Protected: Painter Of The Night: Tears and characters – part 2 – second version
Tag: Chapter 66
Protected: Painter Of The Night: The gifts 🎁 (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/
Feel free to 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. It would also cover my expenses for the blog.
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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Protected: Painter Of The Night: Karma (third version) 💩🕉
Painter Of The Night: The Ghost and the embrace 💞
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 you can imagine, the embrace between the two protagonists stands in the center of this analysis, because we had so many pictures with a hug, like these two:
(chapter 76)
Yet, the peak was reached with the following picture, for Baek Na-Kyum and Yoon Seungho seemed to have merged as one: 
The readers can barely detect the painter’s presence: only his head and hand are visible indicating the depth of their intimacy and closeness. However, the title is mentioning the presence of a ghost. The latter can not be Yoon Seungho, because the panel above announces his official wedding with the commoner due to the presence of the red and blue lanterns called Cheongsachorong. These are used for wedding ceremony in Joseon. Therefore who is the ghost? And why do I perceive the existence of a spirit in this chapter? But before revealing the identity of the ghost, I would like to expose the reason behind such a title. While focusing on the embrace, I came to the following observation.
Each time Baek Na-Kyum and Yoon Seungho embraced each other, I detected the presence of a ghost. During the second season, we had 6 real hugs:
- chapter 49,
- chapter 53
, - chapter 62 ,
- chapter 66
, - chapter 71
, - chapter 76.
While comparing all the hugs, I will determine the ghost’s identity each time. In chapter 49 the painter was reminded of Jung In-Hun due to the warmth exuding from the main lead. The painter couldn’t restrain himself from thinking about that fake embrace
(chapter 29), therefore he chose to push away the wealthy aristocrat out of fear that he might get hurt and betrayed again. The commoner judged the embrace and warmth as a deception. This means that the low noble as a “spirit” was the reason why both protagonists couldn’t get closer. The low-born was only acknowledging Yoon Seungho as his sex partner and nothing more. Striking is that in episode 76, we have a reference to the hug from chapter 49, as the position of the painter’s head in this image
resembles a lot to this one: (chapter 49). Yet the outcome is different, as the manhwaphiles can witness how the painter moves his head closer to Yoon Seungho’s. 
Moreover, the artist’s gaze is truly looking at his lover. We even have the impression that the artist is smelling the lord’s scent in order to reassure himself. Although the manhwaphiles couldn’t enter Baek Na-Kyum’s thoughts this time, they could perceive the change of his attitude. The embrace is no longer judged as fake. This signifies that the ghost Jung In-Hun has vanished for good, which is even reflected in a different panel: (chapter 76) The lord allowed the low-born to embrace him in front of people, whereas the scholar had to ask the commoner to follow him in a deserted alley. 
(chapter 29) The low noble feared people’s gaze, his attitude truly showed that he didn’t want to be connected to Baek Na-Kyum. His action was definitely a sign of hypocrisy and cowardice. That’s why in chapter 76, the painter could only come to the conclusion that the lord’s embrace was genuine and the lord’s feelings were not trivial. Moreover, the main character never pushed his lover away
(chapter 76), he even lowered himself and sat down on the ground for a while, so that Baek Na-Kyum could calm down. Imagine, when the powerful lord arrived to the place where the main character had a panic attack, everyone was bowing in front of the noble. 
They didn’t even dare to face him, yet when he saw his lover trembling, the master lowered himself and attempted to help his partner. However, his gestures led to be misinterpreted in the beginning, hence a shop owner started interfering. 
However, he was stopped with a frightful gaze: 
Besides, when the noble kept calling the protagonist in an informal way (Na-Kyum-Ah), people could realize his real intention. He meant no harm. In fact, he was treating the low-born like a precious treasure, who needed help.
By calling his name Na-Kyum-Ah, the main lead tried to reassure his lover. Hearing his name made the low-born realize that he wasn’t attacked by the jester. This explains why the artist immediately embraced his companion. (chapter 76) Thus we could say that “Na-Kyum” had finally become a magical word like Seungho-Ya. Another contrast to the scene in episode 29 is that the way the low noble called Na-Kyum. 
(chapter 29) The former teacher was just caught by surprise, hence “Na-Kyum” was said more or less randomly. On the other hand, Yoon Seungho used this name as a sign of intimacy. He desired to give comfort and warmth to his lover. And now, you understand why Baek Na-Kyum hugged his lover by instinct. With his embrace, the protagonist would feel safe, which contrasts so much to the one in chapter 29. Back then, after the hug the learned sir brought the artist back to the mansion, although the low-born had run away out of fright. He mostly feared for the scholar’s life 
(chapter 29) thus he tried to find him. And now the mansion has become the painter’s home, just like the lord’s embrace. It is a synonym for comfort, warmth and safety. Another huge contrast is that for the first time, the painter asked for Yoon Seungho’s help directly. (chapter 76) Imagine that so far, he has never relied on others. Even as a low-born, he was willing to save others (Jung In-Hun or Deok-Jae or Heena 
(chapter 65). Surprising is that when he was bullied by Deok-Jae, he never complained and asked for the head-maid’s assistance or his lover’s. His attitude to never rely on others was even more perceptible in his escape in chapter 46. The cause for this behavior is linked to his abandonment issues. Due to his past, he was forced to only rely on himself. Nonetheless, in chapter 76 he changes his attitude. This shows that he is now opening up. That’s why his head rests on the lord’s shoulder completely. (chapter 76) This is a sign of trust, Baek Na-Kyum is willing to trust his lover. By comparing these 2 hugs, I come to the conclusion that Jung In-Hun has been totally removed from the painter’s mind as well. This embrace and marriage represent the scholar’s defeat. From now on, he won’t be able to use the painter as his pawn, because the latter is no longer attached to him. The lord’s love for Baek Na-Kyum can not be used as a weakness, since the low-born is reciprocating the affection. That’s why I would say that this panel (chapter 76) embodies the learned sir’s loss. There’s no one separating them, not even Heena noona who was the last person defending the scholar and as such representing his interest. So was Jung In-Hun the ghost I was referring to? Yes and no… because there’s more to it. That’s why it is important to examine the other embraces.
In chapter 53, the ghost was Yoon Seungho himself, since he was considering himself as a spirit. (chapter 53) However, the painter’s hug made him realize that he was a human after all, and that his fists and punches could definitely hurt his precious painter. Unlike in chapter 76, the painter’s voice couldn’t calm down the vengeful spirit
(chapter 53), hence the gentle boy needed to intervene directly. The lord was definitely deaf to the artist’s words. Striking is that here again, we had the presence of danger, the painter feared for Deok-Jae’s life. Moreover, despite his fear and shaking hands, (chapter 53)the commoner chose to protect the vicious servant, but Yoon Seungho too. He desired him not to let his emotions blind his behavior. The gentle and selfless man didn’t even ask for help, he stopped the noble with his body twice: first his face, then he hugged him. Striking is that in chapter 62 and 66, we had a similar situation. One of the protagonists was behaving like a ghost. In chapter 62, Yoon Seungho, who was reliving his traumatic past, almost became a demon
(chapter 62), whereas in chapter 66 the artist had a flashback, hence he wasn’t himself. 
(chapter 66) This meant that in both episodes, neither the aristocrat nor the commoner could sense the lover’s comfort and warmth. 
(chapter 66) Both of them didn’t feel safe and displayed extreme fear due to betrayal and abandonment.
But let’s return to the embrace in chapter 53, because this incident has another common denominator with the embrace from episode 66 and 76, the presence of a certain witness: Black Heart. 
There’s no doubt that the vicious noble felt extremely jealous in both episodes (53-66). The manhwaphiles should envision that despite his rage and his terrible behavior, the artist was willing to embrace such a man, which could only make Min envious. Moreover, the low-born showed courage and even strength. He didn’t reproach anything to his sexual partner. He just attempted to calm him down. Then even after seeing how poorly the main lead had treated the artist, the latter chose not to leave Yoon Seungho’s side. Min was definitely certain that after waking up, Baek Na-Kyum would follow his sister and come back to the kisaeng house. 
(chapter 69) That’s why he was waiting there. He imagined that the boy would be delivered to him on a silver plate, yet nothing like he had expected happened. In chapter 76, we have a new version of chapter 53. However, when Black Heart witnesses the painter’s second embrace, he can detect the huge difference. (chapter 76) This time, the artist is seeking his lover’s warmth and love. There’s no fear related to the “monster”. While in the past (53-54) The Joker mocked Yoon Seungho for his affection, here he can’t do it at all. The noble is not denying anything. In fact, he accepted the low-born’s embrace without feeling shame or embarrassment. He didn’t pay attention to the town folks, he just followed his heart. While in chapter 54, Min was able to separate the protagonists with his mockery and words
(chapter 54), in episode 76 Black Heart is truly defeated. And by contrasting these two scenes, it becomes obvious why Yoon Seungho assaulted his guest back then. The noble was in fact punishing The Joker for insulting his lover, as the latter was just reduced to his status: a low-born. He had no name and as such no identity. The powerful aristocrat didn’t do it in order to protect his honor, but the artist’s. At no time, the main lead was afraid of losing his reputation, he is well aware of his bad notoriety. Thus this shows that in chapter 54, the one who feared more social norms was indeed Baek Na-Kyum, which was still visible in chapter 75. That’s why the commoner denied the lord’s affection. (chapter 54)The expression “it can’t be” was referring to permission and social rules. No wonder why the noble felt so hurt in the end and retaliated. He misunderstood the artist’s rejection.
What caught my attention in chapter 76 are Black Heart’s behavior and words. First, he notices that he is too late. (chapter 76) He imagined that time would work for him, as in his mind, no one would ever stay by Yoon Seungho’s side. That’s why he didn’t hurry the second abduction. The latter had such a terrible reputation (mood swings, his huge rage, his violence), yet nothing could pressure the artist to leave the mansion. Even his noona was not able to convince him to follow her and to return to the kisaeng house. However, when he saw the couple in front of the tailor’s shop, his jealousy and greed reached a new peak. That’s why that night he had planned to visit Nameless. He wanted him to abduct the artist a second time. The expression “time is running out” outlines The Joker’s urgency. He couldn’t wait any longer, as he could witness how close they had become within 2 weeks. And if you look at the panel above, you’ll detect the presence of a shadow, in other words, a ghost. However, this is the jester Nameless looking at the couple. When the painter faced the joker
(chapter 76), the ghost from his nightmare
(chapter 61), the painter got so panicked that he got paralyzed. Only the lord’s embrace could calm him. As you can see, the commoner denominator between 53 and 76 is that the presence of a terrible ghost. The latter pushed the artist to embrace his lover. This time, he needed himself protection. However, Nameless was not the only ghost witnessing the protagonists’ embrace. Lord Min has already become a ghost himself in my opinion. First, he is wearing a black hanbok which I am associating to death. Moreover, because he threatens the criminal to kill him
(chapter 76), I view The Joker as a grim reaper. What caught my attention is his reaction, when he saw the heartfelt hug. He had to vomit and this is no coincidence. 
(chapter 76) Observe that the color green is connected to two reactions: “to be green with envy” and “to be green” (sickly). Besides, we have in French “être vert” as a synonym for fuming, furious and disgusted. Hence it’s not surprising that it exist these emojis: 🤮🤢. Both contain green. That’s why I believe that when Min saw the embrace between the protagonists, he got so upset and disgusted that he felt the urge to vomit. It was definitely a mixture of envy and rage. However, he had to lie to the others in order to hide his “weakness”. 
(chapter 76) For me, there’s no ambiguity that The Joker was not honest here. First, he has no dark circle and red eyes like Jihwa who definitely drank again.
(chapter 76) Besides, has Black Heart ever apologized to others? No. He didn’t even care, when he smoked opium in front of commoners. When he was asked to stop it, 
(chapter 52), he never expressed a real apology, he rather criticized the other for ruining the good mood and his fun. Besides, he looks down on low-borns and even Jihwa…
(chapter 76) so why would he apologize? It is, because he is slowly recognizing that his urges for Baek Na-Kyum are not linked to sex!! When he saw the hug, he could recognize the affection between the two lovers, and he felt powerless. Moreover, he envied Yoon Seungho even more than before. Let’s not forget that Min fears social norms despite his nihilistic tendencies. In this scene, the main lead showed courage and genuine affection, something that The Joker can’t do. Till chapter 76, he thought that he had been bewitched and he only felt the urge to have sex with Baek Na-Kyum. In other words, he wasn’t honest to himself and to the others. Until now, he had always imagined that once he had tasted the artist, his thirst would be satisfied. But the warm and tender embrace made him realize that he was wrong. Consequently, when he saw the hug, his envy and jealousy reached a new peak. He had to vomit. This signifies that the resent from chapter 53 became much stronger and obvious to the point that others could detect it now. Hence he has to lie. But in my opinion, he had another reason for vomiting. From my point of view, while the main lead spent his time drinking and reading, Min was busy smoking opium. Let’s not forget that Byeonduck portrayed Min with such a hanbok 
(chapter 56) and the pattern reminds the readers of opium smoke. Contrary to Yoon Seungho who only smoked it once during that terrible party, Min chose to keep smoking opium. First, the manhwaphiles could detect that he enjoyed the kick in chapter 52. 
(chapter 52) Secondly, the hanbok was another indication. Finally, I perceive the lord’s nausea in chapter 76 as another evidence for Black Heart’s opium addiction. Vomiting/nausea are listed as side effects of opium. From my point of view, when he saw the happy couple in the street
(chapter 74), he chose to smoke one pipe in order to relieve his frustration before visiting Jihwa and urging him to contact Nameless. This was a new version of chapter 56. That’s why they came both to meet the criminal. 
(chapter 76) Hence I come to the conclusion that Min is slowly turning into a ghost himself, losing his mind due to his addiction to opium and at the same time due to his greed and obsession for Baek Na-Kyum. The embrace in chapter 53 led to the kiss and indirectly it was the trigger for Min to change his original plan. 
(chapter 56) Therefore I deduce that this second embrace is forcing him to change his plan again. From my point of view, he is no longer interested in tasting the painter once and have him killed afterwards. Black Heart is now determined to take away Baek Na-Kyum from Yoon Seungho. He is definitely longing for the artist’s love. He has every reason to be so jealous. The painter showed such a loyalty and courage. He is no longer fearing people’s gaze unlike in the past. Then, he even forgave his lover for his violence and mistreatment. Slowly, Min is showing his vulnerability in front of Jihwa and as such losing his power over him. He is definitely less laughing. As a conclusion, in chapter 76, the ghost Jung In-Hun vanished for good, while a new one appeared: Black Heart, who is now dressed like a grim reaper. However, there’s a huge difference, because Min has never entered Baek Na-Kyum’s mind and heart. He has no chance at all.
But wait… you might now wonder why I have not mentioned the hug from chapter 71 yet. Where was the ghost? Note that in this panel, the artist is portrayed without eyes. This insinuates that the artist is somehow blind. Secondly, we have this picture where the manhwalovers could see the lord’s footprints. 
(chapter 71) My explanation is the following: Baek Na-Kyum wasn’t sure how to judge the lord’s behavior. Imagine that in the morning, his lover had tied him up, while in the evening he was so gentle and calm. That’s why I believe that in this hug, the artist wasn’t certain how he should perceive the lord’s embrace. He knew that it was no longer fake, but like he explained it much later… how long would Yoon Seungho have feelings for him? Therefore I believe that in this scene, Baek Na-Kyum viewed him as an illusion, a spirit who could give him warmth and comfort. 
(chapter 71) Note the difference with the following picture: (chapter 76) First, the painter’s gaze is much softer and less questioning. In addition, the position of his head is different which exposed that they are much closer now. Besides, let’s not forget that the embrace took place before the long love session. The artist’s reaction was totally normal.
As a conclusion, the last picture from chapter 76 displays two major developments. (chapter 76) The protagonists are no longer separated by their fears and issues. The ghosts in their mind and heart have finally disappeared. That’s why they are portrayed like one here. However, there are now other shadows and ghosts surrounding them, the ones who would do anything to destroy their relationship, like Min, Jung In-Hun and father Yoon.
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.
Painter Of The Night: Truth and memories (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/
Many readers are able to recognize the similarities between chapter 40 and 75, because both episodes contain the following elements:
- The prank:
(chapter 40) 
(chapter 75: repetition from chapter 74) - The presence of the bulletin board
(chapter 40) versus 
(chapter 75) - The honest conversation between the protagonists, where Yoon Seungho is encouraging his lover to introspect himself
(chapter 40) versus 
(chapter 75) - The color of the sky
(chapter 40) versus 
(chapter 75) - The presence of memories:
(chapter 40) versus 
(chapter 75)
Yet despite all the parallels, if I had to give a title to chapter 75, I would select “Memories” and not “Responsibility”, although the latter is still present in episode 75. Why? It is, because the painter talks about his past and youth and as such, he is forced to bring up memories. 
(Chapter 75) And this made me realize two things: Baek Na-Kyum embodies memories, hence we got many flashbacks from the painter (chapter 2, 11, 23, 34, 38, 40, 41, 46, 56, 57, 60, 66, 74, 75), whereas Yoon Seungho embodies truth. Note that unlike the artist, Byeonduck showed us only a few memories from the aristocrat (chapter 19, 25, 48, 55, 74 with the nightmare). Moreover, the latter is always confronting the painter with his questions and observations. The noble wants him to be true to himself and question his own motivation. (Chapter 75) And this observation made realize another aspect about Yoon Seungho, because unlike chapter 40, the aristocrat stands in the center of episode 75: the significance of memories in the lord’s life.
1. Memories and identity
In order to understand why I came to this conclusion, it is relevant to examine the memories in chapter 40 due to the parallelism. There, the painter recalled the questions and comments from Yoon Seungho, which incited the commoner to ask his teacher about his future. Once the scholar had succeeded, would he become responsible for the painter, like he had implied? And observe that during the confrontation, the artist used a statement from the past: 
(chapter 29) Thanks to the memories, the low-born had gathered courage and faced his teacher. However, this discussion led to a tragedy. Baek Na-Kyum got hurt, because his learned sir chose to destroy him in the worst possible way. With his words, he showed his true thoughts 
(chapter 40) and in order to reinforce his statement, he made sure that Baek Na-Kyum would perceive his real gaze: cold and ruthless. 
(chapter 41) But more striking is that the scholar used memories (the kisaeng house) to define the painter’s identity: he was born to be a prostitute despite his “lessons”. He puts the whole responsibility and blame on the commoner. As a conclusion, the memories served in the conflict to identify Baek Na-Kyum. Who was he really to the scholar? Was he his helping hand, like the low-born claimed, or was he just a “prostitute” according to the scholar?
2. Memory loss and identity
This connection between memory and identity in the manhwa is not random, because according to John Locke’s “memory theory”, a person’s identity only reaches as far as their memory extends into the past. In other words, memory is a necessary condition of personal identity. Thus, as a person’s memory begins to disappear, so does his identity. Therefore, we could say that without memory, there’s no identity. On the other hand, in my previous analysis, I had demonstrated that the lord’s unconscious was trying to force his conscious to remember his past, because he had repressed his traumatic past. This meant that he was suffering from memory loss. Hence we could say, that he lost his own identity. This is not surprising that childhood trauma and memory loss go hand-in-hand. Blocking out memories can be a way of coping with the trauma. It goes even so far that an adult survivor of childhood trauma can even believe that he was never a victim of childhood trauma. Consequently, in case of a permanent memory loss, it signifies that the victim even loses his own identity. Since my theory has been confirmed that the lord was a painter in his youth, chapter 75 actually exposed the memory loss in two different ways:
- First, the lord couldn’t even remember painting an orchid
(Chapter 75), an indication that his short-term memory was defective due to his lack of sleep. - However, the master’s hand could still paint a orchid without paying too much attention to his hand. It exposes that it was actually an automatic gesture, revealing that he had internalized such a gesture in the long-term memory. And note that when he did this, he mentioned his youth
(chapter 36) Therefore I come to the conclusion that Yoon Seungho’s short-term memory is not working properly. Imagine, he could remember one incident from his childhood, but he couldn’t remember painting the orchid. Hence I believe that the lord can’t even reminisce the drawings in chapter 8 
and 23 
. Only thanks to Baek Na-Kyum’s mention, he was able to recall the drawing. Thus the manhwalovers can comprehend why I consider the artist as a synonym for memories.
3. Trauma and memories
But in the manhwa, there’s more than just memory loss due to a coping mechanism. Traumatic events such as sexual assaults, are encoded differently than more routine due to extreme fear. The victim won’t be able to remember everything, just details, the chronology will be mixed up due to existential fear, that’s why if you recall the following panel, you’ll truly grasp the real atrocity of Yoon Seungho’s suffering. 
(Chapter 65) While he can’t remember what truly happened due to his poor emotional and physical state, Kim somehow blames him. The young master is so confused that he has to defend himself. This means that after the first rape, the domestic didn’t even comfort the protagonist, but he used the victim’s vulnerable state of mind (who was confused due to this terrific incident) to manipulate the noble’s memory.
That’s why when police investigate a sexual abuse and interview a victim, the latter will always be interrogated twice. The first interview focuses more on the sensory and emotional memories, while during the second, the officers will try to reconstruct the chronology. This explicates why they always wait for quite some time for the second statement. It is necessary, as the memories are now stored and they can be retrieved, although due to fear and stress, the incident can never be properly reconstructed. As you can imagine, Yoon Seungho was not in the capacity to testify about the sexual assault. This terrible event affected his memory so much that he was not given the opportunity to denunciate the crime. He was made speechless in the end due to the insinuation and as such manipulation. I bet, he couldn’t even describe what had truly happened to him. That’s why he repressed the first rape.
4. Amnesia and manipulation
But now imagine this. You are exposed to physical and sexual abuse for more than a decade, this means that your memory will be definitely affected. You are living constantly in fear and stress, two important factors, which can trigger memory loss. [read more here: https://www.verywellmind.com/what-causes-memory-loss-4123636] Like I explained briefly above, terrific events are never encoded normally. This signifies in our case that the lord’s faculties to memorize were definitely affected due to the constant exposure, which can make him more vulnerable to false memories. Studies show that individuals with PTSD, a history of trauma, or depression are at risk for producing false memories, when they are exposed to information that is related to their knowledge base. This also signifies that they are more receptive for manipulations. Therefore I come to the next deduction that in chapter 68, Kim was definitely attempting to distort the past and create false memories. 
(Chapter 68) He mixed facts with lies in order to confuse his master’s judgement and memory. That’s the reason why it is important now to recall my initial statement: without any memory, there’s no identity. This signifies that in chapter 68, when Kim tried to give him memories, he desired to give him a certain identity: he was similar to his father. The latter would punish or imprison the boy and not release him. Giving a false reflection and identity is something Kim had never done before in front of his master, as he knew that his master feared his own image. However, he never imagined that Yoon Seungho would react differently. Instead of pushing away the painter, he let the artist choose his fate.
5. Making memories and forgiveness
However, in order to comprehend the topic memory, it is relevant to know how memory functions. The latter is divided in 3 parts: encoding, storage and retrieval. And in order to encode information, you have to utilize your senses. There are 3 types of encoding: semantic (words), visual and acoustic (sound). The manwhaphiles should recall that according to my interpretation, Yoon Seungho had been deprived of all his senses, therefore he lived like a ghost. And this signifies that he couldn’t make any memory at all. And with no memory, you have no identity and as such no life. That’s why when he cut ties with Jihwa the first time, he never mentioned the word “memories”, but time spent together: 
(Chapter 18) In my opinion, this shows that Yoon Seungho had no true memory in reality. He knew that they had sex together, but that was it. It was more like “the night is long and I need to kill time so that dawn can come faster.” Note that he never mentions their childhood together. With this interpretation, it becomes comprehensible that the main lead could act, as if nothing had happened between Jihwa and himself after the topknot incident. 
From my point of view, he had literally forgotten the incident, yet for Jihwa, it meant that he had been forgiven. 
(Chapter 59) And this explicates why Yoon Seungho barges in the mansion in chapter 67: he makes it clear that he won’t forget what happened. 
(Chapter 67) The real forgiveness occurred in chapter 59: Despite the caused pain, Yoon Seungho was willing to overlook the terrible action
(chapter 59), but he made it clear that he would never reciprocate the feelings. This was real forgiveness from my perspective, whereas in the past, Yoon Seungho couldn’t remember anything. Jihwa had the terrible habit to use the past in order to torment his childhood friend, which always triggered buried emotions connected to memories, which the noble couldn’t control. From my point of view, the lord only had flashbulb memories which the readers could discover in chapter 55: 
(chapter 55)
“A flashbulb memory is an accurate and exceptionally vivid long-lasting memory for the circumstances surrounding learning about a dramatic event. Flashbulb Memories are memories that are affected by our emotional state.” quoted from https://www.simplypsychology.org/flashbulb-memory.html
These memories connected to emotions were the remains of his deeply repressed memories. The lord could only remember the feelings he had felt during his traumatic past. To sum up, the lord had no real recollection of his past, and the few things he knew were manipulations and lies explained by his butler. Therefore you can comprehend why Kim got scared
(chapter 56), when he heard that lord Song asked for a meeting. The latter could definitely reveal new information and let the protagonist realize that he was truly suffering from memory loss.
6. Recovery from amnesia: memories
However, due to the exposure to arts, his eyes got healed, hence he could sense positive emotions and as such create good memories (visual encoding). From my point of view, when Baek Na-Kyum entered his life, the noble had started developing good memories, because so far, all he had were traumatic memories. However, Yoon Seungho’s capacities to memorize were under-developed due to the lack of practice. This explicates why he shows no interest to discover why the commoner stopped painting. This was not meaningful to him, and the readers should know that people will only memorize significant information. The emergence of his memory is visible in chapter 1. We see him speaking about his nightly activities so positively, but observe that he is only talking about recent and meaningful memories. 
(Chapter 1) Striking is that when Baek Na-Kyum confronts him with his poor image (“man consumed by lust”)
(chapter 4), the lord is bothered. He is forced to ponder why he is described like that, hence he has to recall events from the past. At the same time, when the lord read the poem, he was encouraged to recall the original sijo. This shows that at some point, Yoon Seungho rediscovered literature. Words and paintings helped to create memories. Thus if you pay attention, you’ll notice that the more time passes on, the more memories the lord has. They are strongly intertwined with the paintings. The latter helped him to reminisce the sex sessions and his past. He can’t forget how the painter masturbated behind the door. He is even getting more and more good memories. 
(chapter 18) Then in chapter 19, he reminisces the painter’s facial expressions which puts him in a good mood. 
(Chapter 19) This explicates why Yoon Seungho was so moved by the painter’s confession during their Wedding night. For the first time, he experienced warmth and love, he even heard a love confession. This could only be stored as a wonderful memory. At the same time, he hoped, the artist would create a picture of this night in order to ensure that this memory was real. Moreover, note that in chapter 58, 
he externalized how much this night meant to him. 
(Chapter 58)
Yet, the manhwaphiles can detect that in his confession, the memory is not entirely described as positive: “haunt”. This explicates why I consider the Wedding night as a turning point in Yoon Seungho’s life. This memory is a combination of positive and negative elements. The lord wished to relive this, but he was not satisfied, because he knew that he had impersonated the scholar. Moreover, the manhwaphiles should reminisce that after this night, the lord will do terrible things to the artist and as such, he gets now terrible memories. That’s the reason why in my opinion, Byeonduck chose to expose the rape as a flashback from the master’s perspective. Because of his bad actions, Yoon Seungho feels huge pangs of conscience and can’t act like nothing happened. He is now forced to remember. However, in my eyes it is different from the past. Before, he was just a ghost, hence he was incapable to get memories, with Baek Na-Kyum’s help, he can get memories which will help him to face his own traumatic past.
7. Memories and learning
There’s one aspect, strongly connected to memory, which I didn’t mention so far: learning.
” Learning and memory operate together in order increase our ability for navigating the environment and survival. Learning refers to a change in behavior that results from acquiring knowledge about the world and memory is the process by which that knowledge is encoded, stored, and later retrieved.” quoted from https://opentext.wsu.edu/psych105/chapter/8-2-how-memory-functions/
As you can see, in order to change, the lord needs memories. Through positive and negative experiences, the noble can gain knowledge leading to a change of attitude which the readers could observe. Gradually, the noble learnt from his mistakes and good memories. Therefore, this is no coincidence that when in chapter 75, Baek Na-Kyum talks about his past and memories, he criticizes his master: (Chapter 75) He gives him the impression that he will never change, the lord wouldn’t even remember him after his death. Now, you grasp why he reproaches Yoon Seungho his fickle nature, he is indirectly referring to the lord’s memories. 
(Chapter 75) His feelings will fade away just like memories. He will forget him. What the painter doesn’t realize is the following: this date is actually an important moment in Yoon Seungho’s life. For the first time, he gets to discover the painter’s memories and past, which now the noble can store as his own. He will never forget this day, especially when he heard that the painter would cry because of him 
(a new version of chapter 21: 
(chapter 21) , but here out of concern. In other words, Baek Na-Kyum would like to be remembered. Hence he complains that the lord didn’t call for him. And this can only make the lord happy, because he can detect through the painter’s words that the latter is longing for his presence and care. From my perspective, Yoon Seungho has finally grasped why the artist is not truly honest with him. Therefore he can only tease his lover pushing him to make the first step. Let’s not forget that right now, the master is now treating his lover as his new lord. So the latter has to call for him. 
(Chapter 75) Here, the protagonist clearly displays that he has never forgotten his companion. Their date is so important for two reasons. It allows the noble to gather more information about the commoner, and get a really good memory before the next tragedy.
From my point of view, it will help him to face his own traumatic past. Let’s not forget that a rape is planned, so if the noble was to discover this, he would be definitely reminded of his own past. And this truly happened in season 3. Simultaneously he would be able to help his lover to recover from the traumatic incident. We shouldn’t forget that during the kidnapping, the lord’s smile was the reason why Baek Na-Kyum didn’t lose his sanity 
(Chapter 60) and could cope with the kidnapping much better. Note that he has no nightmare afterwards. And this detail is important, because we have to envision that while Yoon Seungho was exposed to physical and sexual abuse for a decade, he had no good memory at all in order to remain sane. Moreover, he never felt loved. Consequently, he couldn’t even think of anyone in a positive way. That’s why he was so damaged in the end. (Chapter 57)
The presence of a loved one is necessary in order to cope with traumatic childhood abuse.
8. The impact of Yoon Seungho’s traumas on his mind and attitude
And this leads me to the next observation: Due to his childhood trauma, the lord’s memory was affected and didn’t work properly, as for a long time, his memory was not encouraged to encode events. On the other hand, because of Baek Na-Kyum, Yoon Seungho was forced more and more to face his traumatic past, therefore his fears and abandonment issues came to the surface. This explicates why he couldn’t pay attention to details and never questioned the circumstances of the first abduction. Note that during the night at the physician’s, he still doesn’t trust his own senses. 
(Chapter 58) This signifies that he is unsure if what he is experiencing is real or not. From my point of view, the memory loss and his life as ghost affected his brain and the way to encode and store information. Hence he has no real recollection of the incident with Deok-Jae (chapter 30 and 53). That’s why he is not asking for his whereabouts. However, I believe to see a turning point in chapter 75. By giving the lord the opportunity to have a real date, where he could hear and see that Baek Na-Kyum was definitely affected by him, the noble will react differently compared to the first abduction and after the painter’s first flashback. He will not lose his mind blinded by his emotions and insecurities, he knows that the artist chose him. And he won’t blame himself like for the first flashback. Remember that in chapter 66, he never called the physician. Why? Because someone told him that the painter needed the presence of a loved one to recover. Kim made sure that Yoon Seungho would feel guilty. Deep down, Yoon Seungho knew that he was responsible for the panic attack.
(Chapter 66) But the real cause for all this was the butler’s silence and complicity. That’s why he remained by his side, until the artist had recovered. Thus I had predicted that after meeting Nameless, Baek-Na-Kyum would get a panic attack.
(Chapter 75)
This is what I wrote in the first version:
“However, this time, the noble will wonder how this could happen. They had a nice conversation, where they exchanged thoughts. He is not responsible and it can’t be the alcohol. Moreover, he will recall his lover’s words: He won’t focus on his own emotions, but will try to calm down the artist and investigate why the painter reacted like that.” It is definitely possible that he brings back the painter to the mansion and decides to visit the physician in order to ask for an advice. From my point of view, thanks to the new memories, the noble is learning more about his surroundings and gaining more experience.”
However, the reality was that Yoon Seungho thought that the painter’s panic attack had just been triggered by the entertainers. (Chapter 76) He didn’t take his words seriously, for he believed that he had discovered the truth. Therefore the lord never investigated the circumstances of the kidnapping. Since he thought, he knew the truth, he had no reason to question this. Why did the Joker scare the painter so much? Thus the lord didn’t take the memories from the painter seriously. How could he, since he had been already informed? However, the revelation from Min had diverted Yoon Seungho’s attention from the real problem: the involvement of the helping hands (Kim, Deok-Jae, No-Name) and of the mastermind behind this.
9. Baek Na-Kyum’s memories and truth
What caught my attention is that Baek Na-Kyum is also hurt, though he has memories from his past. What he confessed to his lover represented a bad memory, and this made him feel guilty. Striking is that he believes, he knows the truth, as he can reminisce his past. Yet, he is making a huge mistake: memories are by no means facts, they are biased and even tainted. The artist took the scholar’s words as face-value. He never questioned his words, therefore he blamed himself for Jung In-Hun’s failure. Here, I would like the manhwaphiles to notice the parallels between Jihwa and the artist: both feel responsible for a tragedy, while in reality it was not the case. Both were victims of manipulations and lies.
My theory is that the learned sir imagined that he had finally the possibility to get a high position. Yet the incident in the gibang put an end to it, and this is definitely related to the erotic pictures. However, there is no ambiguity that Jung In-Hun was actually receiving his karma. Remember that in the Alternative Universe, the protagonist used Jung Na-Min as his artist name. In other words, the name of the artist must have had an effect on his career. Besides, let’s not forget that the teacher is preaching immobility, for people’s fate is always determined. 
(Chapter 6) They can not escape their conditions. Thus the gods chose to punish him the following way: he could never escape his own situation. He would remain a man with no wealth and connection. Thus no matter what he did, it ended with a failure. Therefore it is not surprising that he came to resent the painter, for he caught the attention of a powerful noble and this at least twice. The scholar was offered a position, but due to the incident in the gibang, the sponsor changed his mind. Hence he blamed Baek Na-Kyum for not securing a post. It was, as if he had stolen it from him. I think, Jung In-Hun published poetry, but couldn’t get recognition. Therefore he used the incident (discovery of the erotic pictures) in order to punish him and force him to give up on painting. He couldn’t allow that a commoner was more successful than him. At the same time, it was the reason why there was a ruckus in the gibang too. But now, we have to wonder why Baek Na-Kyum talked about his past. From my point of view, an important detail played a huge role at the inn: 
(Chapter 74) Observe that the woman has a similar hair dress than his noona. That’s why I believe that when he saw her, he must have been reminded of her. Note that when he speaks about the leftovers, he describes leaving food as a sin, but strangely, in chapter 40/41, he had the opposite attitude.
(Chapter 41) He didn’t eat all the sweets or even skipped meals. 
(Chapter 41) In other words, he didn’t eat everything and committed a sin. This indicates a certain hypocrisy, simultaneously Baek Na-Kyum’s lack of critical thinking, when it comes to his noona. Moreover, he says the opposite of what he thinks. In chapter 74, he claims that the lord has changed
(chapter 74), in episode 75, he claims that he has not improved his behavior. The painter’s memories clearly reveal Heena’s strong influence, which explains why he doesn’t make the first step in the end. He would like the lord to become responsible for him. But Yoon Seungho would like the opposite, because that way, the low-born can never claim that he was forced or pressured by him. In my eyes, Baek Na-Kyum still fears to be perceived as a man consumed by lust, if he makes the first move.
That’s why I believe that Yoon Seungho embodies the truth, while Baek Na-Kyum represents the past and memories. The commoner’s past will become the trigger for Yoon Seungho to decide to discover the truth about his own past and as such regain his own identity: he was a talented painter with a promising future. Since the low-born’s past with the kisaeng and the scholar are more recent, it is much easier for Yoon Seungho to unveil the lies concerning Baek Na-Kyum’s past in the kisaeng house. At the same time, thanks to the physician, Baek Na-Kyum is gathering information about his lover’s past
(chapter 57), which will assist him to regain his lost memories.
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: Yoon Seungho’s suffering path (fourth version)
Painter Of The Night: The bride 👰 (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.
I am quite sure that you all know the saying: “Things always come in threes”. Striking is that this idiom exists in many other languages:
- French: “Jamais deux sans trois”
- German: “Aller guten Dinge sind drei”
- Spanish: “No hay dos sin tres”
Moreover, the human being is even composed by three parts: the body, the mind/spirit and the soul/heart. All this proves that the number “3” is indeed associated to completion and perfection. I am quite certain that you are now wondering about the connection between the magical and mystical number three and the title “the bride”. The answer is quite simple: we had three bridal carries in season 2, which the manhwaphiles could witness.
1. The first bridal carry
The first bridal carry occurred in chapter 45 Back then, the identity of the “bride” was unknown. However, there were two witnesses: the wandering merchant and the servant Deok-Jae. 
(chapter 45) The former mentioned this event to others so that a rumor started among the town folks. They were all wondering if Yoon Seungho was engaged due to the bridal carry. Since no marriage had happened, but simultaneously he showed great care in that person, they definitely perceived that the latter in his arm meant a lot to the master. They could judge that the noble was in love. At the same time, they were pleased, because they had realized that the black sheep of the Yoons seemed to have calmed down. Many painterofthenight-lovers couldn’t help smiling, when the entertainer praised the fiancée for her good sexual technics, 
(chapter 45) because the truth was that Yoon Seungho was so dissatisfied with the painter’s tricks. (chapter 45) And with such a contrast, it becomes obvious how strong and deep the noble’s affection for the artist already was. While the commoner’s comment diminished Yoon Seungho’s love for Baek Na-Kyum, as it was reduced to sensuality and seduction, the lord’s attitude clearly displayed that Yoon Seungho was expecting something else, but he had no idea what exactly. Striking is that the low-born was also clueless that the aristocrat had carried him like that, for he had fallen asleep. The fact that the wealthy man used his own hanbok to carry the commoner to the bathroom illustrated how caring Yoon Seungho was, but no one told him about this. Furthermore, this gesture outlined that the protagonist was taking great of the painter’s body. He shouldn’t get cold and he should get cleaned immediately, underlining that the first sex marathon had left a huge trauma on him. This incident (the bridal carry) was never mentioned within the mansion for two reasons. The domestic Deok-Jae had no interest in telling it to others, as he was filled with jealousy and still hoped that Baek Na-KYum would lose the lord’s favor. As for Kim, when he discovered that the incident had reached the ears of the inhabitants, he seized the opportunity to hide the fiancée’s identity in order to limit the damages. On the surface, it looked like he was protecting the couple’s interest, whereas in reality he feared a scandal. But more importantly, he wanted, just like Deok-Jae, this situation to be just temporary. Therefore he could only reduce the painter’s status: he was neither a bride nor a fiancée, at best a favored servant.
(chapter 45) That way, if the low-born was to disappear, no one would connect Baek Na-Kyum to the bridal carry. All the men were convinced that it was a woman due to the smooth legs.
(chapter 45) Since the painter had been kept in the dark about the noble’s action, he couldn’t realize the noble’s feelings. The only person pointing out the master’s affection for the commoner was the head-maid. 
(chapter 46) Since she had been kept in the dark by Deok-Jae and Kim about the bridal carry, she had to mention another conversation to prove her observation. Yet it was definitely less convincing, as it was more related to comfort and respect.
2. The second bridal carry
Then the second bridal carry took place much later in chapter 66: (chapter 66) The manhwalovers will notice the progression. First, the identity of the “bride” is no longer hidden. This time, the lord’s attention is more focused on the head, as his hand covers the painter’s head. In other words, he pays less attention to the artist’s body. The latter is just wearing a shirt and nothing more. The reason for this divergence is simple. Baek Na-Kyum had just a flashback, a panic attack indicating that his spirit or mind was troubled. Yoon Seungho had recognized that the painter was injured mentally. Just like in the past, there’s a witness, but this time, it is the noble Min. Why only one witness? If you compare it to the first scene, you’ll note that Black Heart replaces the merchant and the servant Deok-Jae. The Joker is lusting after the low-born due to the smooth legs (a new version of this panel: 
chapter 45) and he is definitely jealous of the main lead, similar to Deok-Jae. This made me realize why The Joker revealed Jihwa’s abduction right after. Imagine, if people got aware of this incident, then The Joker wouldn’t be able to taste the artist. Every one would know about Baek Na-Kyum and his importance to Yoon Seungho. He was no longer a low-born, but the lord’s official wife and partner. If he were to disappear, no one would be able to escape punishment. Therefore he needed to separate the couple… since the artist was in a poor condition (chapter 66). He could only assume that the painter wished to disappear, for he had been abducted and Yoon Seungho had failed to protect him. Later, Kim could report to him what Yoon Seungho had done to the painter in the shed, so that Min’s belief that Baek Na-Kyum would leave the mansion could only increased. Both imagined that the commoner would desert the lord’s mansion. Both hoped that Baek Na-Kyum would reject the “marriage”, although he was already chosen as the lord’s bride. As you can observe, the bridal carry plays a huge importance, it definitely symbolizes marriage, even if it is between two men. And this led me to the theory that Min had already envisioned the next scheme. The conspirators had no time… especially if other servants noticed the bridal carry too. Let’s not forget that before Min stood in front of the master’s bedchamber, other domestics were standing there: Kim, the maid and another servant. 
(chapter 66) It is definitely possible that they looked at their lord’s action from faraway. If so, this would signify that the news about Baek Na-Kyum as the lord’s bride has finally reached the ears of the staff.
3. The third bridal carry
In the third bridal carry, there is another huge difference. This time the painter is awake and his mind is no longer troubled. (chapter 71) This signifies that now the artist is well aware of the signification of that action. That’s why he is definitely moved. He is blushing and letting his head rest on the protagonist’s shoulder. (chapter 71) He stares at the lord’s shoulder so intensively in order to confirm that this is real. More striking is that the painter’s nose is on the lord’s shirt implying that the commoner is smelling the lord’s fragrance. Furthermore, the painter senses the warmth from the master’s body, just like he hears Yoon Seungho’s footsteps on the wooden floor. To sum up, Baek Na-Kyum is using all his senses that he is not dreaming. Gradually, he is accepting it as reality, hence he can only blush. (chapter 71) What caught my attention is that the lord carries the painter closer to his chest, while the artist is hugging the noble too. In other words, their hearts are close to each other. Hence this bridal carry is associated to the heart. While the first one represented the body, the second the spirit, now the last one is related to the soul. To sum up, the third bridal carry symbolizes the official marriage. Both have chosen each other. And now, here is the question: where are the witnesses? So far, Byeonduck didn’t draw any witness. Nevertheless, we have to imagine that there exist witnesses. Since Kim was always present during the three kowtows (for that read my analysis called The five candles), I believe that he definitely observed the scene in the shadow, especially after comparing this panel 
(chapter 71) to this one: 
(chapter 33). Back then, the butler was worried that Baek Na-Kyum would reveal his complicity in the escape. However, this time Kim is concerned for another reason: the painter is no longer a favored servant, but now the bride and as such Yoon Seungho’s official partner. But if the readers compare the two previous bridal carries, they’ll remember that there were more than just one testifier… although in the second case, it was just implied. Thus I think that there could be another witness. In the first version of this essay, I had imagined that the Joker could have been present: 
In chapter 44, he saw how the painter walked to the study. Secondly, he was present during the second love session: 
. (chapter 60) However, I was wrong here. Then it occurred to me that if there was a second witness, then it could have been the new version of Deok-Jae. He had been following the guest 
(chapter 66), when Min entered the propriety. And according to social norms, he should have followed the noble. So he could have seen the painter’s legs from a certain distance. And this also would explicate why the domestic had such eyes, when he approached the bedchamber in season 3. 
(chapter 80) He was interested in the painter. And there is another evidence that there are always two witnesses of that bridal carry, the love session in the gibang. 
(chapter 96) The noona was joined shortly after by Min who could now hear their love session. 
(chapter 96)
4. The meaning behind the bridal carry
And that’s how I discovered two important aspects: timing and consent.
- Chapter 45: It happened after the sex session, and the painter had returned. This means that he had accepted Yoon Seungho as his partner.
- Chapter 66: One might say that it occurred after the sex session. Yet, people shouldn’t forget that they were sleeping in the bed, when Heena caused a ruckus. (chapter 65) This means that the painter was now the official partner of the protagonist. Nonetheless, the lord tied his bride so that the latter wouldn’t leave. The bridal carry was connected to forced marriage.
- Chapter 71: The bridal carry took place before the love session, and the painter had agreed to it. He had accepted the main lead’s advances.
- Chapter 78:
Before the love session, though their intimacy began in delay. Note that the bride was the one who determined, when they should be intimate. However, they got interrupted. Then the consumption was quite painful, though the painter had masturbated before and as such prepared himself. 
(chapter 81) For me, this is an allusion to Yoon Seungho’s rape in his youth. - Chapter 96: The wedding night got interrupted by Heena. This time, the bridal carry was strongly associated to sex.
- Chapter 102:
This happened after the sexual assault. The lord was acting like in chapter 66. He was full of regret and tenderness. We could say that he was acting like a knight protecting his bride. Here, again the bridal carry is intertwined with death and pain. Don’t forget his words in the bath: 
(chapter 70)
Another huge difference between the two first bridal carries is the importance of the caresses. Yoon Seungho had sex before the bridal carry in both scenes. But more importantly, neither in the first case nor in the second he spent his time entangled, kissing and fondling. He was either teaching sexual lessons or claiming the painter as his belonging. In the third Wedding night, the chronology is respected. We have first the bridal carry, then the shower of caresses
and kisses.
Through this examination, I realized that the bridal carry must have played a huge role in Yoon Seungho’s past. Either he experienced it, but he could never witness it (chapter 45, 66) or he has repressed it. Another possibility is that the bridal carry represents the biggest wish of the main lead. Back then, he wished that the pedophile had carried him like that. If only the “pedophile”had treated him that way… The manhwaphiles should keep in their mind that the bridal carry symbolizes marriage. The groom is supposed to bring his bride to the nuptial room, and according to me, the lord was raped in his own bedroom (the stranger in the night). And if this is true, there could be no bridal carry. Besides, the manhwaphiles should remember that the bridal carry in Painter Of The Night is strongly intertwined with sorrow and regret. Thus I had the following idea. Yoon Seungho would have forgiven the sexual abuser, if the latter had done it at some point, because this meant that he didn’t fear to be seen together. Hence we have the constant presence of witnesses during these scenes. I had already said that the bloody marriage was fake, for it was never official. Moreover, the bridal carry indicates that the man is taking his responsibility. But if the pedophile let others carry Yoon Seungho 
(chapter 77) and clean up his mess… no wonder why Yoon Seungho came to resent the man. He left the young master totally unprotected, exposed to all forms of abuse. And the man might have wondered why Yoon Seungho was so difficult to tame… Therefore he could never entirely trust the main lead. Consequently I view the gesture as the symbol of bravery, care, responsibility and strength. From my point of view, the main lead must have recognized that he was “married” much too young to the pedophile. During his conversation with Bongyong, the lord indicated that age mattered. He still had time. 
(chapter 78) They shouldn’t get married too young, and in my opinion, he was speaking out of experience.
As a conclusion, in season 2, I noticed 3 bridal carries. We could say that the first bridal carry symbolized the union of the bodies, the second of the spirit and the last one, the marriage of the souls. But since the story is going in circle, this signifies that in each season, we had them, but we couldn’t see all of them. Why? It is because Yoon Seungho never realized what he was doing. In chapter 45, he was like in trance. (chapter 45) Then in many occasions, the painter didn’t discover that Yoon Seungho had carried him like that, for he was either sleeping or unconscious. Hence the lord had to do it over and over again, until both realized the existence of the bridal carry and its significance. And it only happened in season 3: (chapter 78) Here, both were conscious. Thus I am deducing that Kim could have realized the lord’s biggest desire (embrace and bridal carry), but Kim chose to remain silent. He never divulged this information to lord Song. According to me, the latter kept sending beautiful clothes as a sign of contrition and support. This proves one more time that ignorance is not a blessing.
At the same time, the teacher’s embraces in chapter 68 and 70 clearly revealed that the scholar was treating Baek Na-Kyum like a child: (chapter 68) 
(chapter 70). The learned sir acted like a father and with the recollection of the piggyback, Baek Na-Kyum recognized the true value of this carry. He was never loved, like the commoner desired, the young man just viewed him as a child. He was innocent and pure and couldn’t realize the true nature of the scholar’s feelings: trivial and fleeting emotions, which turned into indifference, when the artist became an adult. That’s the reason why the artist is no longer upset… he judges this event in a different light. Back then, he was only a child for Jung In-Hun. This scene represents Baek Na-Kyum’s loss of innocence. He is now a mature man who makes decisions on his own. He is no longer idealizing Jung In-Hun, and the bridal carry reflects this maturity. (chapter 71) Baek Na-Kyum is not seeking warmth and affection out of despair or pain, he is finally able to detect the lord’s affection in each situation: in the bathroom and on his way to the bedchamber. Baek Na-Kyum was slowly accepting his position as Yoon Seungho’s bride, though I have to add that here, the painter was not thinking about marriage yet. During that scene, the couple was rekindling. It was make-up sex. Hence he could only blush. (chapter 71) I can imagine that his heart must be racing as well. Then in season 3, the painter is now seen carried fully naked in front of his sister. (chapter 96) He has no idea that she witnessed their union, but she already knew the true nature of their relationship. However, till the end of season 3, neither Yoon Seungho nor Baek Na-Kyum were even envisioning marriage, this topic was brought up by Bongyong, the witness of the first bridal carry. This is relevant, because we have to judge these bridal carries as a gesture influenced by the main lead’s subconscious. Deep down, he wished to make the painter his bride, but he had never realized it. However, this dream will become a reality, like Byeonduck implied it with this panel: 
Thus expect new bridal carries in season 4, but some of them will be connected to death, pain and sorrow. 😥 (chapter 66) (chapter 102).
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.
Painter Of The Night: Pranks
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 final words in the essay called “A thousand thoughts swept through my mind till sunrise” were the following:
“I believe to see here another clue for my prediction that the next chapters will contain elements from chapter 26 (the bath), 36 (the head-maid and the fellatio), 46 (the maid talking to Baek Na-Kyum), 56 (the wet dream and the bathroom) and 66 (the dream). Striking is that all the episodes I mentioned are ending with a 6!! The most incredible is that the symbolic meaning of six are harmony, balance, sincerity, love, and truth.”
Therefore imagine my surprise, when I read the chapter 70. My prediction turned out to be quite accurate, for elements from the chapters ending with a 6 were indeed present. Yet the only difference is that I didn’t include the episode 16. This signifies that my conclusion remains unchanged: the interaction between Yoon Seungho and Baek Na-Kyum in the bathroom stands under the sign of truth, harmony, honesty and love. No wonder that all the readers were very satisfied with the new chapter.
What caught my attention is that the episodes 16, 36, 46, 56 and 66 have one common denominator, which I didn’t recognize first: pranks. In episode 16, we witness how the lord is playing with the headband.
He is not only playful, but also flirtatious. Note how he puts the headband on the main lead giving him a seductive allure. 
At the same time, he acts like an innocent teenager who keeps asking questions: 
Yet, the topic is actually about sex, which contrasts so much to purity and innocence. It was, as if Yoon Seungho was behaving like a teenager discovering sexuality for the first time.
While talking, he can’t even help himself smiling. Striking is that his joke and words are used to woo the painter. He keeps getting closer and closer to Baek Na-Kyum, so that his head approaches the painter’s, before his hand starts touching his leg.
As you can detect, the scene in episode 16 is a combination of seduction and frivolity. He is so happy to be by the painter’s side, hence he is talkative. He desires to have a real conversation with the painter. On the other hand, since the topic of the conversation is revolving around sexuality, it explains why Yoon Seungho is tempting the painter. And we have a similar situation in chapter 70. Therefore there exist so many similarities between these two episodes, which I will now list:
- the almost kiss
(chapter 16) versus 
(chapter 70) - A prank: (chapter 16)
(chapter 70) - The master’s smile: (chapter 16)
(chapter 70) - Two rejections: The silence from Baek Na-Kyum who never answers to the questions from Yoon Seungho, until he is cornered
and 
(chapter 16) versus 
the removal from his hand and
(chapter 70) - The painter’s angry reaction: (chapter 16)
- The lord’s pouting face:
(chapter 16) versus (chapter 70) - The painter’s head down:
(chapter 16)
(chapter 70)
The problem is that in chapter 16, the low-born couldn’t value the joke and perceive the lord’s playful personality, as the former was busy fighting against his arousal. He wasn’t immune at all to the lord’s seduction. That’s why we also have a pouty face from the painter in episode 16. 
And here, we can detect the first huge difference between these two episodes. Because the artist is no longer denying his homosexuality, and as such he has finally dropped the scholar’s doctrines, he is able to perceive the aristocrat’s true personality. He is indeed moved, 
when he sees Yoon Seungho smiling after playing his prank. He blushes so much that he feels the need to hide his face, hence he lowers his head, while in chapter 16, he had his head down because of shame. He desired to cover his pleasure out of guilt. He was definitely struggling internally. In chapter 70, the artist is more scared of his own feelings for Yoon Seungho.
The other divergence is Baek Na-Kyum’s attitude. This time, he is no longer silent. He talks back
, when he hears the main lead calling his sister a wench. He requests respect from the lord. He is confident in his words and behavior. He even gives further explications. 
Moreover, he is no longer using fake excuses, unlike in the past. He rejects the lord’s suggestion (taking a bath together) clearly and directly without displaying any disrespect. When the lord keeps pressuring him, his justification sounds reasonable.
This explicates why for the second time the manhwaphiles are witnessing a real and honest conversation between the two protagonists. The first time it happened, it was in the bathroom as well, 
(chapter 26). Yet back then both were driven by negative emotions (anger and sadness) due to their wounds. However, this time it is different. They are both calm and very careful. The two are determined to treat each other with respect. 
(Chapter 70) In other words, the bathroom is the place where the main leads can be honest to themselves, hence they are genuine to their counterpart. This is no coincidence that the painter was indeed touched, when he reminisced the lord cleaning him.
(chapter 59) In this place, there is no rule or social class separating them, they are equal. In the washroom, there’s only purity symbolized by water. I would conclude that they are truly naked physically and mentally. That’s why they can only be honest to themselves and in front of each other.
Another huge contrast between chapter 16 and 70 is the lord’s eloquence. While he mastered the conversation in chapter 16, he reveals his inability to speak properly in episode 70. How do we explain this contradiction? The answer is quite simple. Let’s not forget that in the previous episode, the noble was talking about sex. For he was living like a “man consumed by lust”, his vocabulary was quite rich in that area due to his experiences. However, since he has never had a real partner he could converse with, his true eloquence suffered a lot due to neglect. At the same time, it reveals that his social skills have been overlooked for so long too. This explicates why he has no idea how to convey his thoughts and feelings properly. Besides, the manhwaphiles should recall that the noble had avoided to feel anything and analyze any emotion for so long, hence he still has troubles to voice these. That’s why he keeps calling the kisaeng “that wench” not realizing that he is insulting the low-born’s relative. Nevertheless, in this scene, the noble has no intention to offend anyone, that’s why he is caught by surprise
, when the painter retorts that he should mention her differently. His facial expression oozes naivety and shock. He didn’t pay attention to the idiom (“wench”), as all his thoughts were revolving about the painter’s happiness. He just desired to know if he had succeeded: (chapter 63: this is the master’s biggest wish) Astonishing is that the painter is not outraged by the lord’s words, as he has already sensed the lord’s true attention: the artist’s happiness. Carefully, Baek Na-Kyum corrects his master and starts describing his relationship with Heena. Consequently, the lord considers it as a good sign. Their bond has not been too damaged. Despite his mistake, the low-born is interacting with him. That’s why he takes the painter’s hand. He has the impression that the artist is opening up, hence he starts conveying his own thoughts too. The problem is that when he says this , he makes a huge mistake again. However, his words cause the painter to remember how the lord treated him in that room 
(chapter 66). The artist has no idea that Yoon Seungho is referring to the flashback. (chapter 66) Nonetheless, due to his mistake, Baek Na-Kyum retrieves his hand. The reality is that Yoon Seungho was attempting to show his concern and his remorse. Unfortunately, he chose the wrong diction, thereby his thoughts were not expressed properly. Moreover, I would like the readers to keep in mind that the lord has never apologized before. First, as a noble, he was never asked to apologize to a commoner. Secondly, it is related to his own trauma. The main lead associates the apology
to fakeness and hypocrisy due to the butler, who keeps repeating these words
(chapter 25) (chapter 65). Besides, the painter also apologized once, and back then, he was not really sincere too.
(Chapter 11) This explicates that he misjudged the painter’s apology in chapter 62. Moreover, exactly like in episode 11, the painter had selected silence over giving a proper explanation. As you can see, silence was another reason why the couple had such huge issues in the past. It generated doubts and increased insecurities. However, in chapter 70, silence is barely present. 
(Chapter 70) Both are communicating verbally in all sincerity. In other words, this panel represents the first step for the lord to apologize. Nonetheless he has to learn how to convey his regret perfectly. Hence this is understandable that we can’t expect him to voice this apology yet. As a conclusion, his poor social skills and lack of articulation mirror Yoon Seungho’s true personality.
The powerful noble detects the change in the painter’s behavior, the latter acts exactly like in the beginning (chapter 5, 8, 11, 16). He speaks his own mind now without being disrespectful. This encourage the lord to step up the game. Even if he made a mistake, the artist forgave him. Yet there’s no doubt that the lord must have felt a little insecure before confessing his true thoughts. Therefore Yoon Seungho takes the painter’s hand and touches the fingers very tenderly. 
In my opinion, the skinship serves as support. The master is not just wooing the low-born, but also he desires to voice his emotions. He would like to expose his concern and affection, yet like I exposed above, he fails due to the wrong selection.
What caught my attention is that unlike in chapter 16, the noble tries to determine the reason for the artist’s rejection. 
(Chapter 70) Imagine, before he never showed any interest why the commoner refused to paint for him. 
(chapter 1) This exposes the huge transformation of Yoon Seungho. Now, he would like to be judged differently. He has already realized that he will never achieve his goal (being loved), if he is still full of insecurities and self-hatred. Nonetheless, his selfishness is still present in the bathroom, because he can’t bear being pushed away again. This interpretation is exposed with the number of white candles.
Note that on the lord’s side, there are just 2, while on the painter’s side the beholder can count three. The number 3 symbolizes harmony, completion and wisdom. This observation leads me to the deduction, the aristocrat’s transformation is not completed yet. This explains why he plays a trick by dragging him into the tub. The prank is the perfect solution in order to pursue his dream without becoming forceful or frightening. Moreover, note that he refuses to act like a master by giving him an order. From my point of view, the noble’s tone has changed. Not only his gaze but also his gestures have already softened.
Moreover, both keep looking at each other during this conversation, whereas in the episode 16 there was no eye contact. Only the lord was looking at the painter, (chapter 16) while the commoner’s gaze was fixated on the drawing as an excuse, until he was forced to look at him.
As a conclusion, for the first time both protagonists are following the 10 golden rules of communication:
- Be warm and attentive
- Show you are listening
- Check understanding
- Be slow to pass judgement
- Use silence appropriately
- Convey messages in a clear and effective manner
- Use clear and unambiguous language
- Use non-verbal methods of communication
- Use repetition
The caress serves as a mean to confess his love towards the artist. - Check understanding
quoted from https://www.psychologytoday.com/us/blog/hide-and-seek/201207/the-10-golden-rules-communication
From my perspective, the prank played a huge role in truly breaking the ice between the main characters. Because he didn’t succeed to reveal his own thoughts and emotions properly, he had to find a new approach. That’s why he suggested the bath. In his mind, if the artist recognized that they were just two naked bodies, the distance between them would vanish. This means, that the moment the painter decided to stay at the mansion, the lord’s second dream 
(“to share what’s on their mind”) got revived. He was once again full of hope, that’s why he felt the need to touch the painter. He wanted to share his feelings and thoughts. Unfortunately, the low-born rejected the offer, which is also comprehensible. We have to imagine that with this proposition, he could just intimidate the commoner. If the latter had to undress himself, in Baek Na-Kyum’s eyes, there was a high chance that the noble would have asked for a physical intimacy… and we shouldn’t forget that he had just experienced a rough sex marathon the night before. Therefore he couldn’t accept the suggestion. On the other hand, the lord couldn’t stand a rejection either. That’s why he had a pouting face. And just like a child, he decides to play a prank. The painter might yell at Yoon Seungho, however there is no real resent. Besides, contrary to the past, he doesn’t say no, he just scolds the noble. That’s why his feelings switch quite quickly. Through the joke, the seriousness has literally vanished. At the same time, the readers are finally able to witness the noble’s genuine laugh: 
I believe that for the first time, the low-born is able to detect a new side from the aristocrat. Imagine that the artist could not only make the noble laugh, but also smile. That’s why the painter can no longer reject the lord, as his fear is slowly disintegrating. Note that he doesn’t reject the kiss from the aristocrat. What I love in this panel is that the lord’s eyes are closed, illustrating his leap of faith. He chose to trust the artist blindly. Simultaneously, the manhwaphiles can detect a certain shyness in Yoon Seungho. His ear is red exposing the slow rebirth of the protagonist.
Another contradiction between the chapters 16 and 70 is that the seduction is not focused on sex, but on love. This signifies that the “corruption” from episode 16 has disappeared. We are truly witnessing a scene exuding pure affection and warmth. He is here courting the painter, hence there’s no real sexual desire in the tub. The skinship is full of sensuality and tenderness: a caress, a kiss and the beginning of an embrace. The master’s second wish is gradually coming true. The lord is putting his guard down for real in chapter 70. That’s why he is completely naked: he has no green robe and no headgear as well. He has finally become a real human. He is no longer a ghost or vengeful spirit, only an innocent teenager discovering real love for the first time, whereas in chapter 16, he was behaving as if sexuality was quite new.
But since my topic is “prank”, I would like to point out that the main lead played another prank in chapter 36 exposing his cheerful personality. Nevertheless, back then, there was only silence
, because the butler had warned the artist not to irritate the main lead. According to him, he was in a bad mood, which was untrue. 
(Chapter 36) The noble had regained hope due to the painter’s genuine reactions (his shyness, blushing and his mention about the painting). And this truly exposes the valet’s evilness in the end. He made sure that both wouldn’t get close in reality by hindering a real conversation. For that, he utilized sex. That’s why he let the painter drink an aphrodisiac. He knew that the moment, the lord would notice the erection, the main lead would be attempted to have sex. For me, there’s no doubt that Kim made sure that the lord’s deepest wish wouldn’t come true: an exchange of thoughts, a real intimacy. This explicates why the prank played by the noble failed in this scene. (Chapter 36) With this joke, he wanted to initiate a conversation, but unfortunately he saw the erection. Yet, the valet’s trick didn’t work completely either. Note that during that night, there was no sexual intercourse, just a fellatio. We shouldn’t forget that during that day, the painter was still feverish which the noble had noticed. So envision what would have happened, if the lord had engaged a second sex marathon. Therefore, I believe that in chapter 70, the valet is hoping that the noble will behave like the previous night
, so that the painter’s health condition deteriorates more, or the artist gets scared and changes his mind to leave the mansion.
However, let’s return our attention to the joke played by the main lead. The “prank” helped him not only to shorten the gap between them, but to externalize his thoughts more accurately. Note that right after laughing and smiling, he is able to express himself more properly. 
After playing the joke, he is truly more relaxed, yet there is a certain timidity as well, for he tries to hide his laughing face and smile. Initially, he has his head down and later he even puts his hand in front of his mouth. I have to admit that his smile followed by this gesture affected me the same way than the painter. He is definitely seductive and charming here. And now you comprehend why the artist reacts the opposite from chapter 16. He doesn’t say no or runs away. He remains immobile listening carefully to the lord’s words and sensing his caress on his chin and lips. The words accompanied with nonverbal communication are finally reaching the low-born’s heart and mind. He finally realizes the truth in the lord’s confession. This leads me to the conclusion that Kim’s plan is not going to work again. There won’t be any sex during the next night, but a new physical intimacy: 
(chapter 38) 
(chapter 50): caresses, embrace and kisses, the symbol of harmony, love and sincerity.
After comparing both episodes, the readers realize the importance of the joke made by the main lead. However, in my introduction, I had explained that all the chapters ending with a 6 contained pranks. We shouldn’t forget that some people are justifying their misdeed by downplaying it. Remember that in chapter 47, Deok-Jae defended himself 
(chapter 47) by saying that he had just made a prank. But now, you will wonder where there was a prank in chapter 46, 56 and 66.
- chapter 46:
(Chapter 46) Deok-Jae destroyed the painter’s snowmen. There is no doubt that he would have replied the same, if he had to answer for his behavior. - chapter 56: Jihwa faked a letter in lord Song’s name.
(Chapter 56) He knew that this would hurt the noble, yet note that he felt no remorse and blamed his childhood friend. However, like I pointed out, he was impersonating a person. If asked, the childhood friend would have used a similar excuse. That’s why Yoon Seungho answers in a quite similar way: he calls him “lord song”. However, he pushes him. - chapter 66: When Jihwa revealed the abduction
(chapter 66) , he implied with his words that Jihwa played just a prank, since the painter returned alive. Yoon Seungho shouldn’t just get angry, because it was just a joke. As you can observe, all the misdeeds are reduced to a joke. It was, as though they had done nothing wrong. However, the intention is definitely different: the perpetrators intended to hurt the protagonists. And this is not surprising that the chapter 36 contains both pranks: Kim drugged the painter against his will, while the joke from the noble was harmless. And in my opinion, the episode 70 contains both pranks as well. Kim was the one who sent the painter to the aristocrat. Why do I believe this? The reason is quite simple: the servant leading the painter to the bathroom is portrayed with no eye 
(chapter 70) and is carrying a lamp similar to Kim’s 
(chapter 36). And remember that this chapter is a new version of chapter 36. In that episode, the valet was the one who brought the artist to the lord’s chamber. Moreover, the way the door is shut clearly exposes a certain violence. 
(Chapter 70) Besides, the domestic is also urging the painter to join the bathroom. From my point of view, the domestic wants to make sure that the artist arrives, before the lord leaves the bathroom. Moreover, the lord’s expression in beginning is not quite welcoming
. So I am more inclined to think that Yoon Seungho didn’t plan it that way. And remember my explanation after the first sex marathon. The butler had placed the painter in the lord’s bed 
(chapter 33) 
(chapter 34) in order to incite the latter to have sex with the commoner. Imagine, he had just regained consciousness, therefore this trick could have cost the artist’s life. And we shouldn’t forget, the butler witnessed the second sex marathon. He even viewed the flashback from the painter. Therefore in my opinion, the butler is hoping with his “prank” that the lord will act like the previous night. Furthermore, I would like to point out the presence of domestics in chapter 16 and 36. We have Deok-Jae who spied on the couple and manipulated the butler to open the door
[theory confirmed by the author herself]. Then during that evening (chapter 36-37), Kim tried to stop Yoon Seungwon from entering the room.
(Chapter 37) Hence this means, he was paying attention to what was happening in the bedchamber. What caught my attention are the following panels: Why did the author show the window or door?
Since there’s no coincidence, this indicates that a servant is spying on them, listening to their conversation. Why? It is because the next prank is already planned: (chapter 69) Since Kim got caught disobeying his master, he needs to lie low. On the other hand, he needs to be updated. That’s why he is now using other servants as his spies. There’s no ambiguity that the servants, manipulated by the butler, must resent the low-born. He caused them another trouble. But the reality is that these tricks are no jokes but crimes. That’s why I feel that after the second abduction, there will be a purge among the staff. The ones who followed the butler’s instructions will definitely suffer. 
(Chapter 69) 
And this outlines that Yoon Seungho has a different personality from them. He is never diminishing his wrongdoings, and his pranks are real ones. The problem is that he can’t remain as an innocent child, since he told the painter, he would become responsible for him. As an adult and lord, he should be able to protect his loved one and anticipate his enemies’ moves. At the same time, each “prank” organized by the butler, Min and Jihwa always backfired on them and brought the protagonists even closer to each other. That’s why this is not surprising that all the pranks are connected to the number “6”, because this number signifies harmony, love and sincerity. The villains helped the relationship between Yoon Seungho and Baek Na-Kyum to improve.
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: The life of women 👯♀️in Joseon (second version)
Protected: Painter Of The Night: The slaps ✋🥊 in the kaleidoscope (second version)
Protected: Painter Of The Night: The power of … (second version)
Protected: Painter Of The Night: Yoon Seungho a psychopath? (second version)
Protected: Painter Of The Night: Who is this Baek Na-Kyum? – part 1 (second version)
Painter Of The Night: The window 🪟, the door 🚪, the air and their signification (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/
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
If you have already read my former analyses, you know that our protagonist Yoon Seungho is associated to the window, because he spends so much time in a room looking at his courtyard through the window. 
(chapter 35). But what does the window symbolize?
1. The meaning of the window
In order to answer this question, let us take a look at the definition of the window:
It’s an opening in the wall or roof of a building or vehicle, fitted with glass in a frame to admit light or air and allow people to see out.
Since our story takes place in Joseon, there is no glass, only thin paper or an open frame, yet it doesn’t change the definition. It’s an opening… that admits air and light and allows people to see out. Striking is that the window is connected to fresh air and sun therefore we can say that through the view, people can definitely broaden their horizon as they are able to witness what it happening outside.
However, let us not forget that their view is limited. Yoon Seungho can only see what is happening in the courtyard, but not in the servants’ room or in the painter’s room. Therefore we come to the next conclusion, the window can represent a barrier, a hindrance. That’s the reason why f. ex. writer Emily Bronte used the window in that aspect in her novel Wuthering Heights.
The window can even symbolize the boundary between the inner world of a character (room) and the outside. Therefore the room could be seen as the personification of the protagonist embodying his inner thoughts and feelings trapped in his darkness. Hence he is seeking light and air through the window. Consequently, I interpret that Yoon Seungho sitting or standing in front of the window like the following. The room seems to be a prison, it is suffocating for Yoon Seungho, hence he looks out of the window in order to be able to breathe and survive. He is caught in his darkness, yet the window allows him to escape from his dungeon, from his past. His passivity reflects his resignation, he is already thinking that nothing exciting in his life will ever happen, until he met the painter. That’s why he said in the chapter 18:
From the moment he met the low-born, he started acting differently. First he kept touching the painter and then he even started leaving the room behind and came to the door. It is interesting that in chapter 7, Yoon Seungho even followed the younger painter, after the latter had heard about the arrival of his admired teacher. Notice how the lord stands in the courtyard and looks at the welcome of the low noble.
This picture reflects the social hierarchy. Yoon Seungho stands at the top, and the teacher is closer to him. However, if you pay attention to Jung In-Hun’s gesture, he is turning his body in order to face the powerful noble. It was as if he was pushing away the young artist. Now, you realize that such a single picture can contain so much symbolism. But now let’s return to our main topic, the meaning of the room and the window.
So the room with the window represented the situation of the powerful lord at the beginning
(chapter 5) and it is still there at the end of season 1. 
(chapter 44). It looks like there wasn’t much progression, yet this time, the painter walks towards his mansion and remains by his side.
This is important, because I realized that with the vanishing of the learned sir, Yoon Seungho chose to remain in the lord‘s bedchamber. What caught my attention is that the lord always went to the courtyard because of the admired sir. We have two chapters for this interpretation: chapter 7 and chapter 35 
. What caught my attention is that when the lord visited the scholar for the first time, both were sitting in front of a door which looked like a window at the same time. 
(Chapter 7) This is not random at all, as from my perspective, it introduces the role played by Jung In-Hun in the main lead‘s life. He will be the one forcing the lord to move away from the window so that he can leave the bedchamber. Thus we had this scene: Yoon Seungho is observing the learned sir and his student from far away. 
(Chapter 19) This explicates too why the noble remained so passive in season 2 in the end. Baek Na-Kyum was the lord‘s love interest, hence his „place“ is the bedchamber. So how can the lord move away from the window and as such from the bedroom? Jung In-Hun is the trigger. And note that only in season 2, we discovered how the learned sir used walks through the countryside to console the painter. (Chapter 70) Finally, the main lead organized a hunt for the first time because of his honored guest. 
(Chapter 22) And if you recall the lord‘s behavior, you will notice that he left the city for the first time, when he wanted to meet the scholar. 
(Chapter 6) He encountered him in the woods. Under this new light, it reinforces my conviction that the learned sir‘s death will be the lord‘s motivation to become proactive and leave his past behind. Why? It is because of the painter‘s words. 
(Chapter 94) The painter still respects the scholar, but he already loves Yoon Seungho. He is not disloyal towards his former teacher despite falling in love with the protagonist. With the last incident, Yoon Seungho got aware how much the painter means to him, but at the same time, he realized the importance of the learned sir in Baek Na-Kyum‘s life. He needs to answer his question: 
(Chapter 102) And this question is strongly connected to the scholar, for the main lead was first sent to Jung In-Hun‘s home. 
( 100) Don‘t forget that the main lead saw the room covered in blood, though the latter had already dried. To conclude, the main lead was encouraged to walk thanks to the scholar, and as such to leave his window! 
(Chapter 100)
Therefore it is not surprising why Yoon Seungho remained in front of the window at the end of season 1. He no longer needed to seek him out and bid him farewell. 
(Chapter 44) It was the painter’s role. This signified that he was still trapped by his past and trauma, something that he hadn’t revealed to anyone. Since Yoon Seungho is still inside the room smoking in front of the window, it reveals that the lord had not really let go of his past at all, he had not expressed himself in front of Baek Na-Kyum yet. If he reveals his inner feelings and thoughts, this means he will disclose his secret and unveil his vulnerability. This explains why there was no confession from the noble’s side for instance [there were other reasons why he hadn’t confessed anything too], why he was still not sharing his inner thoughts and emotions to his partner.
First, he has never opened up to anyone before. Trust is needed and the artist needs to win that trust, because so far, Baek Na-Kyum had always pushed the noble away. There was still a gap between Baek Na-Kyum and the lord, hence the former didn‘t go to his room, but to his own study. My prediction was that Baek Na-Kyum had to open up first so that the lord could learn from him. And it became a reality. The reason was that the seme was very inexperienced, for no one had ever confided to him. Moreover, he had long internalized that weaknesses must be hidden. Unconsciously, he had already claimed Baek Na-Kyum as his bride, nonetheless this indicated that there was still this distance, this invisible wall between them. We have to understand that Yoon Seungho had never learnt how to share pain and express emotions verbally to others. He had to hide his secret, his past and trauma. 
(Chapter 37)
The shaking hand with the fist embodies his repressed inner feelings and thoughts. He had learned to keep everything to himself. Now, you are probably thinking that all this is not entirely new because I already mentioned his passivity. And now, you can grasp the origins of Yoon Seungho‘s silence and inactivity. This stroll through the mountain corresponds to his true revival. (Chapter 102) This signifies that Yoon Seungho will act differently in season 4: he will be proactive. Like I mentioned in the essay „Scandal(s) in Jemulpo“, he will become the scholar’s disciple and follow his footsteps: ruthless, but also caring and gentle. The only difference is that his affection for the painter is genuine.
2. Baek Na-Kyum‘s symbol: the door
However, I needed to describe this again in order to contrast Yoon Seungho’s position with the painter’s situation. What caught my attention is that Baek Na-Kyum is connected to the door, unlike the main lead. We have so many scenes where the low-born is seen close to a door or stands on the doorstep. This is what I could gather so far (I still might have missed some):
(chapter 10),
(chapter 12)
(chapter 20)
(chapter 29)
Now, you realize the importance of the door. But what does it mean? Why is Baek Na-Kyum related to the door? First, the window and the door have two common denominators: the room and the limited view to the outside world. However, since a door connects the outside with the inside, it allows to move. The person can leave the room behind, the painter has more possibilities, while with the window the person inside must feel more trapped.
Since I already pointed out that the room embodies the lord’s inner world, we have to imagine that for Baek Na-Kyum it is the same. However, the room represents something else: his unconscious, his hidden true personality and desires and not his past and trauma, like Yoon Seungho. That’s the reason why the room is not a prison like in Yoon Seungho’s case but rather a secret. The painter is hiding his secret behind the door. And now, you can understand the true signification of the door for the artist. The door embodies the doorstep where Baek Na-Kyum has to admit his homosexuality. Now, if we look back at the different situations where the door was seen. Byeondock even drew many pictures of the door in the same chapter underlining the significance and the true meaning of the door.
Now, I’ll interpret different scenes with the door which caught my eye. Little by little I am adding more and more images with the door. And this is what I found so far. I examined the following scenes: 8, 9, 10, 16, 20, 29, 35, 41 and 44.
When we look at the chapter 8, we have this situation. The young man is about to enter the lord’s chamber standing in front of the door. He has been asked by the lord to go there so that he can paint another erotic picture.
Here, the artist is opening the door. It was as if he was entering a forbidden world, where sex and homosexuality are indulged, where people enjoy their sexuality to the fullest. By entering this room, Baek Na-Kyum is reminded of his own repressed and natural desires. Then in chapter 9,
he leaves the lord’s chamber in a hurry after witnessing a sex session. Right behind the door, he can’t help himself and starts masturbating. Hidden behind the door, he feels his sexual urge growing and starts right away with his masturbation. Since he is touching himself so close to the door separating his room from Yoon Seungho’s room, it outlines that he has trouble to control his repressed sexual desires. His unconscious is urging him to become sexually active again. On the other hand, he ensures that the lord doesn’t see his erection demonstrating that he is still denying his own sexual orientation and attraction. On the other hand, the lord heard him which led him to the following conclusions: Baek Na-Kyum is somehow attracted to him and he has some experience with men as he shows no hesitation to masturbate very quickly. So the door served as a protection, he wanted to keep his sexual desires hidden from the noble. Notice how horrible he feels after his ejaculation. He is burying his face as if he was avoiding reality and his own sexual desires. He still wants to deny these urges.
Then chapter 10, the pavilion could be perceived as the unconscious hidden behind the painter’s body. (Chapter 10) Since the pavilion is open aired, it looks like there is nothing there… it was as if the true sexual orientation of the low-born didn’t exist but since there is a roof with beams, we can conclude that Jung In-Hun’s attempt to eradicate his true sexuality has in reality failed. There are rest of it. In other words, the pavilion mirrors Baek Na-Kyum’s denial and brainwashing through Jung In-Hun. This also explicates why Jung In-Hun used here emotional and cognitive techniques as a warning here. He was coercing him to drop the painting.
Then in chapter 16,
Yoon Seungho catches the low-born, because he wants him to experience sex. He has noticed the reluctance hence he just masturbates the young man. Striking is that the door is opened at some point by a servant. This opening of the door by someone else embodies the fear of being discovered. Baek Na-Kyum is determined to never reveal his repressed sexual desires. Consequently he wants the door to stay closed. So if he is seen then, he fears that his sexual orientation will be discovered, yet he wants it to remain a secret. Now, you can understand the meaning of the door in chapter 37. 
It is still the same. Despite getting a blowjob, he still wants to hide his homosexuality to the outside. Hence he still gets scared and would like the noble to stop from exciting him. So for the first time, he is experiencing sex with someone.
Here, the door is wide open and this coincides with the commoner’s confession. The young man was drunk, yet he was hiding behind the door until it got opened by the lord. So Baek Na-Kyum’s unconscious wanted to reveal his repressed sexual desires (homosexuality) and his love to the outside world.
In chapter 29, the low noble is bringing him back to the mansion. Striking is that the door is completely open too. This picture illustrates the role played by Jung In-Hun in the painter’s homosexuality. He is the one who “forces” to become an official sodomite, therefore he can no longer hide his sexual preference behind a closed door. I believe that this is related to this incident. 
Note the opened door. The learned sir caught him by surprise. That’s how the learned sir was forced to repress and hide his homosexuality. This is no coincidence that in season 1, the scholar had the opposite attitude. 
By feigning ignorance, he actually encouraged the artist to become a sodomite. After their return to the mansion, the teacher showed leniency. He accepted that his student would paint erotic paintings, but he was well aware of their sexual encounter. 
(Chapter 30) The moment he arrives back and the lord brings him back to his chamber, the nature of their relationship is no mystery any longer, though painting is used as a justification. (Chapter 29) Striking is the thickness of the wall. This symbolizes a long way for Baek Na-Kyum to admit his sexual orientation. Just because people know, this doesn’t mean that he is acknowledging his homosexuality immediately.
In chapter 34/35, there are three different scenes where the door plays a huge part. I have to say that the last scene was the one that caught my attention in the first place and that’s how I was able to connect the door to Baek Na-Kyum.
The first drawing shows the lord opening the door for Baek Na-Kyum. This signifies that the noble has somehow given up on forcing the painter to admit his homosexuality and his attraction to the lord. That’s the reason why Yoon Seungho spent the entire night thinking over how to convince the low-born to come to his side and become his partner.
However, the sex marathon has not left the young man unaffected. He hides behind the closed door, while his body is shaking and his heart is beating loudly. He eve feels butterflies. For the first time, we see Baek Na-Kyum confronting himself with his repressed feelings… for the first time there is a connection between his thinking and his unconscious. He is somehow admitting that the lord’s presence has left an impact on him. However, with his body he is making sure that no one will ever find out this secret. He is still denying his homosexuality to the outside world. He wants to keep it a secret, yet he is no longer denying the existence of these feelings.
Then in the same chapter, we see Jung In-Hun abandoning the low-born and he even closes the door in front of him.
This single action has so many significations. First, it visualizes the rejection of the teacher. He cuts ties with him. It also shows that Jung In-Hun is well aware of what happened 10 days before. It reveals his selfishness as he shows no concern. In fact, it was as if the low noble was pushing him back. It was as if Baek Na-Kyum was pressured to become a homosexual even without admitting it. The teacher is forcing him to accept his situation but at the same time, he is denying the responsibility. Imagine the hypocrisy of the lord’s action. In reality, he is the one who pushes the painter to sleep with the lord, since he needs a spy. But by closing the door, he ensures that Baek Na-Kyum doesn’t need to admit his own homosexuality. This scene symbolizes the prostitution Jung In-Hun referred later. The teacher wants to use the artist’s sexual orientation for his own needs and simultaneously he doesn’t need to require this from the painter. As a conclusion, Jung In-Hun is now pushing the low-born to become a homosexual without revealing it to the outside world. At the same time, he acts as if he has no idea what is happening to the commoner. That way, Baek Na-Kyum can never reproach him to have used him as a prostitute or to be a hypocrite.
Then in chapter 41, we see a certain progression. The door has been opened by Yoon Seungho but Baek Na-Kyum doesn’t care any longer. Since he is begging the lord to be held, he is finally admitting his true desires. He likes being embraced by a man. This marks a pivotal moment in Baek Na-Kyum’s life. And this explains why the door is wide opened at the end.
Baek Na-Kyum is no longer hiding his true sexual orientation. He is facing the world without being embarrassed. He waited for Jung In-Hun, hoping that the young man would still accept him, but he experienced rejection. He was literally left behind. However, his acceptance of his own sexual orientation doesn’t necessarily mean that he loves Yoon Seungho. In the beginning of season 2, he viewed himself as a prostitute. 
(Chapter 45) He just accepted him as his sexual partner, hence he went to his room and not to the lord’s side in chapter 44. If we compare their respective situation. Yoon Seungho hadn’t progressed much compared to the painter at the end of season 1, because he needed to express his emotions and reveal his secrets and vulnerabilities to Baek Na-Kyum. It took him a long time to open up, as he had been coerced to view himself as a bird of misfortune. He didn’t dare to voice any wish out of fear that these wishes would get ruined. 
(Chapter 96) In his mind, he had no right to voice any desire, as they would be perceived as GREED! 
(Chapter 96)
But like I had written above, the low-born was in a better position right from the start. He had more freedom, while for Yoon Seungho the room is indeed a prison. Under this new approach, it becomes comprehensible how the main lead could leave the window and as such the darkness of his nightmare. Because of the painter, Yoon Seungho met Jung In-Hun, and the latter made him feel superior, but also jealous. That’s how his attention got diverted from the window making him discover the existence of the door! We could say that the painter as the butterfly led the poor protagonist to the door, and thanks to his mind, Yoon Seungho could release Baek Na-Kyum from his cage, as his mind was also trapped by social norms. And this sexual emancipation could only take place in the bedchamber. This explicates why the artist’s liberation was the first step for the lord’s liberation. But by opening the door for the painter, Yoon Seungho could free himself. Therefore it is not surprising that the painter‘s final confession took place in front of a closed door, 
(chapter 96) and Heena could hear his words. Hence at the end, the door got broken: 
(chapter 96) This represented the final emancipation of the artist. He no longer cared, if he was seen. He was so moved that he didn‘t pay to his surroundings. 
(Chapter 96), while it was not the case for the noble. The latter knew about the artist‘s shyness. This truly shows that Heena was responsible for the sexual oppression of her brother. The painter was no longer hiding his affection for the main lead, when he decided to wait for his master‘s return in the bedchamber.
(Chapter 98) Observe that the artist was going there on his own will, and he was sharing his bed with his husband.
3. Heena and the opened door
How did the scholar discover that Baek Na-Kyum was painting erotic paintings of sodomy? (Chapter 1) This memory was from the learned sir. Why was he approaching the painter during the day? Secondly, note that he only scolded the artist in his house! (Chapter 34) So he had discovered a secret, he imagined that the painter had assisted to an immoral love session.
(chapter 6) In my opinion, the kisaeng was responsible for this incident. We have a clue for this interpretation: 
(Chapter 94) The noona is the one standing in front of the opened door with her donsaeng. Here, the artist was getting embarrassed and humiliated. That‘s how little by little, the artist associated the closed door to shame and safety. This is not surprising that the kisaeng is also standing behind the closed door, when she hears her brother making love to the main lead. 
(Chapter 96) In addition, she is constantly seen in connection with an opened door, but this opened door is linked to anxieties, pain, shame and guilt: 
(chapter 68) 
(chapter 66) 
(chapter 88) I have the impression that she was acting out of jealousy, and she had intended to tarnish her brother‘s reputation.
And this leads to my final words. In my first version, I had expressed the following thoughts:
„Does it mean that the lord needs to leave the mansion behind in order to liberate himself from his suffering? If so, then we have two possibilities. Either he gives up his title and everything for the painter or he decides to move to the capital and helps the artist to develop his career and even starts meddling in politics.“
And look at the progression of the story. Yoon Seungho did leave the mansion behind and went to the mountain with the painter in his arms. (Chapter 102) This symbolized the final emancipation of Yoon Seungho. He could finally move on from his past, and as such leave the darkness of his mental prison. He no longer needs a window to view life. This scene announced that he was starting living again. Thus I am expecting to see Yoon Seungho becoming more proactive and funny in season 4. He will show his intelligence and strength in order to defeat his enemies because so far, he never revealed his qualities to others, only to the scholar. His past had left him somehow paralyzed, hence he has laid a low profile. In his past, he believed that his prison was his protection, for he could observe and remain quite wealthy and powerful. For me, Baek Na-Kyum is in reality his strength, the reason why he will be able to leave his cage and shows his true colors and skills.
4. The true form of Jung In-Hun
But if the window symbolizes Yoon Seungho and Baek Na-Kyum the door, what is representing the teacher? In my opinion the open air. He is mostly seen outside.
(chapter 7) (chapter 10)
(chapter 19)
(chapter 29) 
(Chapter 22) (chapter 35) He often strolls through the courtyard. Therefore I would say that the air embodies him so perfectly. He is seen with his nose in the air
which shows his arrogance. Simultaneously, he gives himself airs. How can he be touched by this low-born? The picture shows both aspects. Then in the chapter 6, he is just hot air (this expression means empty talk in order to impress) , when he says that he was the one who taught how to read to the painter. Here, he tries to present himself as a good teacher to Yoon Seungho. Furthermore, he is overestimating his own skills and he is definitely daydreaming 
which is connected to the expression “castles in the air”. His aspirations are boundless, he is aiming at the highest position without being competent or even trying to improve himself. He also attempts to air dirty laundry, when he is hunting with Yoon Seungho. He wants to force the lord to admit his lie so that he can criticize him. But here he fails. As you can observe, many expressions with air reflect his personality. However, there is one scene that contrasts to this observation, that’s when he is in his library in the chapter 40. We actually see him at the library in two occasions:
chapter 7 and 40. However only the scene in the chapter 40 is memorable. Therefore I would say that he is linked to two spaces: open air and closed room like the library. It seems strange that Jung In-Hun is linked to a world with no boundary and the opposite, a closed room. Actually, it is quite simple. The outside signifies that he is actually empty and superficial behind his smile. He is so fake hence he has no real personality. Besides, since there is no limit, then it can also signify that he has no conscience as he knows no boundary. Furthermore, it also illustrates that he has no past and no trauma too. Finally, it also indicates that he will never change, there will be no transformation and as such no progression. Air remains air. Yet he only shows his true thoughts in a closed door in the chapter 40. 
His words there are suffocating the poor boy, that’s the reason why Baek Na-Kyum is left speechless. (Chapter 40) He can’t breathe properly. Since there is no view and no door to the outside visible in the drawing, we have to imagine this reflects his narrow-mindedness. He is surrounded by books (see the pictures from the chapter 7) therefore he lacks real experience and knowledge. He is literally buried behind his books, therefore his knowledge is superficial. 
(Chapter 27) Even in his bedroom there are books so his own bedchamber gives the readers a suffocating feeling. Since there is no window visible in his room and the library, there is no fresh air in the closed room which explains why it is asphyxiating. Usually, we say in a closed room that it smells musty. He only knows the world through his books and the moral standards. He is not even opened to the outside, only his words and thoughts count. Everything else has no value hence there is no life next to him. People living by his side will end up suffocated as he doesn’t allow them to breathe. He is stubborn and he will never change, a fake, empty and narrow-minded man with no conscience. Because of this connection, I realized that Jung In-Hun had no future in Hanyang. He would end up buried, and this became a reality. Because the moment he left for the capital, he ended up dead. And now, if you think carefully, you will recognize that the learned sir is associated to nature! Thus he was seen in the woods (chapter 6, 22) or in the countryside admiring the moon. 
(Chapter 70) Air means also breathing! Hence he represents the fresh air entering Yoon Seungho‘s bedroom, hence we had such a scene: 
(chapter 35) The lord witnessed the intimate interaction between the learned sir and the artist, thus he was incited to leave the bedroom. Strangely, we could say that he was the initiator for the lord‘s liberation. No wonder, why Kim wished to get rid of the learned sir in the end, and just viewed the artist as less annoying and evil!
So the moment he left the domain, the admired sir was confronted by reality. His stay in the mansion had made him dream 
(Chapter 18) so that he ended up letting his guard down. He was not so competent and intelligent like Yoon Seungho, he relied more on the stupidity on others. He could deceive commoners, but not spies. In my first version, I had envisioned that the learned sir had many tricks up his sleeves so he would survive, but I had not realized that he had met a fake servant 
(chapter 37) definitely a noble who could see through him. For me, it was the pedophile himself. I had predicted that he would disappear into thin air, and it became a reality, especially if my theory about his assassination is correct. We could see the transformation of the scholar into a ghost, 
(chapter 50) who would come to haunt the couple because of his resent. 
(Chapter 98) As the air, he became a spirit! And note that the lord was encouraged to stroll too!
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Bebebisous33s' analyses in K-Dramaland and Manhwas 