connected to sex at all. Yet it moved the lord so deeply. As the manhwalovers could sense it, season 3 was focused on love and sensuality. During that season, the couple was able to voice about their sexual desires and their preferences.
(chapter 91)
As for the lord’s addiction to grab the artist’s hand, we have to envision that it is related to the lord‘s huge trauma.
(Chapter 86) No one close to him had grabbed his hand in order to show their support. This gesture in the picture embodies abandonment. On the other hand, the painter had been the first one to take his hand and to swear “loyalty“.
(Chapter 30) The joined hands were repeated in season 3 , the only difference is that this time, Baek Na-Kyum was doing it willingly.
(Chapter 88) The symbol for support, company and responsibility.
As a conclusion, the dichotomy between love and sex in the relationship between the protagonists is no longer existing at the end of the third season. Both have come accept their love for each other. But it already started vanishing at the end of season 2. Although the painter had not confessed properly yet, the return of the embrace
and his request for help are strong indications that Baek Na-Kyum was now accepting his affection. He was now trusting the noble, hence he revealed an important clue about the abduction.
Consequently, I am predicting that in season 4, we will see a new erotic painting of the couple, the symbol of their affection which will stand in opposition to the ones from season 1. It won’t be about conquests and as a tool to procure an erection for the nightly activities. That’s the reason why I am now expecting only one erotic picture: the document of their official union.
(chapter 1) versus chapter 41
(chapter 41) Under this perspective, it becomes understandable why the couple neglected these pictures. They were all devoid of affection, it was more about prostitution and battle! And here is now the question? Where are these drawings?
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Painter Of The Night: Home 🏰(second version)
This is where you can read the manhwas. https://www.webtoons.com/en/mystery/dr-frost/list?title_no=371 https://www.lezhinus.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents: https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night/
1. What is home?
Before starting analyzing the manhwa under this aspect, it is important to define the term home. In a dictionary, this is what you find:
- the house, apartment, etc. where you live, especially with your family
- the type of family you come from
- a place where people or animals live and are cared for by people who are not their relations or owners
- someone’s or something’s place of origin, or the place where a person feels they belong
- your own country or your own area https://dictionary.cambridge.org/dictionary/english/home
As the readers can detect, home has a lot of significations. The reason is simple. It depends on the perspective. When people are asked where their home is, some will answer that their home is the place they are actually living, others will reply that it is the place where their family lives or where they were born and raised. But all have something in common: Home is where the heart is. To sum up, home is very subjective and personal.
2. Home and identity
Since home is related to our disposition (liking, family), it means that home represents a part of our identity, it even defines us. This explicates why psychologists sometimes visit their patients’ home in order to better grasp their personality and issues.
(Dr. Frost, chapter 8) As you can see, home is strongly connected to identity and personality. In other words, without home a person loses his identity. This is no coincidence that homeless people often have no ID.
3. Baek Na-Kyum’s home
Consequently, the manhwaphiles can comprehend why Baek Na-Kyum had huge abandonment issues and a low self-esteem in chapter 46.
He felt so lonely and lost, for he had no place he could call home. It was, as if he had no identity. When he deserted the mansion, he first thought of the kisaeng house and his noonas
(chapter 46), until he remembered how he had been sent away by Heena noona.
(chapter 46) This moment was terrible for the painter, because he had the impression to be abandoned a second time. Note that he is not calling the kisaeng house his home… for him, it was no longer a home, because his heart had been wounded there. Hence the manhwaphiles sense why the painter was using his mind in chapter 75
(chapter 75) and was restraining himself from falling more for Yoon Seungho. He had come to view the mansion as his home, and if he came to accept Yoon Seungho as his companion, then the latter would become his home, his family. Don’t forget my previous statement: Home is where the heart is. He was afraid of getting hurt a second time. If the lord came to have a change of heart, he could lose his new founded home.
Since the fight with Deok-Jae (which I am explaining more in details later), the painter had come to view the mansion as his home, hence he stated this to his lord:
(chapter 58) And now, you comprehend why he stopped in the middle of the street during his escape. He had recalled how Heena had sent him away.
(chapter 46) The painter had come to associate home to a family and as such to people. This explicates why the kisaeng had forbade him to bid farewell to his sisters. I am not saying that the kisaeng’s decision was ill-intended. She knew that if he met the kisaengs, the latter would have convinced him to stay. As you can see, he had experienced himself how his sister had abandoned him in the end. To conclude, for Baek Na-Kyum, in the past home was a synonym for family and a place.
4. Heena’s definition of home
But why would she coerce her brother to leave the gibang? Observe that she never gave her brother a choice. She never realized her wrongdoing, because she imagined that she had done it out of love, and it was for the painter’s best interests. Anyway, when Baek Na-Kyum reproached his lover his fickle nature
(chapter 75), in my eyes, this perception should be applied to Heena noona who could send away her brother in such a way and never contacted him afterwards. That’s the impression she gives.
(chapter 68) Observe how she blames her brother for not contacting her, while she had strictly forbidden him to come back. At the same time, the readers should question her behavior. How come that she never showed any concern for Baek Na-Kyum for 18 months, until she found out that he was living with Yoon Seungho? Why didn’t she contact him in the first place in order to check out if he was living properly? She gave him instructions, and the main lead listened to her, and now she is reproaching him that he should have disobeyed her. In my eyes, Heena noona acts more like a person with a fickle nature. She shows great care and concern in chapter 65 and 68, but she never searched for her brother’s whereabouts before. So far, the readers can only assume that she had no idea that he had been living as a drunk, and she only discovered his whereabouts by hazard.
(chapter 64) Yet, this is just an impression because of this scene. Yet, in season 3, Heena confided to Min, and the latter revealed the content of her confession:
(chapter 99) The idiom “bittersweet affections” indicated that the learned sir had expressed regret and disappointment concerning Baek Na-Kyum. This means that Heena knew that Jung In-Hun’s affection towards the low-born had been changing. As you can see, I come to the conclusion that Heena was already aware of the existence of tension between the painter and his former teacher.
What caught my attention in chapter 68 is the following:
Heena noona is not even using the word “home”. At no moment, she employs this expression. When she parted from her brother in chapter 46,
she mentions the noonas and when she asks her brother to follow her, she says: “Come with me”. As you can see, Heena doesn’t consider the kisaeng house her home. That’s the reason why I think that for her, the kisaeng house had been her workplace and she associated home more with people she cared about, similar to the painter. And this observation made me realize why the sister sent her brother away. Heena noona has never liked the kisaeng house, let’s not forget that she is a slave and she can not leave that place. And the guards could be judged as her wardens, they are keeping an eye on her, similar to the role played Yoon Seungho in chapter 45. For her, the kisaeng house was a synonym for prison and hell, where she kept meeting these terrible and violent rich nobles.
(chapter 68) Hence in her mind, when she asked her brother to leave the kisaeng house, she imagined that she was helping the painter to escape from prison. Since she admires the scholar so much, she saw in him her helping hand. He would assist her brother to become a free man. The readers should notice that the learned sir always left the kisaeng house with the low-born
(chapter 68), when there was a ruckus. So when the kisaeng made the request to the teacher
(chapter 46), she envisioned that he would acquiesce her request, since he had done it so many times in the past (taking care of Baek Na-Kyum and becoming responsible for him). Moreover, she knew that the artist liked and admired Jung In-Hun. For her, the scholar was a liberator, because he acted so differently towards the kisaengs and Baek Na-Kyum. That’s the reason why she thought, she was doing the right thing for her brother, while in reality she was just projecting her own desires into the artist. And this interpretation was proven correct, because when she vanished from the gibang in season 3, she was no longer dressed as a kisaeng.
(chapter 99) She was deserting the kisaeng house, and as such the noonas. And note the parallels between chapter 46 and 97/99. In both cases, the painter couldn’t bid farewell to the other kisaengs.
(chapter 46)
(chapter 99) It is because she was using her brother. In the first desertion, her choice was influenced by her unconscious. She had just projected her own thoughts and desires onto the artist’s. In season 3, she had made a conscious choice. In exchange of her brother, she would gain her freedom. Thus she used the expression “us”
(chapter 97) This time, it was for her own sake. But the price for her freedom was that she had to sell her brother. She could still have a clean conscience by convincing herself that Yoon Seungho had killed her idol. At the same time, she needed to fake her death.
(chapter 99) [For more explanations read the analysis “Heena’s curtains”] This means that she was betraying the eonnies one more time. And that’s how I had another revelation. In my eyes, after their separation, Heena had come to view her life in the gibang differently. She had been able to perceive the good aspects of her life as a kisaeng. She could live a comfortable life and as such get new hanboks.
(chapter 64) That’s why I believe that she came to forget her brother, like “out of sight, out of mind”. But how did she come to view the gibang as a place of hell? In my opinion, it is related to Yoon Seungho! She knew about his misery. Thus I am deducing that the painter’s vanishing from the gibang coincides with the end of the lord’s misery. Thus I have the impression that her definition of home came to change. It was less connected to the kisaengs and the painter, as such to family. She came to like the place.
But let’s return our attention to episode 46.
(chapter 46) Because she didn’t allow her brother to speak his mind, she hurt his heart and created more wounds than before. That’s why I perceive the argument in chapter 68 as important. For the first time, Baek Na-Kyum is not listening to Heena. Since home is where the heart is, her brother could only reject her proposition to come back to the kisaeng house. He had been abandoned by the noona. However, because he was afraid of his own feelings towards the aristocrat, he created new problems with his confession. His description
reinforced her bad impression about Yoon Seungho. That’s why Heena noona will never believe that this place can become the artist’s true home. For her, this place can only represent a new prison, for she has a negative perception of nobles. Hence she needs to rescue her brother.
(chapter 69) Besides, I believe that she has another reason. The lord is connected to her own guilt, but she is not admitting her responsibility. In the first version, I had expected that due to his confession, the kisaeng would never trust Baek Na-Kyum’s words later. And this was proven correct. Why? First, Heena noona embodies a certain kind of knowledge: prejudices. Because she has already experienced many things, she has the impression that she knows everything. However, she is not realizing that her world view is based on her own perception. Secondly, her superficial knowledge turns her into a blind and deaf person. What she sees and hears will be interpreted the way she perceives the world. I had even written this back then:
“Even if her brother tells her how well Yoon Seungho treats him and how much he loves his companion, she will have the impression that he has been brainwashed or coerced. Why? It’s because she has always treated her brother that way.”
In addition, she knows a part of the truth, while her brother was left in the dark entirely. Thus she reproached her brother his stupidity:
(chapter 97) Contrary to him, she knows, because she saw and heard things, when Yoon Seungho suffered! Yet, her knowledge is totally superficial, like the last panel exposes it. She just jumped to (false) conclusions. That’s how she got herself manipulated. Because of her bias, she became an easy target of deceptions. That’s the reason why she believes herself in rumors. Like the scholar said it himself,
(chapter 29) there exists a kernel of truth in the grapevine. Moreover, with her caresses and hugs, she used love to stop her brother from speaking his mind.
(chapter 46) That’s the reason why Baek Na-Kyum could only express himself through painting, as he had become mute. Due to her decisions and actions and the scholar’s, she contributed to turn the artist into a boy full of insecurities, unable to express himself. Consequently, Heena noona was put in front of the same choice in season 3. Note that the return of the painter to the gibang coincides with her departure. This means that due to the couple’s love session, she was reminded of her own past. She was forced to recall why she had associated the gibang to hell in the first place.
(chapter 96) She was definitely scared in that scene. That’s the reason why at the end, she utilized her brother to leave the gibang.
(chapter 97) However, the gods wanted to confront her with the true consequences of her choices. She wouldn’t live with her brother, their paths would get separated.
(chapter 99) She had to choose between her brother and her life, and she selected freedom over Baek Na-Kyum. This is no coincidence that their bloody reunion happens in front of the scholar’s home.
(chapter 99) This mirrors that her original dream was to live with her brother and the scholar, but this was just an illusion. She had hoped that once the artist was by Jung In-Hun’s side, the learned sir would come to buy her, and they would live together. She counted on the learned sir’s affection for the painter. But this was never Jung In-Hun’s intentions and he excused his behavior by putting the blame on the protagonist.
(chapter 99) That’s the reason why the kisaeng mentioned the bittersweet affections. The scholar came to see the painter as a burden. This new approach gives us a clue why the artist chose the noble over his noona in chapter 68. The lord might have been violent, yet unlike all the other characters he allowed Baek Na-Kyum to be true to himself and to express his thoughts and emotions. Let’s not forget that in reality he was the only one encouraging the painter to paint, which was the commoner’s true passion. He even praised him, while even Heena couldn’t restrain herself from criticizing her brother. Freedom is an important condition for calling a place or people home, next to comfort and safety. But when the kisaeng left the gibang, it was just a fake freedom, as her safety is strongly intertwined to the benevolence of the noble protecting her!
(chapter 97) Hence I come to the conclusion that Heena associates home to the learned sir and not to her brother. Exactly like the artist, she made a choice. She sided with Jung In-Hun, the poor learned sir, who got disappointed with Baek Na-Kyum. But she believes now that he is dead. Hence by leaving the kisaeng house, she doesn’t realize that she is abandoning everyone: the eonnies and Baek Na-Kyum. She has no one by her side… except the noble who sent the guards. From my point of view, she is trusting the butler.
5. What is home for the couple?
In season 2, we could see the transformation of the meaning of home. For Baek Na-Kyum, the mansion of Yoon Seungho had become his home, like we could perceive it in chapter 46.
or in chapter 58.
Why? It is related to the way he was treated by the head-maid, the butler and even Yoon Seungho. All of them considered him as part of the mansion. The head-maid gave him advices, the butler through his comment indicated that he belonged now to the mansion.
(chapter 52) And finally Yoon Seungho treated him well on different occasions by sharing his breakfast with him or sending him to the doctor or by protecting him from Deok-Jae. Yet I believe that the decisive factor is the momentary separation. Although the painter had lost his position as favored servant, the noble never sent him away. He let him live in the study and kept treating him well. The artist could sense that despite the distance, the noble was not willing to cut ties with him. This explicates why Baek Na-Kyum resisted to the vicious servant, when the latter tried to force him to leave the property.
(chapter 53) This was his home now, and he wanted to protect what he had finally found. Despite the pain, he didn’t move. He was ready to do anything for his home. This gives us a glimpse of the painter’s future behavior, when his lover is targeted. There’s no doubt that he will fight for him. And now, if you compare the two following panels, you’ll realize the similarities between the two scenes:
(chapter 46)
(chapter 76) In both scenes, the painter has a revelation. In chapter 46, he is alone and has no place to go. However, he is strong enough to stand on his feet, while in episode 76, he is paralyzed by fear and becomes so weak. Yet, exactly like in the first image, he feels lonely, but since he can’t escape, this position makes him realize his vulnerability. He needs help and protection. That’s why the moment he realizes the noble’s presence
(chapter 76), he seeks his embrace and warmth.
(chapter 76) Only there he feels safe. This terrible experience opened his eyes: he has to rely on someone.
(chapter 76) Thus for the first time, he requests assistance. So while in the lord’s arms, the painter can slowly calm down, however he is still very shaken, as he has just experienced a life-threatening situation again, revealing the traumas left behind by the first abduction and the blackmail. Yet, after a while he expresses the wish to go home.
(chapter 76) With these words, it truly outlines that the mansion has become Baek Na-Kyum’s real home, a place where he feels comfortable and secure, which represents a continuation of chapter 46. While in chapter 46, he just considered the mansion more like a refuge or shelter, now he connects it to family. It has truly become part of his identity. But the embrace on the street let him discover that Yoon Seungho could become a home too.
Striking is that there’s a difference between the Korean
and English version, when the lord replies to his request.
In the original version, the lord is now admitting that the mansion is also his home now, whereas in the past it was just a prison and he wanted to have a companion by his side. In the English version, there’s only silence. This difference affects a lot the interpretation. By remaining silent, the noble is not acknowledging the mansion as his home, but this doesn’t mean that he has no home. In my opinion, Yoon Seungho perceives the painter as his home, hence he prefers remaining there hugging his lover. The painter gives him the warmth and love the lord has always been longing. That’s why he gives the excuse that they should stay there. It seems that the English version
sounds colder than the original, yet I believe that Yoon Seungho is using his position in order to legitimate his refusal. Why do I think that the lord views the painter as his home? First, like I wrote above: Home is where the heart is. Secondly, I had already explained that Yoon Seungho would always follow the painter, because he considered him as his home and as such his family. So far, the lord has always perceived his mansion as prison and the bedchamber his cell. This explicates why the lord rejected the painter’s departure in season 3. He needed him by his side, as he had become his pillar.
(chapter 85) Baek Na-Kyum represented the foundation of his home. Without him by his side, his “home” would crumble.
Striking in chapter 76, is that because the lord insisted to remain seated, the painter starts enjoying more and more the lord’s embrace,
hence his head moves closer to Yoon Seungho’s
and at the end he even closes his eyes
. From my point of view, this long and tender hug let him sense that the mansion was not truly his home, but the lord. But this was not entirely conscious. The latter has become his family. That’s why he had been longing for his presence and warmth in the last days.
(chapter 74) This was a new version of the chapter 51 and 52. And you all know the saying:
“Absence makes the heart grow fonder”
This signifies that since both protagonists found their home, they found a part of their identity. Both protagonist could only become stronger. Thus the readers could assist to the return of the painter and lord’s memories. This is no coincidence that the painter could voice his wishes in front of his lover:
(chapter 78)
(chapter 84) And it was the same for the lord. That’s the reason why they both argued with each other and with others too. They could now stand on their own, but they still needed the support of the partner.
Under this new perspective, it becomes comprehensible why there was a change in season 3. There, both protagonists learned that home was not a place, but where the heart is. This is no coincidence that Yoon Seungho made the decision to renounce on his possessions, when he had the impression that his “bride” had died. That’s how he learned what home means. It is by his lover’s side, to be in his embrace, and not necessarily the mansion like during the argument exposed it. During the last scene, both protagonists were pushed to recognize that they are now a real family. Yoon Seungho is the painter’s home and it is the same for Baek Na-Kyum. This is perceptible in the final scene:
(chapter 102) It doesn’t matter where they are. Home is where the heart is. Hence the first question he has is:
(chapter 102) As long as he is by his side, everything is fine. This new definition of home appeared, when the painter and the lord confessed to each other.
(chapter 96)
(chapter 96) It didn’t matter where they were. Thus they could confess in a gibang. They felt safe together. And this is the same in the mountain. Observe that the painter is not asking why they are in the mountain and what the lord intended to do there. In fact, he was more focused on the past than the present. However, for the painter, home is not just a family, he liked to sleep in a warm bed and have a warm meal each day
(chapter 68), since he had lived like a homeless for a while. Hence both will have to look for a real home, a house. Moreover, the lord will have to provide for the painter, and the latter will feel obligated to assist his lover. This means, in season 4, home should have a new definition. It is not just a family, but also the mansion and the country! Don’t forget that many people died in season 3.
6. Yoon Seungho’s bedchamber: a glimpse of his identity
Since I had elaborated above that home was part of an identity and the home would reflect the owner’s personality, I wish to examine Seungho’s bedchamber again. In other words, I will read his room:
(doctor frost, chapter 9). What caught my attention is that the lord’s bedchamber is literally empty: There are only one big white vase, a red box, candles
(chapter 55) and a windscreen.
(chapter 55) The latter shows trees painted in black, there’s barely nature in the end. It mirrors the lord’s symbolic death. The emptiness of his room reflected the lord’s life. He was living like a zombie and avoided emotions, as he had no souvenir at all. Although he reads a lot, you never see them in his room. Why? It is because he separated his spirit from his body. In his bedchamber, he was a captive trapped in the past, hence he had nightmares. Moreover, I think that his bed is the source of his nocturnal panic attacks, as the colors are the same than the king’s. And now, the manhwaphiles can better comprehend why the noble has never considered his mansion a home. In this house, and in this room, he had traumatic experiences (abuse), which were so horrible that he had entirely repressed it. Nonetheless, the moment the painter calls the mansion his home, this has a huge impact on the lord’s life. The latter is now “forced” to consider the mansion as his home too. Hence in the Korean version, we have this panel:
Then in season 3, the lord’s bedchamber became the painter’s bedroom too. Thus at the end of season 3, the painter visited the lord’s study in his lord’s absence.
(chapter 98) This shows that he had conquered the bed. Season 3 exposes the painter’s conquest of the bedchamber. The turning point took place in chapter 87, when the artist went to the study on his own volition.
(chapter 87) I can’t help myself thinking that in season 4, the painter will bring his possessions to the bedchamber for good contrary to season 3.
(chapter 79) The music box was brought back to the painter’s studio after the argument. Since the lord bought a music box for Baek Na-Kyum, and the latter treasures this item, it also has a special meaning for the lord too. The music box represents the lord’s heart, but the main lead didn’t grasp the true meaning, until it was too late. So far, the broken music box got neglected after their argument
(chapter 85), yet I am still hoping for its return, for the lord had recognized its true signification to the painter afterwards.
(chapter 85) But we shouldn’t forget the lord’s Spring poem
(chapter 92) Little by little, the lord’s study will be filled with treasures belonging to Baek Na-Kyum which are connected to the noble. This is relevant, because thanks to them, the lord can recall the good moments with the artist. Slowly the lord’s bedroom will become more and more a study. With the arrival of souvenirs, the bedchamber will be filled with life again. This will symbolize that the lord is slowly taking over the bedchamber, and filling his room with things he likes. Where is the orchid? So far, all the nobles had plants in their room:
(chapter 43)
(chapter 82) Hence I am wondering if Yoon Chang-Hyeon didn’t punish his son by taking away the orchid, when he painted on the servant’s body:
(chapter 36).
7. Conclusions
Through this examination, I could expose that each character had a different definition of home, and their perception of home was never constant. However, I have neglected one figure: Kim. The butler associates home to the mansion and nothing more. He is not even including the staff or the lords. That’s the reason why he is switching alliances all the time. But if he is on the verge of losing his mansion, he will do anything to stay there… like for example betraying Heena. Remember that she sold her brother for his own sake, and she didn’t feel deep remorse, when she saw her wounded brother. She even asked an explanation for his wounds:
(chapter 99) This new interpretation leads me to the following observation. In season 4, we will witness a new battle again, and it will be about the ownership of the mansion. Who is the true owner of the propriety? Kim, Yoon Chang-Hyeon, Yoon Seungho or lord Song?
Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My instagram-tumblr-twitter account is: @bebebisous33. Thanks for reading and for the support, particularly, I would like to thank all the new followers and people recommending my blog.
Protected: Painter Of The Night: Interpretation of a nightmare (second version)
Painter Of The Night: Investigation 🔍🧐 (second version)
This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents: https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night/
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Now, you are all wondering why I am using a panel from chapter 59 as illustration, when the story has already moved on, and our beloved couple is actually celebrating their marriage. Everything started with the following panel:
(Chapter 71) As you can envision, I am now examining each picture very carefully, hence when I saw this image, I couldn’t help myself associating it to the painter’s abduction. First, the painterofthenight-lovers will certainly remember the scene of the lord’s panic, when he left the room and saw the footprints on the ground misleading him to think that the painter had run away.
(Chapter 60) In this picture, the manhwaphiles can even hear Nameless’ explication why the lord would jump to the wrong conclusion. The expression “on his own two feet” was actually visualized by the imprints left on the snow. We know for sure that Nameless knocked out the painter before carrying him away. He carried him the same way than he did with Lee Jihwa:
(Chapter 59) What caught my attention is that the space between the footsteps on the wood
(Chapter 71) is much bigger compared to the ones left in the snow.
(Chapter 60) Why such a difference? It is related to the divergence of height between the lord and the painter. So here is the question? How could Nameless walk with small footsteps, when he is carrying another person? As you can see, the panel from chapter 71 serves as a clue for the presence of an accomplice during this night. I had already elaborated that Kim must have participated in this, but I could never prove it. But one might argue that this proof is not strong enough to validate my theory. That’s why I examined the chapter 59 more closely again.
(Chapter 59) This image caught my attention for two reasons. Thanks to the analysis “The five candles”, I realized the true meaning of the pictures with landscapes. They expose the actual situation, therefore the beholder should study them under the following elements: moon or sun, air, water, earth and fire. So in this picture, you can detect the absence of the moon symbolizing the lord’s illness. He is too weak to look after his lover. Striking is that the earth element is predominant here, as the tree branches standing next to the buildings are almost touching the sky. So since the snow is falling, it indicates the presence of water and note that water is almost everywhere: in the sky, on the trees, on the ground and on the rooftops. The only element missing is fire. Yet if the manhwalovers examine the image more closely, they will detect the presence of a light hanging on the side of the restroom. However, the candle surrounded by glass is not lit. To sum up my observations, this panel exposes the predominance of water and earth and the presence of a lamp with glass. In other words, this image symbolizes butler Kim, the new version of chapter 58
. First, let’s not forget that Kim is often seen carrying a bucket of water
(chapter 33)
(chapter 56). Secondly, he is also linked to the lantern with a glass
(chapter 20)
(chapter 36) But more importantly is that in the image from chapter 59, there is no light,
(Chapter 59) which can not be a coincidence. In my eyes, the valet is already aware of the future kidnapping, but he is not sharing his knowledge to the protagonists. He wants to keep them in the dark. Moreover, if you add the picture from the chapter 58, you’ll detect the absence of the glass lamp too.
(Chapter 58) The presence of light comes from the physician’s room, where both main leads are making love. Hence the fire element is associated to Yoon Seungho and not Kim. All this indicates that the valet will apply his favorite philosophy: feigning ignorance. Both panels are actually exposing the valet’s complicity. Even before I realized Kim’s true personality, I had already explained that he was the one who put the protagonists’ shoes next to each other. Back then, I considered it as a gesture of kindness, whereas now I have a different opinion. As you can imagine, I perceive these two panels as evidences for Kim’s complicity. The butler will be the one creating the painter’s imprints.
But some might say that this is not enough, as they are just interpretations. Therefore I am now bringing up this final evidence:
(Chapter 59) Note that the painter is standing in front of the bathroom. He has just cleaned himself and note that the lamp is in the background. How is this a proof? If the painter had run away, he wouldn’t have gone to the restroom… he would have left the room right away, just like the footprints are indicating.
(Chapter 60) But since he went to the restroom before, it signifies that imprints should have been left behind. Yet there’s nothing like that. Therefore, this means that someone had to erase the imprints. It can only be Kim!! As for the doctor, I believe that he must have heard the painter visiting the restroom.
(Chapter 59) Note, there’s the sound of the door closing. But when the disappearance of the artist was noticed, the physician didn’t realize the significance of this noise, only afterwards hence he hesitated to mention it, as it appeared so anodyne. However, as the readers can envision, if the physician had talked about the painter’s visit to the bathroom, then the lord would have realized that someone had tampered evidence. However, the noble due to the footsteps had sent for his domestics in order to start a research, hence the doctor didn’t think about this right away. But this doesn’t end here. I suddenly realized that the doctor could have heard something else, the sound of No-Name jumping and the painter‘s question:
(chapter 59) But since the artist was silent right away, as the Joker knocked him out immediately, the physician could have jumped to the conclusion that Baek Na-Kyum met an acquaintance. So when the vanishing of the painter was discovered, the doctor assumed that the artist had followed the person he met during that night. Honestly, I can’t blame the doctor for his “passivity”, if my assumption is correct. Due to the lord’s agitated state of mind, the doctor could only realize it afterwards. With this new discovery, it becomes more comprehensible why the physician hesitated the next morning. He didn’t know what he should do.
(Chapter 63) If he revealed what he had heard, then he imagined that he could bring the person who had „helped“ Baek Na-Kyum to escape into trouble. Observe the presence of the drop of sweat on his face. He was definitely uncomfortable. If he testified, then he could reveal the presence of a conspiracy. Nonetheless, I believe that he had jumped to the wrong conclusion: desertion. And with this new discovery, you can understand why the butler was so worried. He had no idea what the doctor had noticed. Imagine, the valet got caught by his own method (spying behind doors), however in the physician’s case, the latter was not doing out of malevolence. He just happened to become a witness, but he had assumed something else. That’s the reason why Kim was so worried, he had seen no one, yet the doctor had observed something. Kim never imagined that such a small detail (noise) could become a threat for him. This explicates why he chose to visit the doctor during the night.
(Chapter 64) He needed to ensure that the doctor remains silent. Many manhwaphiles will certainly recall how Kim threatened the doctor…
(chapter 65) Back then, I had assumed that out of cowardice, he had not intervened due to Kim’s harsh words. Nonetheless, I came to a different interpretation. After recognizing how Byeonduck is tricking the readers, she gives the impression of a continuity, I believe that during that night, the butler visited two different physicians. According to my theory, there exist 3 different doctors. For more, please read the analysis “The mysterious doctor“. How did this idea come up? Simply by paying attention to the BEARD!!
(Chapter 57) Note that the beard of this physician is covering the cheek and is straight.
(Chapter 63) But now compare it to the physician’s beard in episode 65:
The cheek is free on the side, and it has the form of a W!! First, he went to the one who treated the painter
(Chapter 65) and from my point of view, he used pity to discover what the physician knew. Remember how he had used compassion the night before (chapter 57). Besides, if you contrast both statements, you will detect a contradiction. “This could be a matter of life or death“ implies that it was about saving someone, while in the second image, it is about killing someone: the other doctor! In my eyes, the valet must have begged the physician
(chapter 57) to remain silent. If he revealed that he had discovered the presence of someone, then the other could get into trouble. In my opinion, the butler must have suggested that Baek Na-Kyum had tried to escape, because the lord had been abusing him. Don‘t forget that he had been treating the artist for his wrist. Then he must have seen the lord panicking too.
(Chapter 60) But now, the manhwaphiles are probably wondering why he went to the other physician then. It was related to the lord’s behavior in the shed. He was acting like a sex-maniac.
(Chapter 55) This doctor had reprimanded the butler and had been prescribing a tonic. So he visited the physician and used this opportunity to put the whole blame on the poor doctor.
(Chapter 65) Because of him, the painter was now treated like a sex toy. The physician had poisoned the lord. Keep in mind that we always have a reflection within the same season. Baek Na-Kyum got “poisoned“, so it should be the same for the lord! Kim threatened the poor man for one reason. No one should discover that two different physicians had been treating Yoon Seungho!!
(Chapter 65) The man never saw anything, Kim just described to him how the main lead had been behaving! Yes, he was acting like Yoon Chang-Hyeon who had gone to the doctor and described the son’s illness.
(Chapter 57)
Now, it becomes comprehensible why the valet silenced the two doctors. Both were important witnesses who could reveal the butler’s complicity. The latter had been frequenting two different doctors, and he had made the decision on his own accord. He had acted like a noble, while in reality he was just a servant. Besides, if this doctor
(chapter 63) had mentioned the presence of a third person, then Yoon Seungho could have asked the painter and the latter could have revealed the abduction. With such an innocent observation, the noble would start questioning the butler and he could realize that the imprints had been erased and new ones had been created. That’s why Kim had a huge interest for Baek Na-Kyum’s death, and hoped that the noble had killed him in the barn, hence he kept approaching the shed.
(chapter 61)
(chapter 62)
(chapter 64) He needed to confirm his death. But since the lord was having sex the whole night, the butler had to make sure to bury the truth. If the artist had fainted, then the valet would have fetched the other doctor, the one who imagined that Baek Na-Kyum had escaped. And now, you comprehend why the man hesitated to question the painter after his return:
(chapter 74) He was wondering why the artist would look so fine, as he had attempted to escape before. Another evidence for this theory is the following rule: a reflection within the same season. Since the doctor had been puzzled by Yoon Seungho‘s illness, I am deducing that he had the exact opposite disposition concerning the artist. He imagined what the artist had done. He had jumped to the wrong conclusion due to the injured wrist. Besides, he was “aware“ of the lord‘s mood swings.
So after the abduction, everything looked fine again, because Yoon Seungho was more focused on getting the painter’s acceptance.
(Chapter 71) Consequently, he was not investigating the real circumstances of the abduction. But he has another reason for neglecting this aspect: he knows the culprit’s identity, unaware that unveiling the mastermind’s identity is far from enough. Real justice is to uncover truth. However, at the end of season 2, the wealthy noble was more like a teenager in love. That’s the reason why he was making a huge mistake.
I could understand the lord’s attitude, although this doesn’t signify that I couldn’t criticize him. He has always hoped for a home and as such acceptance, and the artist did fulfil his wish: he definitely selected him and chose to remain by his side. On the other hand, Yoon Seungho was no longer hoping for the painter’s confession. And this perception was confirmed in season 3:
(chapter 85) He was already content if the artist would look at him, the moment you recall his first confession:
(chapter 55). Hence in chapter 71, he’s blushing and happy, for Baek Na-Kyum is definitely starring at him with such a curiosity and desire.
Moreover, the painter talks to him, has even accepted his advances. That’s why he is no longer paying attention to the circumstances that led him to think that the painter had run away on his own feet. As for Kim, he was running out of time, because at any moment, Baek Na-Kyum could mention his visit to the restroom or meeting the Jester. Consequently, the former had to use any trick to remove the artist. Hence he encouraged the kisaeng Heena to take away her brother.
(Chapter 67)
However, Byeonduck drew such a panel in chapter 71:
Why? In my first version, I had expressed the following expectation: the imprints would play another important role again and this theory was confirmed in season 3.
(chapter 100) Here, they revealed that the main lead had gone down on his knees, the moment he had seen the traces of fresh blood. Then note that in the shaman’s house, the lord had left a bloody foot print
(chapter 102), yet in the snow it was no longer visible.
(Chapter 102) Someone had erased the traces by putting mattresses on the soil. However, while the lord was walking through the mountain, he was definitely leaving a bloody trail behind
(chapter 102), a sign that someone had been helping him. And this can only be KIM!! And the last chapter from season 3 seems to confirm my initial investigation: The butler had erased the traces from the abduction. He knew about the kidnapping and helped Lee Jihwa and the Joker.
Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My instagram-tumblr-twitter account is: @bebebisous33. Thanks for reading and for the support, particularly, I would like to thank all the new followers and people recommending my blog.
Protected: Painter Of The Night: Baek Na-Kyum’s orgasms (second version)
Protected: Painter Of The Night: Stockholm Syndrome (second version)
Protected: Painter Of The Night: The life of women 👯♀️in Joseon (second version)
Protected: Painter Of The Night: The slaps ✋🥊 in the kaleidoscope (second version)
Painter Of The Night: Heroes 🦸♂️- part 1 (second version)
This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents: https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night/
It would be great if you could make some donations/sponsoring: Ko-fi.com/bebebisous33 That way, you can support me with “coffee” so that I have the energy to keep examining manhwas. Besides, I need to cover up the expenses for this blog.
The first reaction many readers had was to celebrate the butler’s courage, because he chose to tell his lord the truth and confront him with his true reflection. And unlike all the other characters, he mentioned one positive aspect: the lord’s good heart.
(chapter 68) In their eyes, valet Kim had turned into a hero not fearing his death. But we had another hero in this chapter, the scholar Jung In-Hun. The latter took the crying Baek Na-Kyum in his arm and brought him away from the scene, where Heena noona was getting beaten by a rich noble.
(chapter 68) In her eyes, he was a hero, because he showed concern and care towards her tenderhearted brother.
(chapter 68) Yet, only a few applauded Jung In-Hun for his behavior. Why? It is because many readers have already perceived his true nature: his hypocrisy and coldness hidden behind his calm demeanor and huge smiles. That’s why we need to examine more closely the behavior of these two father figures. Are they truly heroes? In order to answer this question, it is important to look at the definition of heroism and at the characteristics of a hero.
Heroism is characterized by:2
- Acting voluntarily for the service of others who are in need, whether it is for an individual, a group, or a community
- Performing actions without any expectation of reward or external gain
- Recognition and acceptance of the potential risk or sacrifice made by taking heroic actions https://www.verywellmind.com/characteristics-of-heroism-2795943
So let’s start with the scholar’s heroism. I would like to remind the reader that this scene is told from Heena noona’s perspective. If the manhwalovers observe Jung In-Hun’s action, they have the impression that the scholar is indeed helping someone in need. He is comforting the upset boy.
(chapter 68) So the first condition is met. However, neither the second condition or third component are present in the teacher’s gesture. Jung In-Hun is not exposing himself to danger, risking his own life as he doesn’t come to help the real person in danger: Heena noona. Actually, the real person who needed to be rescued was the gisaeng, and not the artist.
(chapter 68) Yet, the so-called hero abandoned her to her misery, as he walked away from the room.
(chapter 68) This shows that he wasn’t willing to risk his life or position. There are no selflessness and sacrifice. Secondly, he did hope something in return: while consoling the kind boy, he hoped to get recognition from the gisaengs. They would see him in a positive light, hence if he came to visit the brothel again, they wouldn’t ask him for money, and I can even envision that they would give him some wine or food. Furthermore, they would allow him to roam around. No one would question, why he would come to the gisaengs. His reason was simple: he liked the tenderhearted boy. Finally, we have to question about the scholar’s appearance at the brothel. Why was he there, so dressed up? This scene is relevant, because it displays how Heena noona got manipulated in the end. The teacher used Baek Na-Kyum as tool in order to save his own skin. In reality, Jung In-Hun was there in order to get noticed by rich and powerful nobles. He hoped to find some connections, as he knew that the brothel was the place, where influential aristocrats would like to spend their time. In my opinion, this is what happened. Jung In-Hun knew the importance of Baek Na-Kyum at the brothel. From my point of view, he used this knowledge to achieve his goal. He must have approached the guest at the gisaeng, while Heena noona was serving him. But the rich aristocrat got upset that a scholar was bothering him and started beating the poor woman. Seeing this, Baek Na-Kyum cried which gave Jung In-Hun the excuse to leave the place. He needed to console the boy. While reading this, the manhwalovers sense the origin of Heena noona’s prejudices towards rich aristocrats. The latter would disregard her, because the teacher was around, as the latter was hoping to get some benefit from it. With this scene, Byeonduck exposes the origin of Heena’s blindness, which is also visible in different panels, like this one:
(chapter 68) As you can detect, the absence of her eyes reflect her blindness. The feelings she is projecting onto the painter’s are actually her own.
(chapter 68) Now, we know why Baek Na-Kyum was so indoctrinated in the end. His own sister was also a victim of the manipulator, whom I had already diagnosed as a person suffering from a narcissistic personality disorder. Note that she uses the same vocabular than the scholar.
(chapter 18) Hence I come to the conclusion, the teacher used the school in order to manipulate the commoners and the gisaengs. While he portrayed himself as righteous and kind, he described the powerful nobles as violent and arrogant, so that he would get the admiration from the commoners. In truth, he was deceiving them, since he looked down on them. Yet he needed them in order to get some connections to the powerful and rich nobles visiting the gisaeng house. On the other hand, since he didn’t want to get too close to the gisaengs, he employed the innocent boy as a shield, misleading Heena noona to think that Jung In-Hun had feelings for her brother. That’s why he hugs the protagonist so tightly.
(chapter 68) For Heena, he was a hero, because he gave the impression that he cared for them, whereas it was the total opposite.
If we pay now attention to the butler’s behavior, it looks like the first aspect (“Acting voluntarily for the service of others who are in need“) is present in his action. He wanted to help Heena.
(chapter 67) However, the second component (“Performing actions without any expectation of reward or external gain“) doesn’t apply, because he is not doing it for free. Let’s not forget Kim’s philosophy, which was exposed in chapter 65:
(chapter 65) He hates scandal and trouble. The gisaeng created such a uproar that Kim almost lost his credibility in front of his master.
(chapter 65) He had two reasons for allowing her to meet the painter. First, Kim feared that she would cause more chaos in the future. Secondly, Kim realized that Baek Na-Kyum had become a huge source of trouble. He knew that the artist had been abducted, hence he got aware that Baek Na-Kyum had become a target of nobles. Furthermore, as soon as he had been returned, his sister made such a ruckus that she had turned the mansion upside down. Besides, like I had mentioned before, due to her behavior, she had put Kim in a difficult spot. Finally, he had another ground for giving his help:
(chapter 65) He had seen the painter hurt in the bedchamber, so his words “Lord Yoon will not harm Nakyum” were proven wrong. Therefore I conclude, he had something to gain from his intervention. But what exactly? In my perspective, Kim wanted to get rid of the painter. The valet had already anticipated that Heena noona would ask her brother to leave the mansion. That’s why he said her this:
(chapter 67) The butler anticipated her words and actions, as he is very perceptive (see chapter 23). At the same time, he told her the truth:
(chapter 67) He had never received the authorization from his master. However, the manhwalovers should recognize that he painted his master in a rather negative light, while leaving a good impression on her.
(chapter 67) In his mind, the butler thought that Baek Na-Kyum would leave the place right away after the harsh treatment he had received. For him, there was no doubt that no one in his right mind would stay at such a place. He knew that Yoon Seungho would come back soon. In other words, he was not helping Heena or Baek Na-Kyum here. He was doing himself a favor: his desire was to lead a peaceful life. Therefore, this explanation contradicts the first point.
As for the third point (“Recognition and acceptance of the potential risk or sacrifice made by taking heroic actions“), the manhwalovers should question this: When he granted the favor, was he putting his life at risk or was he willing to sacrifice himself? In my opinion, he was not, as he was acting behind his master’s back. He waited for the lord’s departure, then he allowed her to enter the mansion with the hope that Baek Na-Kyum would follow her right away. That’s why he was waiting outside next to the door. At the same time, he couldn’t tell her to hurry. At no moment, he was risking his life. He was using his position as the loyal valet to make decisions on his own, and even lied to the head-maid, when she questioned his behavior.
(chapter 67) In my opinion, we have here a new version of the painter’s escape from the first season: Kim acting as a shadow helped the artist to run away (chapter 29-30). However, the problem is that he got caught by Yoon Seungho.
(chapter 68) What should he do now? I would like to remind the manhwaphiles that Kim had not only disobeyed his master’s order, but he had acted, as if he was a lord. He had given the permission without Yoon Seungho’s consent.
(chapter 68 It is important to recall that this story takes place in Joseon, therefore Kim’s action can definitely be judged as a betrayal and usurpation of power. One might argue that he desired to help Heena, yet like I exposed above, he did out of selfishness and not because he felt concerned for the painter and for her. As such, Yoon Seungho has the right to be upset. He is the master and someone is acting behind his back, overlooking his orders. Under this perspective, the head-maid appears more loyal to her lord than Kim himself. In this scene, he was only serving his own interest.
People were rejoicing that Kim became brave, because he criticized his master for his behavior. But what they failed to realize is the importance of the timing. Why now? Observe that Kim only starts confronting the main lead after Yoon Seungho threatens him with consequences:
(chapter 68). Note that the protagonist doesn’t menace to kill the gisaeng. He just desires to send her away, but he is now determined to punish his butler for his disobedience. He usurped his position, and as a lord he is allowed to do so. And that’s the moment, when Kim starts speaking the truth, which many readers associate to something positive.
However, this is important to realize that truth can also be used as manipulation. This is called paltering. Psychologists discern 3 types of lie: lie by commission, lie by omission and paltering.
“Like lying by omission, paltering can involve failing to disclose relevant information, but unlike lying by omission, paltering involves the active disclosure of true but misleading information: paltering enables would-be deceivers to actively influence a target’s beliefs” (Rogers, Zeckhauser, Gino, Norton, & Schweitzer, 2016). quoted from https://workplacepsychology.net/2016/12/18/to-deceive-using-truthful-statements-is-called-paltering/
This type of lie and manipulation is often used by politicians and even traders. They try to divert attention from the real main issue, and in our case: the butler’s disobedience and abuse of power. The other advantage is that since the paltering person is using truth as his tool, it is easier to remember and not get caught by the target. Moreover, the manipulator doesn’t have to feel guilty, as it looks like ethically more correct than lies.
That’s why it is important to look at the timing, when Kim reveals the truth. Here, I would like to bring another scene, where Kim’s first paltering was visible: chapter 50
Note, that in that chapter, the lord had the sword in his hand, and strangely the valet came late. As you can imagine, this is no coincidence. In my opinion, butler knew that something bad had happened and in order to escape his lord’s bad mood, he arrived late on purpose (lie by commission), but at the same time he revealed his knowledge about the cause for Baek Na-Kyum’s depressed mood in order to divert his master’s attention. That way, he could put the blame on the absent noble, but also on the painter. The latter had disregarded him due to the scholar’s words. At the same time, he made the lord feel insecure, because it showed him that he had behaved exactly like a client, a man obsessed with sex. That’s why with the butler’s intervention, the master had a relapse. What mattered for Kim was a peaceful life, the rest is
(chapter 65) Yet, he never expected such a change of behavior in the main lead, that’s why he blamed the painter afterwards.
(chapter 52)
Hence I come to the conclusion that Kim’s MO is mostly paltering. And now, it is time to return our attention to the conversation between Yoon Seungho and his valet. It is important to examine each argument Kim brought up:
(chapter 68) Initially, it looks like he is appealing to the lord’s heart, but in reality the main point is the noble’s judgement. The valet is reprimanding his master for his lack of discernment. He misjudged the painter’s behavior. This is relevant because in this panel, I view a first emotional manipulation. His real intent is to make the lord doubt his own judgement, like “look, back then you made the wrong decision… therefore you could be wrong here”. But the readers know that Yoon Seungho is right. Heena is determined to take away his lover, so his initial judgement about Heena is indeed correct. In his eyes, she represents a source of thread, he might lose the artist. One might argue that Yoon Seungho is sequestring the painter which is also correct, yet like my reader Luzy pointed out, this is the painter’s decision. Neither Kim nor Heena nor Yoon Seungho have to make the decision for him. And here, Kim and Heena are trying to do so. The problem is that Kim got caught. But let’s go back to my initial thought. Kim used his knowledge (the lord’s misjudgment) in order to make his lord doubt himself. and he appealed to his emotions for that. This type of manipulation is called gaslighting:
“Gaslighting is a form of emotional abuse that’s seen in abusive relationships. It’s the act of manipulating a person by forcing them to question their thoughts, memories, and the events occurring around them. A victim of gaslighting can be pushed so far that they question their own sanity.” https://www.healthline.com/health/gaslighting#:~:text=Gaslighting%20is%20a%20form%20of,they%20question%20their%20own%20sanity.
As a conclusion, Kim made the lord feel insecure and doubt his own judgment and used facts in order to achieve his goal. The lord should rely on his butler’s discernment. But the mercy and favor for the painter are just a subterfuge, he is trying to mask his wrongdoing.
I could bring up another panel as illustration:
(chapter 68) Here, he is using the past in order to distort reality and memories while speaking truth. What Kim doesn’t mention here is his involvement in that incident.
(chapter 65) Kim is destroying the lord’s confidence, so that Yoon Seungho will rely on Kim’s judgement.
If you pay attention to Kim’s words during that confrontation, Kim is actually utilizing many psychological and emotional manipulations:
- Guilty trip
(chapter 68) “You are so cruel to this boy”. He might be right, yet why didn’t he say anything in chapter 64?
(chapter 64) He literally looked away, because truth wasn’t helpful in this case. Feigning innocence and ignorance was more appropriate.
(chapter 23) - Shaming and vilifying the target:
(chapter 68) - Projection: it is a defense mechanism used to displace responsibility. Here, Kim decided to use Baek Na-Kyum as justification for his infraction:
(chapter 68) - Triangulation: “Triangulation is a tactic used to manipulate an interaction between two people who are not communicating directly with one another. It is problematic because a third person becomes involved in a situation that should be between the two individuals involved in the conflict.” https://www.e-counseling.com/mental-health/what-is-triangulation-psychology/
(chapter 68) Here, Kim is mentioning the past, where he played an active role between the father and son. In other words, he is reminding the master that he is acting like a mediator. However, this revelation exposes the servant’s manipulation. He was one of the causes for the falling apart between father Yoon and the eldest son. We have to imagine that he never revealed the real reason for Yoon Seungho’s rebellious nature to father Yoon. And here, he is behaving like in the past. He tries to intervene between Baek Na-Kyum, Heena noona and Yoon Seungho, as if he had the right to.
(chapter 68) - Diversion:
(chapter 68) he is bringing up the past to divert Yoon Seungho from the main problem: Kim abused his position. - Negging:

(chapter 68) making a person feel bad about herself, by giving backhanded compliments or comparing to another person. On the surface, it looks like constructive criticism, while in reality the victim is supposed to feel terrible and doubt his personality. https://www.healthline.com/health/mental-health/negging
I have to admit that I can’t give you an illustration of all psychological tricks Kim used in this confrontation. On wikipedia, there is a whole list of different psychological manipulations, which served me as orientation. https://en.wikipedia.org/wiki/Psychological_manipulation Nonetheless, as the readers can detect, I tried to look for more info for this analysis.
After portraying Kim as a manipulator, I would like to remind my reader of two aspects: I described the butler as the gatekeeper, the one who opens the door. And now, if the manhwaphiles pay attention to this picture,
(chapter 68) they will detect that the door is now open. The valet opened Pandora’s box in my opinion. That’s why Yoon Seungho was hurt and at the end ran away.
(chapter 68) He had heard, how Heena noona was comparing him to misfortune, reinforcing his negative opinion about himself.
He had been already prepared mentally by his butler. He was as wounded as Baek Na-Kyum, when the scholar had voiced his true thoughts about the painter.
(chapter 40) While the artist’s fate is to become a prostitute, the other is destined to bring misery. He already externalized this perception about himself in chapter 49:
(chapter 68) For me, chapter 68 is the new version of chapter 40. That’s why I wasn’t rejoicing at all about Kim’s behavior. He was far from being honest with his truth. In reality, he used truth mixed with emotions as his ultimate tool in order to save his own skin. In other words, he functioned as the noble’s mirror.
This scene made me think of “Snow White and the 7 dwarfs”, where the mirror of truth tells the jealous queen that Snow White is far more beautiful than her. With this truth, the queen is led to take actions against the heroine and torment her. And here, we have another allusion how truth can be used as a weapon. The mirror never told the queen how to become the most beautiful woman. He never gave her any advice, it retained information: beauty can be different. It is not just the physical aspect, but it is about the personality. Therefore we could say that the mirror of Truth manipulated the queen leading her to her own demise. However, at no moment the queen never questioned the mirror of Truth and its ulterior motive. That’s exactly how Kim behaved the whole time explaining why Yoon Seungho never suspect his words. They reflected the truth. Yet the valet never intervened for his sake and for the painter’s sake. He only did, when he noticed that his lord was angry and let others take the blame, like here the father or Yoon Seungho himself. However, the readers should remember that in this scene, Kim had abused his authority. That’s also a fact.
Therefore I don’t consider Kim as a hero, quite the opposite. He is the worst manipulator, the reason why Yoon Seungho ended up with self-hatred and became violent with his swing moods. Kim isolated him, eroded his sense of reality, making him fear his own image. Besides, he didn’t even help him, when he got raped. Since Yoon Seungho has been manipulated psychologically and emotionally for years, he ended up hating himself.
“Long term effects of emotional manipulation:
- Isolation and numbness
- Requiring approval
- Feeling resentful
- excessive judging
- depressive disorder and anxiety” https://peaksrecovery.com/blog/effects-of-psychological-emotional-manipulation
- insomnia
- chronic pain
- guilt
- eventual feelings that their partner or parent is correct, and that they are “no good” or ugly, for example https://www.medicalnewstoday.com/articles/327080#long-term-effects
That’s the reflection Kim wanted him to have, so that the latter would never question his servant’s actions. And now, this picture has another meaning for me:
(chapter 57) His gaze is only focused on his valet, not realizing that the latter is not honest with him. From my point of view, there’s a reason why Byeonduck put Jung In-Hun’s so-called heroism
(chapter 68) next to the valet’s
. (chapter 68) For me, she put the readers in the same situation than Heena noona’s. Just like the kisaeng, many readers expressed their admiration for the butler, because he had told the truth. They associated truth to goodness. Heena noona also watched the kindness in the scholar’s gesture leading her to think that the teacher was a honest and caring person, yet she overlooked that the teacher had in reality abandoned her. He never protected her and let her suffer. This picture truly reflects his cowardice and treachery
(chapter 68) He slowly takes the artist in his arms. He doesn’t rush to her side, remains silent and immobile. His passivity reflects his true personality, but Heena is too focused on her young brother to grasp the situation.
(chapter 68) The crying boy is used as a diversion. Besides, I am quite certain that Jung In-Hun was actually the source of her misery by trying to get attention from powerful nobles. Note that the scholar and Kim utilize both the painter’s to hide behind their misdeed. He serves as a justification why the scholar left the gisaeng behind and why Kim defied his master’s order. The domestic used kindness and pity as legitimations
(chapter 68), while it was the opposite. He desired to get rid of them.
But there’s hope in my opinion. Baek Na-Kyum refused to listen to his sister’s words, which Kim hadn’t expected. Therefore he got caught, he anticipated Baek Nakyum’s eagerness to leave.
(chapter 67) Secondly, by giving his master a reflection of his behavior, the valet lost his influence on the main lead. Remember that I wrote that Baek Na-Kyum served as the lord’s mirror, therefore he will take over the valet’s role. He will reveal his true reflections: his flaws and wrongdoings
(chapter 68), but also his quality: his honesty
(chapter 58). Let’s not forget that the artist realized his dedication in chapter 58. Note the huge difference. The artist never uses others in order to judge the lord. Kim will realize soon enough the consequences of opening Pandora’s box. He might have achieved his goal (the lord won’t punish him for his disobedience), yet he lost his lord’s trust. Notice that right after this quarrel, Yoon Seungho started treating Baek Na-Kyum like a noble.
(chapter 69)
(chapter 72) From that moment on, Yoon Seungho was no longer viewing the valet as the unofficial lord. We could say that he had lost his status as “hero” in the main lead’s eyes.
Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My Reddit-Instagram-Tumblr-Twitter account is: @bebebisous33. Thanks for reading and for the support, particularly, I would like to thank all the new followers and people recommending my blog.
Protected: Painter Of The Night: Painting and desires – part 3 (second version)
Painter Of The Night: Silence (fourth version) 🤐
This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents: https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night/
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“The ultimate tragedy is not the oppression and cruelty by the bad people but the silence over that by the good people” from Martin Luther King
With this quote, the famous American Baptist minister denunciated the passive attitude of many Americans, who didn’t feel concerned with racism and segregation in 60’s. Why?
(chapter 65) As you can see, the valet Kim is not revealing the truth, not out of fear, but he has the impression, this is not his problem. He chooses indifference. With this single attitude, the readers discover Kim’s true personality and past, confirming my last analysis about him. When he heard the painter’s refusal,
(chapter 65), he was brought back to the past. The domestic was a witness of Yoon Seungho’s rape and as such of his sexual abuse. Striking is that in episode 65, he didn’t even open the door, but instead of helping, he let it happened. He didn’t act according to his belief. This means that in the past, he must have acted the opposite. The door was open. This signifies that he abandoned the young Yoon Seungho, when the main lead asked for assistance.
(chapter 65) He refused to listen to the young master’s plea. And now, you understand why Yoon Seungho had sex in front of him outside the barn. Unconsciously, he wanted to confront the valet with the consequences of his actions.
(chapter 64) The teenager was left behind by the servant, and his hand couldn’t even stop him. But since it is a reflection, I think that the butler was the one who brought the main lead to the predator, naturally his intention was not to have him raped. And now, I grasp why the lord feels the need to hurt people with his hand, like for example strangling the painter
(chapter 61) or grabbing the topknot of a noble
(chapter 8). His hand expresses not only his rage, but also his powerlessness. With his hand, he wasn’t able to stop the valet from leaving him behind. He had tried to stop his father from leaving his side with his hand too.
(chapter 86) Furthermore, Yoon Seungho couldn’t even punish the valet for betraying him, because he had no authority and no strength. Back then, he was just a teenager. In chapter 63 and 64, Yoon Seungho was indeed reliving his traumatic past. Because the butler was recollecting two different memories (the night before and the lord’s sexual abuse), my first impression was that the young boy had been abused in the shed.
(chapter 65) Yet, the storage room is the place where the valet betrayed him, as he changed his lord.
(chapter 77) My theory is that the main lead was raped by “lord Song”, the king. Therefore I assume that the man was invited by father Yoon. Remember that the kisaeng Heena proposed to her donsaeng to seek the protection of a nobleman, as he is a low-born.
(chapter 97) My idea is that the valet thought that by seeking the monarch’s protection, the young master’s suffering would end, for the king stands above the scholars and elders. Anyway, I believe that the valet made a bad choice and regretted it afterwards. Due to his guilt, he developed resent towards Yoon Seungho. And this explains why Kim said this to the painter in order to ease his pain:
(chapter 12) He couldn’t tell him details, since he would reveal his complicity to the crime. Furthermore, since the valet led the painter to the pavilion, it is very likely that Kim was the one who offered Yoon Seungho to the pedophile, which makes his crime even worse.
With Kim’s silence came a huge price: fear and guilt.
(chapter 65) Since he had not assisted the young master repeatedly
(chapter 77), he became more and more burdened by his guilty conscience. He turned into an accomplice, for he never revealed his involvement and mistakes.. He could no longer reveal the truth, because he would have to get punished. He feared father Yoon’s wrath and he had reasons too. He could definitely die. That’s the reason why he reproaches the doctor his passivity and silence, though in my opinion, it was not about the abduction, but about the tonic. Sure, in Joseon, there was no law called “Duty to rescue or Failure to provide assistance”.
“Failure to assist a person in danger is a criminal offence that condemns the failure to assist a person in danger. Contrary to most criminal norms, it is an offence of omission and not of commission, i.e. the perpetrator does not act when he should have done so.”
However, from a moral perspective, Kim committed a wrongdoing, and he knew it. That’s why he couldn’t forget and felt guilty. Even nowadays “Duty to rescue law” doesn’t exist everywhere, nonetheless many European countries, like Germany or France or UK possess one and its creation was partially influenced by the experiences made due to Nazism. And now, the manhwalovers can comprehend why my association to dictatorship was correct. Kim and other ordinary people are their willing assistants in the end. They prefer avoiding trouble out of convenience. Consequently, they turn a blind eye to injustice. Yet, though they try to forget
(chapter 65), they can’t, because they feel guilty and remorse. Note that right after voicing his wish to forget the incident, he recalls Yoon Seungho’s tragedy indicating his incapacity to forget. This explains why Kim gives the doctor the following advice:
(chapter 65) Although Kim’s words in the panel are addressed to the physician, they actually reflect that Kim is speaking out of experience. He knows by experience that “silence is a true friend who never betrays”. Observe that Kim’s complicity was never brought to light, hence he never got punished. This explicates why Yoon Seungho is acting differently from his biological father in reality. Each time there was a crime, the lord let the painter defend himself and asked questions: chapter 11 and 62
, (chapter 62) especially when you think that Baek Na-Kyum is just a commoner. But the problem is that he was biased, just like his father who had the impression that his son was a homosexual due to the testimonies of close people (Kim, Lee Jihwa and probably Yoon Seung-Won). After the rape, Yoon Seungho got punished. And this interpretation was proven correct in season 3
(chapter 77). But here Kim remained silent too.
(chapter 77) It was even worse than before, because after the straw mat beating, he was paralyzed. No one spoke for him and believed his words, and Kim wasn’t willing to step in. Moreover, I believe that Kim had another reason for remaining silent.
(chapter 65) He disliked the idea of a scandal and trouble. If he had told the truth, he knew that his punishment would be death. Out of convenience, he ran away from responsibility and from the uncomfortable truth.
(chapter 65) That’s why I believe that the author is not showing that Kim and the physician chose secrecy and silence, because they feared for their life. They only started fearing for their life, when the truth is about to be revealed, as the painter was not dead yet. As the victim, he was a witness. Because once the lord discovers the butler’s passivity and complicity, it becomes a matter of life or death for him. According to me, there are two doctors. So the chapter 65 unveils that the first doctor didn’t testify, as he wanted to help the artist.
(chapter 65) In my opinion, the butler had deceived the commoner, he let him believe that Baek Na-Kyum had run away because of the lord’s violent temper. The painter had come wounded to his office. This negative perception of the young lord Yoon could only make the doctor jump to wrong conclusion. ,Striking is that this scene
(chapter 63) revealed that the doctor was hesitating to give his opinion to the butler, he thought that the artist had run away. And what is the common denominator of all these scenes with the doctors. They all chose silence for different reasons. Just like Kim, the doctor had become an accomplice. As for the second, he remained silent out of fear, that he could get into trouble.
(chapter 65) My theory is that the valet used the drug as an excuse to silence the physician. Now, the doctor is hoping that the boy says no word about it, so that his “wrongdoing”, the false medication, won’t be discovered. Kim blamed the doctor that after that, his master had behaved like a crazy man. The result was that both physicians chose silence!! Why? It is because the valet had pushed them to make this choice. And note the pattern. Kim used pity and compassion for the first doctor, and fear and brutality for the second! Exactly like in this scene:
(chapter 12) In this scene, we have all three elements: pity, fear and silence (“can’t go into details”).
And despite knowing the truth, Kim makes the same decision like in the past. He chooses to sweep the incident under the carpet. He is glossing over the abduction with all fake excuses.
(chapter 65) He has the audacity to say that his master won’t hurt the painter, although he even witnessed the roughness the artist was exposed to. Yet, for him harm was flogging or execution. From my perspective, this is no coincidence that the author showed us the valet sweeping.
(chapter 65) This represents his attitude in life, therefore he is responsible for Baek Na-Kyum’s loss of innocence. His other leitmotiv is
(chapter 23) He acts, as if he knows nothing reminding us of this scene.
(chapter 28)That’s why I believe that the butler was lying back then and had even allowed the artist to run away that morning. I see a new version of chapter 29. But let’s go back to chapter 65.
Notice that he is the one removing the snowman built by the painter, the last reminder of the low-born’s innocence. In two occasions, he chose cowardice and silence. First, he did nothing to stop his master
(chapter 65), as he didn’t desire to feel his master’s wrath. Secondly, he asked the physician to keep silent by making him feel guilty.
(chapter 65) But if he had seen this, he could have intervened and reasoned his master. But he chose not. He was too embarrassed, for he had been caught “spying”.
(chapter 64)
And the next day, he prefers to forget this incident.
(chapter 65) What caught my attention is that he feels nothing for the painter, he doesn’t even express any regret or remorse. Since he knows that the artist won’t be killed, then everything will return to normal. He doesn’t consider the impact of Yoon Seungho’s violence used against the painter, which he witnessed on several occasions. For him what matters the most is silence, the absence of ruckus! And now, I can understand why the lord is not able to distinguish genuine from hypocritical care. When the lord was young, he saw in his valet a surrogate father, but he got betrayed in the worst way. He turned away from the wounded master. He closed his eyes, closed the door and ran away. Therefore, it becomes comprehensible why Yoon Seungho’s unconscious always expresses itself through the hand, the eye and the feet. This was the result of Kim’s abandonment, but not only from him: from his own family and even his best friend. And back then, the butler must have thought exactly the same in order to justify his behavior:
(chapter 65). He legitimated his cowardice and passivity by saying that Yoon Seungho wasn’t part of his life and his adoptive son. He was just a noble, with such a statement, Kim was drawing a line. Due to his mistakes, he chose not to intervene any longer. But observe that in season 1 and 2, he meddled in his lord’s life, as he viewed it as his own business. Why? It is because he feared that he could lose his position. However, I think that in season 1, he was more influenced by his unconscious, but not in season 2.
After all these observations, I come to the conclusion that Kim has many common points with Lee Jihwa. He knows the past and feels remorse and repentance. But both are forced to hide their wrongdoings and as such their culpability. That’s why the chapter 65 reinforced my conviction that Lee Jihwa was indeed responsible for Yoon Seungho’s misery and the red-haired noble was aware of it. Yet, exactly like the butler, he denied his responsibility. Sure, many are to blame for the main lead’s tragedy as well: father Yoon, his brother and lord Song/the king. All of them lied and chose to remain silent.
From my point of view, Byeonduck has another reason for making Baek Na-Kyum going through the same experiences than the protagonist’s. This is not just to make Yoon Seungho realize what he has become and sees his own reflection in the end. In my opinion, the author uses the painter’s suffering to reveal the main lead’s tragic past. Since we all suffer for the artist, the manhwaphiles have to imagine that Yoon Seungho experienced it too, but in the worst possible way, as he had really no one by his side. While Yoon Seungho might be rough and hurtful towards the artist, he is still in love with the artist, hence he still cleans
(chapter 65) the artist after their intercourse and even gives him his own shirt. He shows a certain sense of responsibility.
So my actual theory about Yoon Seungho’s past is the following: Yoon Chang-Hyeon got deceived by many people, making him believe that his son was an idle young master before being stigmatized as sodomite. The king had to ruin the protagonist’s reputation in order to approach him. The real puppet master was lord Song alias the king. But every culprits had to suffer the consequences of their crimes and deceptions. I don’t think that even the king was spared. He also got punished by the gods, yet he never realized it. Yoon Chang-Hyeon thought, he could benefit from such an alliance, but he got betrayed by father Lee, but the scholar never recognized it.
(chapter 82) Why didn’t he ask for a punishment after this humiliation? It is because he couldn’t. However, he must have definitely sought revenge. And the main lead became the sacrificial lamb, as in father Yoon’s eyes, his son was the reason for the purge: desertion, betrayal and probably drugs played a role in the purge. It is definitely possible that I have to change this theory about his traumatic past, but as you can observe, the main elements don’t change:
- coercive persuasion: sexual, physical and emotional abuse
- a wrongdoing and the innocence of the main lead, yet the father believes that his words are all lies
- the abandonment from everyone: Lee Jihwa, the staff, the butler, his brother and his biological father
- The responsibility of Jihwa and Kim in his misery due to their behavior (action versus passivity)
- sexual abuse committed by a repressed homosexual
- “prostitution” and gangrape As the king would share Yoon Seungho to his officials
As a conclusion, silence is as terrible as words. Both can kill in the end.
Silence in the face of evil is itself evil: God will not hold us guiltless. Not to speak is to speak. Not to act is to act.” Dietrich Bonhoeffer
That’s why it is important not to turn away from injustice. This is not just a question of courage. Not helping someone in the need is committing a crime, and it contributes to reinforce injustice. Fear for life can not be an excuse in this story, since the matter of life and death appears afterwards. The silence is related to a misdeed. Besides, this kind of behavior explains why Third Reich could exist. First, while some people were convinced believers, many chose comfort over trouble. Let’s not forget that Hitler could install his dictatorship, because the MP from the Reichstag voted for Enabling Act (1933). That law gave Hitler the power to enact laws without the involvement from the Reichstag. One might argue that Hitler used terror to coerce the MP, but this is not correct, as Otto Wels gave a speech against it and the socialist party (SPD) followed him. This was the only party that voted against it. I have to admit that while reading the last chapter, I couldn’t help myself thinking of the Third Wave.
In our case, it is not about Nazism, but about civil courage. Once one remains passive, the other follows creating a common movement: all become inactive and silent. IT takes courage to admit a mistake and a wrongdoing. And we have to imagine that in the past, the servant Kim remained silent once leading the others to close an eye as well. And the phenomenon is occurring again. The physician was a witness, but did nothing (not even asking for help after the painter’s disappearance). He was convinced that if he shut his mouth, he would help the artist! But this was simply wrong, for with his passivity and false conclusion, the painter could have died. The irony is that Kim is following him after their conversation.
(chapter 65) Slowly, he is recognizing that his master won’t hurt the artist. Yet, during his visit, he thought the exact opposite.
(chapter 65)
However, this time it is different because of Baek Na-Kyum’s panic attack and his sister’s intervention.
(chapter 65) The lord realized that something had happened. Due to the painter’s reaction, he was brought back the past.
(chapter 66) Striking is that the painter’s words were the trigger for revealing the truth.
(chapter 66) This stands in opposition to silence. Therefore it is no coincidence that Min revealed the truth.
(chapter 66) The irony is that Heena suspected the main lead of kidnapping her brother and everything looked like her words were true: the wrist, the wounds around his wrist, his actual position (the mouth covered and his hands tied together…)
(chapter 66)
(chapter 66) Thus the circumstances were turned against him.
(chapter 65) But she was not present, when Min admitted Lee Jihwa’s crime. That’s how I realized that while chapter 65 represents silence, deception, cowardice and passivity, chapter 66 embodies the exact opposite. Min told the truth, Heena tried to save her brother by creating a ruckus! For Yoon Seungho, silence is a sign of culpability which he learnt from Kim. Hence he lied to the kisaeng
(chapter 65), and later never spoke to the painter about the incident. If he had done it, he would have been forced to admit his misjudgment and wrongdoing. And now, you understand why Martin Luther King said this:
“The ultimate tragedy is not the oppression and cruelty by the bad people but the silence over that by the good people”
The physician and the butler are no evil men per se, as they don’t find pleasure in death and suffering. However, like the following idiom is revealing, people can change due to their decisions:
The way to hell is paved with good intentions.
That’s why in season 4, the tragedy won’t be repeated and the truth about Yoon Seungho’s martyrdom, strongly intertwined with the artist’s, will come to the surface. You are wondering why now. The reason is quite simple: The doctor revealed his knowledge to Baek Na-Kyum,
(chapter 57) It doesn’t matter, if the butler told lies to the physician in the past, as they are now perceived as truth. Remember what Kim confided to the painter:
(chapter 86) He believes that he is the only one left who knows the past. But he is wrong, since the doctor also recalls the past. Hence how can Kim prove that he is telling the truth, since he told a different story to the physician? In addition, we have also lord Song. Besides, by giving the drug to Yoon Seungho without his knowledge and consent, Kim committed a wrongdoing. His knowledge won’t serve him in the end. I am deducing that the saying “silence is a true friend who never betrays” will no longer be valid. Therefore we have to expect a betrayal, and that would be from the physician, especially after we recall the butler’s warning in the first season, which was addressed to a different doctor from my point of view:
(chapter 33) Let’s not forget that in chapter 65, the servant tried to put the whole responsibility on the physician, making him feel guilty. And since Byeonduck is even using elements from the first and second season, I believe, we will have a reversed situation in season 4, where the doctor will speak up and put the whole blame on someone. Neither the physician nor Kim expected that the painter’s body wouldn’t remain silent
(chapter 65), a proof that the truth needed to be unveiled. It was impossible to act, as if nothing had happened, just because the painter had been returned to Yoon Seungho. And it is the same at the end of season 3. The painter gave his husband a task:
(chapter 102) He needs to find the answer, which stands in opposition to silence and burying the truth (sweeping it under the carpet). This signifies that this time, Yoon Seungho has to gather information himself, and he can not rely on Kim:
(chapter 98) As you can see, slowly people are forced to talk
(chapter 99), hence their testimony can be questioned and perceived as lie.
(chapter 100). This is important, because by getting confronted with lies, the lord will be able to discern the truth! In other words, silence embodies darkness and as such death.
(chapter 74) Thus there was only silence in the lord’s nightmare. And this contradicts this statement:
(chapter 65) Because Germans chose silence, the Holocaust could take place.
Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My Reddit-Instagram-Tumblr-Twitter account is: @bebebisous33. Thanks for reading and for the support, particularly, I would like to thank all the new followers and people recommending my blog.
Painter Of The Night: Valet Kim: a dog 🐶 , a matchmaker or a father? (third version)
This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents: https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night/
As painful as the chapter 64 was, it revealed a lot about Kim’s personality and his relationship with Yoon Seungho. Therefore I decided to focus on the butler. On the other hand, this is not the first analysis I wrote about him. So far, I had described him as the helping hand and the best man. Then in other essays, I had compared him to a dog, to a matchmaker or even to a surrogate father. But who is he really, and more precisely, what is the true nature of his relationship with the lord?
In order to answer this question, it is important to gather all the info we have about him. Valet Kim is the servant who served the main lead since the latter was a young teenager. This means, he saw the sensitive and intelligent boy growing up into adulthood.
(chapter 57) And if we look at the picture, the manhwaphiles can detect that Kim seemed to have the teenager’s trust. This is visible thanks to the domestic and Yoon Seungho’s gestures. They are talking to each other in a very natural way. We can conclude that they were close, especially if I include this panel in my examination.
(chapter 57) The way the boy is looking up at Kim indicates that the main character is quite attached to him. And because of this scene, the manhwaworms could sense the domestic’s qualities: care, trust, affection and loyalty. But what many readers failed to realize is that servant Kim is actually following father Yoon in reality. This means that the elder master trusts this domestic. The latter is even the one who introduced the physician to the lord of the mansion.
(chapter 57) That’s why I come to the conclusion that the butler Kim was in fact loyal to the elder master and not to Yoon Seungho. He might have had an affection for the teenager, yet in truth he serves the head of the family. And notice that valet Kim is still giving the expensive medicine to the protagonist, although this was ordered by father Yoon.
(chapter 57) But more importantly, the manhwaphiles should question themselves about the nature of this medicine. It is a drug to mess up with the main lead’s health? And this clue reveals that Kim is not working for Yoon Seungho. One might argue that Kim is just following father Yoon’s orders, but the latter lives so far away, hence the eldest master has no control to threaten the butler. Hence Kim could have stopped feeding the medicine, especially after knowing how father Yoon treated the son. In other words, it looks like his loyalty to father Yoon is still intact. This is palpable in two occasions.
(chapter 35) In this scene, the valet gives an order to his master and not an advice, since he employs the verb “must”. Why? Because he thinks, the letter was sent by the elder master. And Yoon Seung-Won knew that Kim was loyal to their father. Hence when he sent the letter, he used his father’s name and authority, but in order to maintain the illusion that father Yoon was the author, the brother also requested that valet Kim would bring back himself the reply. The deceitful brother used not only the butler’s fidelity to his advantage, but also gave the impression that father Yoon cared somehow for the black sheep. It was, as if the elder master was trying to rekindle with his older son. The readers can sense more his loyalty to the elder master, if they compare his reaction, when Yoon Seungho received the fake letter from lord Song.
(chapter 56) Here, the domestic got scared, by just hearing the name. Nevertheless, he gave his master the advice to postpone the meeting due to his health.
Yet, observe how he hides his discomfort and fear to his master by suggesting to postpone the meeting which exposes that he is hiding his true emotions. He justifies his advice by faking concern for his lord. Hence the lord can only have the impression, he is protecting his interest. Striking is that since we saw him scared, we have the impression that he is brave enough to propose not to the follow the invitation. My initial impression was to think that he got afraid of the name lord Song due to the lord’s traumatic past and he feared for his master’s mental health condition. However, the moment the valet realizes that the noble is on his way to meet this aristocrat, he gets so scared that he leaves the mansion immediately. So he doesn’t want them to meet.
(chapter 56) Then in chapter 57,
the butler expresses his worries concerning father Yoon. He doesn’t want the elder master to hear the news about Jihwa’s public confession, as the servant is well aware of father Yoon’s mentality.
(chapter 57) He seems concerned for Yoon Seungho again. He knows that the head of the family hates homosexuality. He witnessed how the father separated Jihwa from Yoon Seungho with the excuse of an illness. He was present, when the teenager was imprisoned in the mansion.
(chapter 57) One might question his loyalty to father Yoon, since the butler chose to remain by Yoon Seungho’s side after the topknot incident. However, I could respond that the valet saw it as his duty to keep an eye on the elder son on behalf of the head of the family. From my point of view, valet Kim decided to follow Yoon Seungho for other reasons than true loyalty to the protagonist. In the past, I used to think that he felt guilty for the main lead’s suffering. But I had to review my judgement. If he truly felt remorse, then he should have treated the eldest son differently in the mansion. Yet, he let him become a head-kisaeng. Moreover, the guilty conscience only resurfaces the moment he is confronted with a situation reminding him of his wrongdoing.
(chapter 65) This shows that he has been successfully repressing it. In truth, he did it out of selfishness, while faking affection and loyalty to the Yoons. The readers shouldn’t forget that the head of the family decided to leave the main domain and live in the countryside. Therefore he abandoned the mansion to his eldest son. By remaining by Yoon Seungho’s side, butler Kim was ensured to have a quiet life. The man was a wreck, hence he couldn’t manage the mansion.
(chapter 57) Furthermore, as an infamous hell-raiser, no powerful noble would be interested in him. When the purge occurred, the son had become the sacrifice and scapegoat, hence he was forced to remain at the property. And now, you can grasp where the butler’s loyalty lies. He is faithful to the mansion and property, and not to Yoon Seungho or father Yoon in reality. This explicates why he lies to Seung-Won and tries to stop him from entering the lord’s chamber. As Seung-Won is only the second son, he is not considered as the lord of mansion, while father Yoon is the senior and is supposed to be the head of the family. Because he is bound to the domain Yoon, he is definitely acting more like a dog than like a matchmaker or a father. He is able to find his owner very quickly, as if he was following his scent.
(chapter 57) He barks like one, when he yells at Deok-Jae.
(chapter 47) He is also sent to fetch the painter, when the latter is somehow “abducted” by the scholar.
(chapter 24) But the most conclusive evidence for this association is his rapport to the door. He is always shown next to an opened door or even often stands on the door threshold.
(chapter 64)
(chapter 45) Since dog owners often put the sign “beware of the dog” on their door, you understand why I see it as an evidence that the valet is more as a dog than anything else. The butler is the guardian of the mansion, watching out for the owner’s safety. However, here we should comprehend it in a figurative sense. On the surface, the butler is looking out for the reputation of the Yoons, while in truth he is just focused on living a peaceful life far from trouble.
(chapter 65) That’s why in chapter 45, he let the false rumors circulate in town, because his relationship to a commoner is not revealed. This would cause a real scandal. On the surface, it looks like Kim cared for his lord and as such for the Yoons.
(chapter 64) The dog is not only a symbol for loyalty, but also it represents obedience and secrecy. He knows what is happening in the mansion, but he won’t let it transpire to the outside world. Therefore I deduce that valet Kim is quite similar to Jihwa. He knows the main lead’s whole past and tragedy, but he doesn’t truly feel sorry for the main character, for if he revealed the truth, because it would expose his culpability.
(chapter 12) Simultaneously, he uses his knowledge to his own advantage, similar to Jihwa, although the latter was manipulated by Kim’s lies. And if you take into consideration the role played by the dog in different mythologies, you’ll note that they all have something in common: they are guardians of the realm of death, like for example Anubis (Egyptian) or Cerberus (Greek). And since I interpreted the mansion as Yoon Seungho’s prison and compared the master to a zombie, until he met the painter, the manhwalovers can now understand the butler’s real function. He is actually the guardian of the realm of death for the lord. To sum up, he is contributing to the lord’s misery and loneliness, as he keeps him bound to the domain and family. Moreover, the gentle valet is aware of his true role, as he has internalized the social norms. As a domestic, he is supposed to serve his master with respect and obedience, which he does on the surface. However, the reality is different, as he lies to him on multiple occasions. Hence he needs to act in the shadow. Why? The real goal of the butler is to live a peaceful life without any big responsibility. As a guardian of the kingdom of death, Kim is the one who allows people to remain by Yoon Seungho’s side or not, but since the painter is affecting the noble’s life, Kim can only perceive the painter as his enemy and source of danger. Yoon Seungho might decide one day that he would like to leave the property and join the capital.
And now, you are wondering why I believe that the butler feels guilty, but don’t forget that his bad conscience is not the real reason for staying by Yoon Seungho’s side. In my opinion, he is the one who abandoned the main lead, as he didn’t protect him from father Yoon and from the rape. Like I mentioned it above, the teenager trusted his butler and showed him his affection, therefore he must have considered him as his surrogate father. Yet the moment the former needed his help, the latter chose to do nothing and remained loyal to father Yoon. The young man must have felt abandoned and betrayed. How do I come to this conclusion? First, his attitude in chapter 64 shows him in a negative light. Out of fear and shock, he runs away and leaves the painter to a terrible fate.
(chapter 64) This is not the first time that the butler had a similar reaction. In chapter 26, he tries to calm down the painter asking him to stop crying, and when the latter criticizes him, the domestic decides to leave the bathroom with the excuse that he needs to fetch him new clothes.
(chapter 26)
(chapter 26) He is leaving the artist behind, as he doesn’t want to be confronted with his wrongdoing: his passivity and cowardice. Then when he meets the protagonist in the main way, he sees his cold and distant gaze. So he knows that his master is in a bad mental condition, yet out of fear, he still leaves the artist behind, well aware that something bad could happen. That’s why he chose to intervene in the shadow (like for example, sending a servant to the scholar) so that I am now convinced that he even witnessed what happened to Yoon Seungho, but chose to close the door. There’s a reason for this assumption. First, he is connected to an opened door. Secondly, there’s this incident with the door in chapter 16.
(chapter 16) The butler chose to open it in secret, because he desired to remain anonymous, so that his loyalty wouldn’t be questioned. As soon as it was opened, he ran away without looking back, fearing to see what was happening. That’s the butler’s trauma in the end. Back then, he chose to remain passive and close the door leaving his young master behind. But Yoon Seungho caught his terrified expression, which he can never forget, that’s why he pointed it out to the painter.
(chapter 64)
(chapter 64) He resented valet Kim for his betrayal and abandonment. That’s why I believe, in that scene, Yoon Seungho is using the same words than his rapist from back then.
(chapter 64) In this scene he is reliving his own traumatic past, the first rape. And after it had occurred the first time, the valet must have told him this:
(chapter 23) This idiom exposes his attitude, he will act, as if he knew nothing. And since I revealed that father Yoon trusted Kim and the latter was loyal to him, I am now quite persuaded that father Yoon is responsible for the sexual abuse of his son first. Striking is that my theory was confirmed in chapter 65 and 74. However, the valet acted, as if nothing happened, while the teenager was blamed for letting the servant see the rape.
(chapter 65) It is even worse than I had anticipated, because he was even asked for assistance, but the valet turned a blind eye. The advice (“ignorance is a blessing”) expressed by the butler exposes his complicity. The valet became the willing helper of a rapist. In his eyes, he couldn’t stop it, as he was just a domestic.
(chapter 65) Since Kim never revealed the secret of the “so-called conversion therapy” leading to the sexual abuse, father Yoon trusted his loyal servant. That’s the reason why he accepted to leave Kim behind. He knew that he would do anything to maintain the reputation of the Yoons. Furthermore, this trauma explains why the master keeps having sex outside the storage room. He is well aware that the servant will never remain there, hence he asks him in a cynical way if he wants to become a peeper.
(chapter 64) Now, I can understand why Yoon Seungho has such abandonment issues. For him, valet Kim was his father, as the latter was nice and caring for him. Yet during the rape, he did nothing, as he was just a servant. And now, you understand why he feels that he has been backstabbed by his two fathers, why the main lead is using his position to keep a boundary between himself and Kim and why he is using his right as lord to keep the painter by his side. He has internalized that being a lord can protect him from pain and vulnerability. In his delirious fit, he believes that he can get what he wants. Back then, he was just a young master and not the lord of the mansion, and Kim was just a domestic. After coming to this perception, I see the chapter 64 in a different way. The chapter 64 exposes the valet’s cowardice, culpability and selfishness, hence I judge the lord’s behavior in a different light. The monster is the result of the betrayal and abandonment from two fathers, and both decided to avoid reality and see the consequences of their choices. Notice that father Yoon ran away just like the valet. But the chapter 64 could mark a turning point in Kim’s life in my opinion, as he sees the consequences of his silence. That’s why the valet decides to accept the new situation:
(chapter 65) Baek Na-Kyum is now the lord’s companion, while in the past he used to plot against him. In that moment, the valet recognized that ignorance is not a blessing, because this doesn’t erase the event. Observe that Kim has a similar approach than Jihwa again. Since the painter returned to Yoon Seungho’s side, the noble has now the feeling that nothing happened. For the first time, Kim sees the true face of his master
(chapter 64), and the former contributed to this due to his passivity. Now, he is facing reality, seeing the consequences of his inaction. However, the butler’s resignation doesn’t is short-lived. It even looks like the butler didn’t learn his lesson, he chose to turn an blind eye to that terrible night finding fake excuses,
(chapter 65) even blaming the physician for remaining silent. And since Byeonduck has this approach that only pain can lead to changes, we have to imagine that Kim will have to suffer this time.
The chapter 16 exposes that Kim was well aware of his master’s action and decided to intervene. One might question the valet’s motives. If he intervened, why did he help the painter in the end? This would contradict my earlier interpretation: the butler is a dog and as such, he is obedient to his master. However, let’s not forget that he is a guardian of the Yoons and their reputation. By separating the commoner from his master, he ensures that Yoon Seungho’s reputation doesn’t deteriorate much more.
Kim hates uproars, as they represent a source of danger for his life. As you can detect, the butler is determined to protect the Yoons’ notoriety, but out of selfish reasons. The manhwaphiles should remember that in chapter 17, he asks the maids not to approach the study like that. He is determined to keep everything under cover. He disapproves the master’s actions, as they are going against social norms. As a noble, he shouldn’t have a sexual intercourse with a low-born. That’s why he let the boy desert the mansion after the rape. He didn’t do it for the artist, but for his master’s respectability, because if this was known, then the valet’s good life would be in danger. Kim has deeply internalized social norms, any deviation represent a threat to his peaceful live. Moreover, he would attract attention again. But when he witnessed the master’s despair and fury after the escape, where all the servants had to suffer the result of his decision, he chose a different strategy. Back then, I described him as his matchmaker. He tried to present his master in a better light so that the artist would have a change of heart and accept Yoon Seungho’s advances. However, now I have to admit that I have a different judgement. He was not a real matchmaker, he was trying to turn the painter into a favored servant so that the appearances would be maintained. He decided to use a similar strategy, the aphrodisiac as a first step. And with all these new discoveries, I come to the deduction that the butler was a real accomplice of father Yoon’s schemes. If they became close sexually, the painter would become a servant and take over his role as close assistant. That way, his presence in the lord’s bedchamber could be explained. That’s why he lets the painter attend the noble during his illness and even allows his presence, when the doctor is here. In other words, he would like to hide the scandalous relationship with the low-born under the pretense that he is just a favored servant.
Now, you can comprehend why the butler let Deok-Jae sell the expensive dresser
. (chapter 45) First, it symbolized that the painter was more than just a favored favor. But more importantly, he never cared about the item, since
(chapter 65) He knew that the noble wouldn’t pay attention to it, since it was broken. His passivity and silence explain why the servants could talk behind their master’s back and spread gossips, sell his things and even not follow his orders.
(chapter 32) Kim has no real control over the staff, although he is the right-hand of the master. His indifference and his fear for responsibility explains his lack of authority. That’s why in chapter 63, he doesn’t even attempt to correct the maids talking badly about Baek Na-Kyum, although he already knows that there’s more to it. His silence should be considered as a sign of admission, reinforcing the servants to think badly of the painter. The painter is a liar and betrayer. I have to admit that Kim’s passivity really annoyed me in that scene.
(chapter 63) He is indeed a hypocrite, a selfish person,
(chapter 64) although he doesn’t look like one. No wonder why the lord felt so betrayed and abandoned, and hates hypocrisy the most. He stands in opposition to Jihwa in the end. While the one did nothing, the other acted too much out of selfishness.
Furthermore, with this perception, the manhwaphiles comprehend why the domestic never tried to convince the painter directly that he was not a prostitute. Since the latter was no longer refusing his lord, then in his eyes he had achieved his goal. There’s no huge difference between a favored servant and a prostitute. Both are not allowed to refuse the sexual advances from the partner. They have no rights, their pleasure doesn’t matter. That’s why he saw no need to reveal the conversation between Jung In-Hun and Baek Na-Kyum. He only disclosed it, the moment he saw his master was able to get closer to the painter and the latter had overcome his heartbreak. Besides, this explains why he criticized the painter in chapter 52. He was not fulfilling his role as favored servant.
(chapter 52) He was not the “wife”, the mistress of the house, just a servant. As you can observe, the butler is someone who abides to rules very strongly, he can’t accept a relationship between a low-born and a noble. That’s why I come to the conclusion that Valet Kim never understood the real needs of his master in the end. He never grasped that the noble was missing love and couldn’t cope with his betrayal in the end, because for him love is not important, only a peaceful life. And with this new approach, it becomes understandable why Yoon Seungho was never repulsed by the low-born. Since his childhood, he felt closeness to a commoner, and considered Kim as his father.
But after the abandonment, Yoon Seungho had learnt a terrible lesson. Kim was just a domestic. This explains why there’s no intimacy and closeness in the present situation. Their actual conversations are very limited, the master gives orders or asks questions, but he never expresses his feelings or thoughts in front of the butler. He even hides his sadness and pain in front of him.
(chapter 56) He trusts him to a certain extent, because the valet took care of him, while he was delirious. The domestic even stopped him from committing suicide.
(chapter 57) Yet their relationship was never the same like in the past. For the lord, Kim decided to remain by his side out of loyalty and duty, nothing more. That’s why he is so adamant to remind the domestic of his actual position.
(chapter 50) This explicates why Yoon Seungho can’t trust Kim’s words in the end.
(chapter 62) In his eyes, he betrayed and abandoned him once, therefore it is definitely possible that he is lying. The longer the lord lives with the artist, the more he senses that Kim shouldn’t be trusted. This explicates why the lord’s relationship with the valet is deteriorating. In season 1, he never doubted Kim’s words, but now it has changed. The painter’s genuineness makes Yoon Seungho detect the butler’s fakeness and hypocrisy. And since the lord threatened him with the sword, I am envisaging that he will do it, the moment he feels that his loyal butler betrayed him.
That’s why I come to the conclusion that valet Kim didn’t consider Baek Na-Kyum as his new adoptive son and when he “defended” him, it was always because of social norms, because of the master’s rights and position . Notice that after Deok-Jae had played the “prank”, Kim criticized him and mentioned Yoon Seungho. His gesture could have affected the master.
(chapter 47) This explicates why the vicious servant never got punished in the end. Baek Na-Kyum was not considered as Yoon Seungho’s official partner, he was just a favored servant. This explains why he has no protection either and he could get kidnapped so easily. There was a motive behind his nice gestures. He desired Baek Na-Kyum to feel comfortable, so that he wouldn’t become greedy and not ask for more rights. He noticed his talent, when he saw his painting in chapter 44, hence he realized that painting meant a lot to him. Therefore he bought materials for him.
(chapter 45) The purpose of this action is simple. On the one hand, he gave the impression that he was protecting Yoon Seungho’s interest, on the other hand he was pushing the jealous servant to plot something so that Baek Na-Kyum would disappear. Kim was well aware of Jihwa’s visit in chapter 43. He knew that the second lead would do something out of jealousy. Kim needed the painter’s submissive attitude, as this could only affect his lord positively, turning the mansion into a golden cage. And while I envisaged that the shock Kim experienced during that night would make change his mind,
(chapter 64) chapter 65 even destroyed this expectation. He remains the same, because his philosophy is:
(chapter 65) Sure, he feels guilty again, as he tries to justify his silence and passivity with fake excuses.
(chapter 65) Yet, his guilt is towards Baek Na-Kyum, that’s why he is reminded of the past and his own cowardice. However, since he has always run away from responsibility, his remorse was never strong to make him reflect on his own behavior. Back then, he didn’t help his young master and remained silent and now the story is repeating itself. By connecting both events, it becomes obvious that Kim hasn’t changed at all. There’s a reason for that. He never suffered himself, like both main leads did. And like I wrote, for the author, pain is the driving force that pushes people to change.
As you could observe, valet Kim has internalized the values of his time and his social status. He liked Yoon Seungho, but not to the extent of considering him as his adoptive son. For him, he was just a commoner and a servant of the Yoons. Therefore he saw it as an act of disobedience, if he had protected Yoon Seungho back then and defied the master of the mansion. One might argue that he couldn’t have stopped it due to his vulnerable status. Yet people shouldn’t forget that Kim chose to remain, not only passive but also silent. Moreover, father Yoon trusted him so this means that the valet was his eyes and ears. He could have act behind his back. The result was that he became an accomplice of the perpetrator. By covering up the scandal, he contributed to Yoon Seungho’s misery. He chose reputation over a young boy, who truly loved him. That’s why the noble feels so insecure, even a commoner was not willing to show his love for him. The latter preferred covering up the crime, as reputation and norms seemed to be more important than a person’s life. He wanted to stay out trouble. And now, it is too late, as there’s a scandal which Kim couldn’t prevent. As you can see, no one in this manhwa is free from mistakes and huge flaws. Many admire the valet Kim for his loyalty and his secrecy (acting behind the lord’s back), yet under this new perspective these actions leave a bitter taste, because they all contributed to the misery of the two protagonists. In fact, I realize that this was done on purpose. Kim deliberately chose to ruin their relationship. But even if you can’t perceive Kim’s evilness, let’s not forget this saying, the road to hell is paved with good intentions, which would also fit the butler’s character. He means it well, yet his choices are terrible, as he prioritized the wrong values. Furthermore, willing helpers play a huge role in a dictatorship. Their excuses can be fear and cowardice, but also their adherence to the wrong values. Moreover, this truly exposes that internalizing social norms blindly can not be right, because people need to question them in order to bring positive.
That’s how I judge this character now. For me, Kim is not a father, but a black dog, the guardian of the realm of death. Hence the lord couldn’t come back to life. With this new interpretation, his death seems more imminent. By dying, the butler contribute to the lord’s emancipation. The latter can finally leave the mansion, his prison. It was the place where he lived a hell.
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Painter Of The Night: Baek Na-Kyum’s confessions (part 2) (second version)
This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents: https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night/
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In the first part, I demonstrated that the night in the episode 49 marked a pivotal moment in the painter’s life, for he was abandoning Jung In-Hun’s doctrines and cutting ties with the scholar for good. First, he had asked the valet Kim to get rid of the painting about Jung In-Hun’s inauguration, which showed that he was taking his distance from his former admired sir.
(chapter 44) He saw it as a confirmation that the teacher had truly abandoned him, for he never bid goodbye to him. However, now I believe that Kim never informed the artist of the scholar’s departure.
(chapter 44) He just delivered it in delay so that the artist would feel even worse than before. Without the farewell, he could only come to the conclusion that he had been truly abandoned by Jung In-Hun. Yes, the artist didn’t react like the butler had expected. He remained in the mansion despite the gate had been left wide opened. By getting rid of the painting, he was cutting ties with the learned sir. Yet this was a baby step compared to the scene in the chapter 49. Here, he has finally become the master of his own life and fate therefore he’ll live his life the way he wants. He is accepting his homosexuality and as such his sensuality. He views sex as a part of his life. He rejects abstinence and doesn’t view sex as an addiction.
(chapter 49)
Furthermore I explained that he became a full-pledged person again, as he regained his own identity. We could even say that he had lost his identity as a painter. In the first chapter, the aristocrat was looking for the painter hiding behind a pseudonym and not for Baek Na-Kyum himself. Their first wedding night changed everything: from that moment on, Yoon Seungho wanted the man Baek Na-Kyum and not the painter- Hence the creation of new drawings became obsolete. For Yoon Seungho, only an image about their first night mattered, as he perceived as a validation of their marriage. But back then he was not realizing the signification of this wish. Yet as you can imagine, it is impossible to separate Baek Na-Kyum from his true vocation. That’s a part of his identity. So when he explained his reason for the “why”, he revealed many things. First, he accepted his homosexuality and his physical attraction to Yoon Seungho and indirectly that he was a painter, although he didn’t verbalize it loudy. Many readers were upset because they thought that Baek Na-Kyum was still acting as a prostitute at the end. The reason for their interpretation was the following picture:
The lord’s thoughts were reflecting the artist’s mind-set. Yet, observe that in this scene, the real “prostitute” was more the lord. Why? It is because the painter had stipulated that it was the noble’s duty to lick him and as such make the painter feel good. Yet, there was a slight difference. A prostitute’s duty is to focus on the client’s pleasure and not on her/his own sensuality. Yet, observe that the noble’s thoughts are revealing that he will make sure that he enjoys their sex/love session too. Since he said that he would let his body lead him and his life, they thought that he was selling his body. But no, here he was saying that he would also pay attention to his own needs too. In other words, he was becoming a libertine, exactly like the painter. Both chose to live as libertines during that night. People would call it: a relationship with no string attached. However, what these readers failed to realize (in my perspective) is that Yoon Seungho and Baek Na-Kyum never mentioned any remuneration in exchange for sex, while it was different in the past (chapter 46).
In fact, in this image, he was acknowledging his other part: he was a painter.
I regard this expression “my body take the lead” from Yoon Seungho as a reflection of the artist’s true and original belief, before he was brainwashed and almost destroyed by the teacher. It is strongly connected to his painting. Remember that when he was a child, he painted an erotic image of sodomy.
(chapter 1) I perceive this image as an indication that the artist had dreamed about this love session. Note that all dreams about the painter were linked to sex and love. For me, this picture is a proof that the brothel had nothing to do with it. He was drawing outside and he had no model for such a scene right in front of him. In other words, the child allowed his body (his arm, hand, eye and brain) to take the lead, hence he was able to create such a sensual picture. Even Yoon Seungho wondered how a virgin could produce such beautiful drawings.
(chapter 20) I have always pointed out that Baek Na-Kyum was a homosexual right from the start, which he accepted as something natural. He was also encouraged by his noonas.
(chapter 87) He saw no crime in it, rather as something lovely and beautiful, hence he never felt the need to hide it. Notice that in this picture, he was creating such a lewd painting
(chapter 1) where people can behold it, he feels neither shame nor embarrassment. He had no idea that he was violating social norms. That’s why I came to the following interpretation, when the painter said
(chapter 49), he was rediscovering his old belief, he wouldn’t feel flustered if someone calls him a sodomite or whore due to his paintings. Notice that he didn’t blush, when he heard Min’s comment or when he saw the sudden kiss.
(chapter 49) Now, you understand why I was really happy with this chapter. Baek Na-Kyum was slowly returning to the person he was in the past before the teacher and his noona Heena transformed him into a shadow of himself. He was accepting every part of himself: his sexual desires, his sexual orientation and more importantly his work as painter.
The commoner was already an empty shell, when he met the main lead for the first time. Let’s not forget that he was living as a drunk, since he had vowed to never paint again.
By forcing him to drop painting, Jung In-Hun had already ruined the low-born’s life, as painting was a part of his soul. We could say that the low-born was already withering. However, back then Yoon Seungho was not interested in why the painter suddenly dropped his true vocation and why he lied to him too. The lord was more obsessed with the erotic drawings. The cause for this long explication is necessary as with this interpretation, I am predicting what is going to happen in the future.
This signifies that after this episode, Baek Na-Kyum’s talents will return with full forces and Yoon Seungho will even be his source of inspiration. The lord will become the artist’s new muse.
In order to understand this, we need to go back to the chapter 46. There, the beholder could sense that Baek Na-Kyum had lost his passion for painting despite his claim.

His head was down, his cheeks were red as if he was feeling ashamed. Furthermore there was no real passion in his eyes, when he conceded it to the head-maid. His confession about liking to paint was indeed meek. The lord’s observation made later was correct, although he never got to hear this revelation. Here, this drawing illustrated the frozen state of the painter, the loss of his soul and talent.
The artist was only able to produce a new painting because initially he masturbated. Striking is that this scene was a clue about the artist’s original belief.
Here again, he allowed his body to take the lead, but it was once again behind closed doors and nobody was present. He was hiding again, indicating that he still wouldn’t admit his own sexual desires and his homosexuality. Until now, he had only asked for comfort and love from his counterpart (chapter 20/21 and 41/42). Remember that in the chapter 41, he just asked to be hold and as such, he only wanted to be embraced initially. However, due to his inexperience and pain, he confused love with sex. As you can see, the belief “the body taking the lead” had resurfaced indicating that little by little, the painter was changing. More importantly is that he hadn’t been triggered by an immediate sex session, unlike in the past (chapter 8/9). For the first time, Baek Na-Kyum’s sexual desires had come back to life. Unlike in the past, he didn’t judge the cum as something dirty and filthy. Moreover, Baek Na-Kyum could only ejaculate due to Yoon Seungho’s warmth and love. He had these flashbacks where the lord made love to him.
Thanks to these two elements (the body taking the lead and Yoon Seungho), he could paint again, however he could just create an unfinished and unrefined drawing because of the image he had of himself: a prostitute. His talents were diminished, even the lord’s influence couldn’t remove the false reflection about his identity caused by the scholar’s punishment. In this scene, we had another confession: Baek Na-Kyum was no longer hating the noble indicating that in the end, he had forgiven him for his wrongdoings:
- The brutality the painter was exposed to due to the noble (chapter 1, 11, 25, 26, 27, 28, 30, 31-33)
- The rape
- The forced fellatio
- The sex marathon which made him really sick to the point that he could have died
Sure, he was only talking to himself but in the retrospective, I interpret this scene as the prelude of Baek Na-Kyum’s real transformation. By forgiving the protagonist, the painter has already started valuing the lord differently. The chapter 46 revealed the growing influence of the noble in the painter’s mind and body. He had already started being an inspiration for the artist’s new work. One might argue that this had already happened in the past, yet I have a different perception. In the first part of the first season, Yoon Seungho was forcing the commoner to paint, the latter had no choice to have the master as his model. Then Yoon Seungho was hopelessly waiting for the drawing of their “wedding night” which never occurred. The painter chose to ignore this night and to repress his memories. Then in the chapter 41, he painted so many images in order to ease his pain.
That’s why his paintings lacked passion and warmth. He was working like a robot. As a conclusion, until the chapter 46, Baek Na-Kyum never considered his “husband” (I am well aware this is not how Baek Na-Kyum perceives Seungho) as his muse. He just used him as his model as he had been forced to or he wanted to smooth his agony.
In the past, I used to belive that Jung In-Hun was Baek Na-Kyum’s first love and he became his muse. However, later on I realized that the artist started painting for a different reason: survival.
(chapter 1) He had no choice. He had to paint erotic paintings. Thus I conclude that the artist couldn’t fully show his true talent and express his passion for painting totally. Yet, his publications were still beautiful, since the lord’s heart and gaze were moved. On the other hand, the noona Heena sent her adopted son to Jung In-Hun, because she feared for her brother.
(chapter 46) However, I believe that she was acting on the learned sir’s request. She justified her decision to send him away to the teacher, because she knew that by the learned sir’s side, the artist would never outlive his homosexuality. She imagined that the low noble was her son’s source of inspiration
(chapter 46), whereas the artist had other motivation. Therefore she thought that it was for the best, if he was by the teacher’s side. I assume that the teacher wished the low-born by his side for two reasons: money and the prospect to benefit from Baek Na-Kyum’s talent. It is very likely that out of greed, the learned sir desired to sell the painter’s works for his own benefit. But for the artist had been requested to paint these erotic paintings for survival, I come to the conclusion that he had been asked twice to paint erotic pictures. The first time, it was for a precise client, and the second time it got sold among the commoners, which explains why the tailor knew about the identity of the painter.
(chapter 64) There’s no ambiguity that the scholar’s prospect got ruined, hence he unleashed his jealousy and resent onto the painter, until the man vowed to follow the scholar’s doctrine. The poor man could never tell Heena about the physical and mental abuse, as he had already been abandoned.
(chapter 34) He had to keep his promise to never return to the kisaeng house. I believe that the kisaeng must have used this incident
(chapter 94) to send her brother away and exactly like in chapter 44, she made sure that the noonas wouldn’t be informed. That way, she could deceive her colleagues. It had been the painter’s choice.
(chapter 93) For the man was his guardian, the low-born had to accept his situation. But since he was just a low-born, I doubt that he could sleep in the same room than the scholar. From my point of view, he had to sleep outside on the wooden planks, the older version of this scene.
(chapter 1) Therefore it is not surprising why he didn’t leave the mansion in the end and why he said this to the head-maid.
(chapter 46) He could live a normal life again. Besides, since the coercive persuasion, Baek Na-Kyum had been unable to paint, not just because of the vow in my opinion. Jung In-Hun had trained his body and mind to disregard his impulses. His body was not allowed to take the lead, hence he had to drink in order to numb his soul. 
(chapter 75) Painting was his passion, and the childhood drawings kept by the noonas clearly indicate that he didn’t paint erotic paintings, since he was a child.
(chapter 94) He painted animals and as such nature.
This changes the moment the painter meets the protagonist Yoon Seungho. The noble is able to trigger his unconscious, therefore he is able to create a terrific painting,
(chapter 2) although he hadn’t created anything for almost one year. From my point of view, this is the return of the painter’s passion. That’s why he paints under trance. Even the master was expecting that the painter wouldn’t be able to produce such a good work right from the start. However, he was proven wrong. Now, I am wondering if this gesture wasn’t the light igniting his repressed sexual desires and as such his dormant talents:
(chapter 1) Sure, the painter’s mind was reminding him that this is filthy and vulgar, yet I sense that this affected the artist’s unconscious a lot. All the wet dreams Baek Na-Kyum had, the seme’s phallus played a huge part. Thus we have such drawings in the fantasies, where the protagonist’s sex is in the center of the painter’s imagination:
(chapter 2)
(chapter 6)
(chapter 8)
Since in the chapter 49 he confesses to his “husband” that his body is affected by him,
(chapter 49), it becomes obvious what this confession means. In front of his partner, the artist is declaring that he will use their sex session as a source for his creativity. On the surface, it looked like the painter was using the noble as his sex toy, since the latter is the one kissing, licking him so that he feels good. Hence the latter got upset while hearing this admission. However, the real message is that his interaction with Yoon Seungho will help him to create new paintings. As you can sense, Yoon Seungho is getting closer to his ultimate goal each time. From my point of view, this was only a matter of time, until the painter realized his true feelings for the noble. It would have come much sooner, if people like Kim, Jihwa and Heena hadn’t meddled in his life. From my point of view, when Yoon Seungho was thinking this
, the painter had the exact same mind-set. Since he would follow where his body would lead him, then this meant that he would follow his heart. Thus we have this confession in the kisaeng house:
(chapter 94) The painter followed his heart. Observe that the numbers have been switched: 49-94. The mirror effect and in the study we had a reflection too. Both main leads reflected each other’s minds: acceptance of a sexual relationship, but rejection at the same time, no strings attached.
The heart is a part of a body and soul. This means that the lord has already become the painter’s source of inspiration.
(chapter 94)
(chapter 94) So the lord is now associated to the moon and as such to nature. Thus I conclude that the noble will discover the painter’s true talent. From my point of view, his new paintings won’t be just erotic pictures about himself with the uke, but also about nature (animals, plants). The diversity of the topics will increase, yet I am sensing that the pictures will definitely reflect the painter’s love and admiration for the seme.
(chapter 92) Yes, it is very likely that Baek Na-Kyum decides to recreate this scene, because we could see that Baek Na-Kyum’s heart and soul was moved. A new version of this scene:
(chapter 36) Besides, the painter’s works will reveal what the protagonists feel and think about each other: love.
But let’s return our attention to episode 49. In my opinion, the last thoughts in this chapter illustrate the protagonists’ innocence. Both were deceiving themselves in order to protect themselves from pain. These confessions reflected their similar philosophy: “to let my body take the lead” and as such the acknowledgement of sexual pleasure.
First,
the ” I feel good” symbolizes the climax of his disclosure. Note that “I” and the body “feel good” are what matter to the painter. The noble comprehends the low-born’s philosophy, hence he is annoyed.
(chapter 49) But the kiss and the caress catch the powerful noble by surprise. These gestures stop him from complaining, because he is surprised by the painter’s initiative. Simultaneously, the kiss reminds him of the first Wedding night. This time, the artist is kissing him and not the scholar, so it is an improvement. He is recognized as his sexual partner.
Striking is that we see the lord making love to Baek Na-Kyum, for he is hugging the painter’s body
. He is even protecting his head. He has never been so close to him before. Despite the hurt, the noble accepts his new situation, unaware that he has come one step closer to his goal. The tragedy was Yoon Seungho had no idea about his real wish. Unconsciously, he desired to be loved by Baek Na-Kyum. This explicates why it took so long for the protagonists to become a real couple. The lord had not recognized the existence of his affection. He thought, he was motivated by his mind, which is here reflected in the study. The reality was that he was motivated by his wounded heart. However, deep down he was lowering his expectations, for he had been hurt.
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