Painter Of The Night: Baek Na-Kyum’s foot 👣👣

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.

Announcement: Shocking discoveries has been updated again.

1. The caress on the child’s foot

The author released this picture on Twitter yesterday, and naturally this made many people happy, for Jung In-Hun was stroking Baek Na-Kyum’s foot gently. How could people identify the characters, though we don’t see their faces? Simply by the clothes! The manhwaphiles remember the painter’s grey pants and the learned sir’s favorite color, lavender, (chapter 19) (chapter 68). While many manhwalovers found this image cute , something else came to my mind. A question. Why did Byeonduck create such a panel? One might say that she is showing us the painter’s past. Here, he is a young boy, for his foot is so small. He is carried on the learned sir’s shoulders like a little boy. Due to the presence of the light bubbles, refraction, I deduce that this picture represents a happy memory from the artist. He felt loved and warm in that moment.

2. The strolls

However, what caught my attention is that the young scholar was strolling through the countryside with the boy. In the background, you can see the fields and trees. This means that this scene embodies the positive reflection of this night: (chapter 70) The manhwalovers can immediately detect the contrasts: the visages of the protagonists versus the hand and the foot, day versus night, sun versus moon. That’s the reason why I came to the deduction that this image embodies a happy memory of the painter: sadness versus happiness.

On the other hand, these two situations have something in common: the learned sir is wearing the same clothes (a lavender hanbok) and he is walking through the countryside. But why? In order to get an answer to this, it is important to remember why the painter was forced to follow the learned sir during the night. It is because the artist had witnessed Yoon Seungho’s sequestration and abuse, whereas he thought that his noona had been mistreated. . (chapter 68) This means that Baek Na-Kyum was removed, because he was a witness and could generate a scandal. He is beloved by the kisaengs. However, back then, he got misled due to Heena’s indoctrination and false impressions. When he saw this, he was only looking at his noona, hence he didn’t pay attention to the actions of the black guard. Moreover, he had no idea why Heena and Yoon Seungho were behaving like that. So when the painter recalled Jung In-Hun from that night, he was no longer heartbroken, because the stroll with the scholar came to his mind. (chapter 70). The trigger for this recollection was his farewell to Heena. This time, he could say goodbye to Heena properly by embracing her and giving her a scarf so that she would remember him. In the painter’s mind, after that night, he would never see her again. (chapter 69) In other words, this night represented a closure for Baek Na-Kyum, the end of his abandonment issues. In episode 70, Jung In-Hun had consoled him, he had tried to cheer him up. Thus the learned sir was smiling. Yet, this couldn’t cover the painter’s scar. He felt that he had betrayed Heena, for he had not been able to protect her. It was, as if he had run away. Nevertheless, when this incident occurred, the learned sir had not run away from the gibang, because you could see that Baek Na-Kyum was wearing socks and shoes. (chapter 70) The man had put the shoes on the child, as in the building, the painter only had his socks on. Because of the presence of the socks, (chapter 68), I deduce that this walk must have taken place in a colder season (fall) while in this picture, Jung In-Hun was carrying the painter on his shoulders in the summer. No one would question why the artist had no sock or no shoe, and the manhwalovers can see the shadow of leaves from the trees on the hanbok. One might object to this distinction between fall and summer, because (chapter 70) the trees in the background still have their leaves. This point can be easily refuted, for in South Korea you can find typical evergreen broad-leaved species like camellias and camphor trees. But there exists another reason why I am associating this scene to fall and not spring or winter. It is because this image

represents the reflection from another episode: (chapter 102) In both scenes, the main lead is seen with bare feet. He is also carried by his loved one. But here, it is snowing, hence this signifies that it is winter. On the other hand, the manhwalovers can detect the presence of a purple flower on the right side. This signifies that Spring is on its way. That’s how I came to realize why Baek Na-Kyum is now recalling the learned sir’s gesture from the past.

He felt loved because of the learned sir’s caress, but in my opinion, this affection was superficial, as the warmth was coming more from the sun than from the learned sir.

In reality, this scene was actually exposing the teacher’s fleeting and superficial affection. But how do I come to this conclusion? By simply contrasting this scene with the one from chapter 102. Now imagine the situation in your mind. Both main leads are walking in the mountain (chapter 102) where it is even colder than in the valley, secondly it is snowing and there is no sun, only the moonlight. So the moment Yoon Seungho witnessed that Baek Na-Kyum was alive, he must have recognized the seriousness of the situation. Since Baek Na-Kyum had only a hanbok on, he could die of hypothermia. What he had imagined for himself, death, had terrible consequences. He could be the reason for the painter’s curtains. So in my opinion, he must have warmed the painter’s feet with his hands, a new version of this scene: Through the comparison, the artist can only sense the lord’s selflessness and deep love for Baek Na-Kyum. He will do anything for him. And now, you comprehend why the painter was reminded of the past. Yoon Seungho is slowly taking over the scholar’s role. But this doesn’t end here.

By comparing these two scenes, another contrast come to the surface. Yoon Seungho went to the mountain to bury the painter and to commit his suicide. This means that this stroll is associated to death, while the walk with the learned sir embodies the opposite: life and joy. However, as you can imagine, this is just an illusion. Because the moment the lord realized that his lover was still alive, he made the opposite decision. He is now fighting to remain alive. The painter has become the lord’s source of strength. Without him, Baek Na-Kyum can die and can even become the target of filthy and violent nobles. This means that after this stroll, the lord is forced to give up on his suicidal thoughts for good. Hence I deduce that in this image, the opposite must have happened to the painter. There was a change too: Here, he felt happy and loved… yet at the end, he must have felt guilty. Why? It is related to Heena. According to me, in this scene, she had used the painter as a shield. (chapter 94) His presence was to divert the attention from these men so that she wouldn’t be asked to have sex with them. And since I have already detected that each time, the painter suffered, karma would retaliate, the logical consequence is that Heena got punished for her wrong action. This signifies that while the painter was following the learned sir, his noona was abused in the kisaeng house. This would explicate why later she had no remorse to turn Yoon Seungho into a victim. And don’t forget that the painter was much younger than in this scene. (chapter 68) However, since the painter’s legs are longer than in the image from chapter 94, , I deduce that the scholar went for a walk with the painter, the latter was a little older. And this brings me to the following observation: the scholar’s walks were never random. They had a purpose which stands in opposition to Yoon Seungho’s behavior. (chapter 45) (chapter 75) The latter would let his partner walk through town in order to please him. He would even follow the painter. In other words, it was always for the painter’s sake, and in the mountain, it was the same. But it was not the same for Jung In-Hun, it was for his own benefit. We have the best example in chapter 10: (chapter 10) Here, he desired to separate the couple. Baek Na-Kyum should refuse to paint erotic pictures.

That’s how I come to the deduction that Jung In-Hun had taken away the artist from the gibang on purpose, to separate Baek Na-Kyum from his noona Heena. Hence I am assuming that during that day, something must have happened in the gibang. Like mentioned above, she could have been hurt during the painter’s absence. That’s the reason why the painter developed self-hatred. But there exists another possibility. Since this scene took place during the day, I think that the learned sir didn’t mind of being seen contrary to his attitude in town: (chapter 29) He could definitely meet peasants in the countryside. As you can see, Baek Na-Kyum is wearing clothes for low-borns, hence no one will question why he has no socks and no shoes. The learned sir looks like a generous and humble scholar, who doesn’t care about social status and origins, for he is carrying the painter. This stands in opposition to the stroll during the night: (chapter 70): The artist is dressed with good clothes, he looks more like a young master than a commoner, only the shoes are indicating that he is a commoner. That’s the reason why I believe that during that night, the learned sir was avoiding people. They could have wondered why the young boy was carried in his night clothes outside. From my point of view, this scene is strongly connected to Heena and the suffering in the kisaeng house. The other reason for this theory is that this panel is strongly intertwined with episode 29, where the learned sir had gone on a walk too, but this time without the painter. Here, he had a girl on his laps. (chapter 29) He had already been seen with a girl before who seems to like him either. (chapter 6) Thus I couldn’t help myself wondering if the learned sir was not directly involved in prostitution, bringing girls to the gibang and even covering up for the sexual child abuse. We shouldn’t forget that the pedophile was portrayed as a man consumed by lust who would never pay attention to the time and the hour. (chapter 1) Hence the painter had to leave the gibang during the day as well.

To conclude, though this panel seems to ooze happiness and warmth, I believe in the opposite. It is connected to pain and suffering. That’s the reason why I am convinced that this recollection will help the painter to move on from his self-hatred as well. He won’t feel guilty towards his noona, for she definitely manipulated him, especially at the end of season 3. And this would mirror the lord’s transformation, both are overcoming their traumas: self-loathing and abandonment issues.

3. The learned sir’s hanboks

At the same time, since I realized that the painter embodies memories and is the witness of the lord’s downfall and lord Song’s crimes, I came to the following theory: Jung In-Hun was involved in the torment of people in the gibang, but Heena never realized it. She preferred blaming nobles. Jung In-Hun’s role was to ensure the absence of scandal. Under this new light, it becomes comprehensible why the learned sir’s karma was to die incognito. Since he had contributed to cover up and ensure that there was no witness and ruckus, he should suffer the same way. On the other hand, since he contributed to the painter’s happiness, as he was his only friend, I believe that at some point, his death will cause a huge scandal. And before closing this essay, I would like the readers to remind that the teacher didn’t wear all the time a lavender hanbok!! When he first met the main lead, his clothes were rather light green. (chapter 6) (chapter 7) (chapter 7) This change is not random in my eyes. I had already associated the learned sir to a chameleon. This change of color seems to validate my theory that Jung In-Hun had been sponsored by Min, hence we have the light green. Black Heart is symbolized by green. However, the light pigment reflects that he had been abandoned and betrayed. Nonetheless, when he encountered Yoon Seungho, the latter was wearing a purple hanbok. (chapter 6) That’s how the man got influenced and chose to wear his lavender hanboks again. But he never realized that behind the young noble, there was standing the pedophile, someone he had helped in the past. From my point of view, the change of the learned sir’s hanbok was the indication of his betrayal. According to me, the old bearded man (chapter 37) was not a former servant, but the pedophile. So he could have recognized the learned sir thanks to his hanbok… just like the readers did with this picture:

The purple hanbok is the common denominator between the mysterious lord Song (chapter 83), the topknot incident (chapter 1) and the couple. (chapter 102) At the end of season 3, both are now wearing a purple hanbok, though their pigment is slightly different. And what have all these chapters in common?

4. Love and feet

The main leads are bare feet. (chapter 83) According to me, in the painter’s vision from episode 1, the braided man is Yoon Seungho. The absence of shoes and socks was in truth an indication of neglect and abuse, but the warmth and gentleness from that scene deceived the painter: If the learned sir had been so caring, he should have let him wear shoes or socks. Here he was forced to rely on the learned sir. The latter should have ensured for the painter’s education either. He didn’t read a book with him during that day. In reality, the author let us see what true adoration and affection is: (chapter 73) From my point of view, the intimacy in the bedchamber stands in opposition to the teacher’s gesture in the countryside. His caress was just a casual gesture with no real deep meaning in the end. This explicates why he could betray and abandon the artist on so many occasions in season 1 (chapter 11, 24, 25, 29, 35, 40). The learned sir had always prioritized his own interests.

And if my prediction is correct by contrasting this memory to this scene (chapter 102), the painter should realize the difference. (chapter 68) Yoon Seungho’s love is deep and real, it is never changing. And the embrace in the snow confirmed it. (chapter 102) The lord let the painter cry, (chapter 70) talk and ask questions before apologizing and hugging him. The lord never acted, as if nothing had happened, (chapter 102) This was true love and Baek Na-Kyum’s feet always reflect his emotions: (chapter 58) (chapter 80) So now, imagine how the painter must feel if the lord took his feet in his hands! This is no coincidence that there is this saying:

Your feet will bring you to where your heart is.

And now, you comprehend the importance of the foot prints (chapter 100) (chapter 102) and the zooms on the feet: (chapter 53) The couple was following their heart!! But this was not the case with the scholar. Baek Na-Kyum had no other choice than to follow Jung In-Hun.

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Painter Of The Night: The secret behind curry🍛 , apple 🍏and butter 🧈 (second version)

This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents:  https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night/ 

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You are probably wondering about the meaning behind this title, for until now, food never played a role in the story. However, all these words have another common denominator. 😮 The trigger for this essay started, when I discovered the expression “brown-noser” while reading another manhwa. The definition of “brown-noser/brown-nosing” are the following:

Brown-noser: a person who tries to please (esp. one’s boss) so much that their nose turns brown from kissing their ass. Quoted from https://www.urbandictionary.com/define.php?term=brown-noser

Brown-nosing: If you accuse someone of brown-nosing, you are saying in a rather offensive way that they are agreeing with someone important in order to get their support. Quote from https://www.collinsdictionary.com/dictionary/english/brown-nosing

1. Brown-nosing and boot licking

This means that the person flatters or humors somebody in an obsequious manner for personal gain. Striking is that if you look for synonyms, this is what you find

That’s how I discovered why Yoon Seungho started licking Baek Na-Kyum’s ass. In the essay “Painful departures”, I had written that the story was constructed like a kaleidoscope, thus it contained so many reflections. Each incident or notion will be reflected in each season twice and within the same chapter, just like there will be an allusion in the previous or next episode. One might say that in season 1, the manhwaphiles never saw the main lead licking the painter’s ass. So it looked like my interpretation was wrong. However, this is again just an deception. Why? It is because the lord was taking these expressions literally. 😂

The verb “brown-nose” has for synonyms “curry favor”, “apple-polish”, “suck up to”, “get on the right side of”, “to kiss someone’s feet” and “butter up”! https://www.thesaurus.com/browse/brown-nose https://www.thesaurus.com/browse/suck%20up%20to Under this new light, the manhwalovers can grasp the other common denominator between the “curry, apple and butter”. They are referring to hypocrisy, power and selfishness. However, in Painter Of The Night, these idioms get a totally new meaning. Yoon Seungho has long internalized that the exchange of favors is based on sex!! He had to do it personally. That’s the reason why he is taking the expressions literally and the painter is responding the same way. Here he is seen as a back-scratcher: (chapter 89) The lord’s back is covered with marks. Yet, he was not brown-nosing here at all, for he was rejecting the lord’s advances. And now, it is time to take a closer look to season 1.

2. Apple and fellatio

When I read the expression “apple-polisher”, I remembered this scene in the woods: (chapter 23) Baek Na-Kyum was seen holding an apple, here it looked like he was indeed polishing the fruit before eating it. Striking is that during that scene, valet Kim was interrogating him. He was acting, as if he was interested in him. It was, as if he was buttering up to Baek Na-Kyum. The purpose was to gain the artist’s trust so that at the end, he would listen to his advices.(chapter 23) However, the reality was that the valet was actually digging for information, spying on the main lead, so that he could create a new incident. As you can see, there were two apple-polishers in that scene, the painter and the butler. This was the reflection within the same episode. While Baek Na-Kyum was literally polishing the apple, the other was just cajoling Baek Na-Kyum in a figurative way. Yet, the former was not truly sweet-talking to the artist. He gave the impression that he was totally honest. And now, it is important to recall what happened to the painter in the next chapter. Jung In-Hun was kissing the painter’s hands.(chapter 24). He was flattering the painter with the hope that Baek Na-Kyum would spy on his account. But the scholar couldn’t succeed with his request. Why? It is because he only kissed the artist’s hands. He never licked his boot or his ass. We could even say that he did scratch his back, but in the wrong way: (chapter 24) In other words, he could never lower himself in front of the low-born. This was too much, explaining why the scholar failed with his request.

Let’s not forget that in the hallway, Yoon Seungho had made the following request to Baek Na-Kyum. (chapter 27) In exchange for saving Jung In-Hun’s life, Baek Na-Kyum was forced to do a fellatio. We could say that the artist was sucking up to the owner of the mansion. But the fellatio is not just an exchange of favors. It is also associated to forgiveness. At the tailor’s shop, the painter had blushed because of Yoon Seungho, The latter had embarrassed him. Thus the lord made the following suggestion: (Chapter 39) This was his way to apologize, though here he was teasing his lover. These were the principles he had been taught, therefore it is not surprising that he applied them for the painter. And now, you comprehend why in episode 71, Yoon Seungho sucked the painter’s phallus in the bathroom, he was also currying the artist’s favors. His goal was not to be pushed away, to be accepted. (chapter 71) He had wronged the painter so many times, that the blow-job was not enough. Thus he licked his ass in the bedchamber. He was hoping to seek his forgiveness. (chapter 71) It was, as if he was lowering his head, the kowtower. In this episode, the lord was on his knees in front of the painter, and this twice. One in the bathroom (chapter 71) and the other time in the bedchamber. (chapter 71) However, his nose didn’t get brown, as the painter is a pure and innocent person. 😉 That’s how I realized why Baek Na-Kyum was sent to the bathroom. His role was to divert Yoon Seungho’s attention from Kim so that the master would forget to ask for the butler’s punishment. In other words, the valet used the low-born to seek his master’s favors. This shows that Yoon Seungho had been taught that the blow-job and the ass-kissing are the means to obtain forgiveness.

And remember what I mentioned previously, the notion “suck up to or kiss ass” will continue to appear in the next episode. This is no coincidence that the author drew such a panel: (chapter 73) He was licking the painter’s foot so that he could keep thrusting. Don’t forget that during the whole night, he behaved like a servant… the one who was “sucking up to Baek Na-Kyum”. (chapter 72) On the other hand, the latter scratched the lord’s back for the first time during that night. (chapter 72) This was the reflection within the same episode, yet the “back-scratcher” was not doing it for his personal gain at all. We couldn’t say that he was currying favor or buttering up Yoon Seungho. He believed that he was just a servant and nothing more. From the outsider’s perspective, he was treated indeed like a favored servant, though in truth Yoon Seungho viewed him more like his new master and lord.

3. Baek Na-Kyum and Kim’s sucking

Episode 71 with the ass-kissing was the positive reflection of chapter 45.

Striking is that in chapter 45, we have an allusion to the teacher’s pet: (chapter 45) In this scene, the lord was acting like a teacher, and the painter was supposed to do a blow-job in exchange for a favor. But since the painter was heartbroken, he was doing it absent-mindedly. Thus the roles got switched. After the noble licked the painter’s ass, and masturbated him anal, the painter was able to confess his pleasure: (chapter 45) This shows that the lord was slowly “currying favors” to Baek Na-Kyum. And this is no coincidence that Kim brought the ink and brushes to the mansion. (chapter 45) Once again, he was acting, as if he was buttering up to Baek Na-Kyum and indirectly to the host. But the reality was that everything was done for Kim’s interest…. On the other hand, we could say that Yoon Seungho was not really different from his surrogate father, for in that scene, Yoon Seungho was more thinking about himself than the painter’s. Yet, there is a slight nuance, the lord was sensing that the painter was not himself. He was talking to him, so licking the painter’s ass was not just done in order to obtain the painter’s support. His true goal was to be noticed and looked by the painter. He desired to have a true exchange of thoughts. Interesting is that by licking briefly the painter’s ass, he indeed succeeded, Baek Na-Kyum started thinking about him afterwards. The irony is that Yoon Seungho was just applying what he had been taught. That’s how I discovered the other reason why the main lead is not suspecting the butler of treason. Contrary to Yoon Chang-Hyeon or the pedophile, Kim was never seen asking Yoon Seungho for sexual favors: no fellatio or no ass-kissing. But this is just a deception, for we could clearly see that the butler is connected to the sex parties: (chapter 33) (chapter 52) He was the one who separated the couple. Because of his intervention, the painter deserted the mansion and got sick afterwards. Then in chapter 50, he revealed the argument between Baek Na-Kyum and Jung In-Hun. Striking is that in that scene, he was standing on the lord’s left side!! (chapter 50) No wonder that Yoon Seungho got furious. Simultaneously, while Kim was acting, as if he was defending the painter’s interest and as such feeling sorry for the painter, this signifies that he was no longer sucking up to his own master. Therefore, it is not surprising that the lord scolded him. (chapter 50) In fact, he should have “buttered up” his master and not pitied the painter. And now, you comprehend why the main lead misinterpreted Kim’s behavior. In his mind, the valet was actually “apple-polishing” to the painter. He had somehow “witnessed” it in the woods. But he had misjudged the situation, in reality he had caught Kim spying. (chapter 23) Unfortunately, the lord was not perceptive at all.

4. The night of Yoon Seungho’s relapse

And this leads me to the following observation. When Yoon Seungho kissed the painter’s ass in season 3 again, it was not done for personal gain. (chapter 80) He enjoyed seeing the painter’s facial expressions and reaction. He looked so shy and pure. (chapter 80) However, during that night, three people were trying to bootlick someone figuratively speaking: the new version of Deok-Jae, Kim and the messenger. Let’s not forget that before the arrival of the messenger, the painter made the following request to the butler: (chapter 79) One might say that he was currying favor to the butler, when he asked the butler about the music box. But what did Kim do? He brought the item to the bedchamber. (chapter 79) But this is not what the painter had actually requested, since the butler said this “I thought”. He had taken the initiative on his own. In my opinion, the painter had just asked that the music box should be brought back to the study. However, Kim brought the expensive present to the bedchamber for one reason. He expected the arrival of the messenger. We could say that he was “ass-kissing” the painter in order to obtain his trust. Kim definitely imagined that Yoon Seungho was sleeping. As you can see, this scene was the reflection of Yoon Seungho’s action in chapter 80. (chapter 80) While Kim had asked the painter’s to clean his face himself, the lord was cleaning the painter’s ass himself. Or we could say that he was polishing the painter’s apples, for he has an apple-shaped buttock. 😂 This clearly indicates that Kim has never washed Yoon Seungho himself. In other words, while Yoon Seungho was totally selfless here, this was not the case for the valet. And this is no coincidence that right after, the new version of Deok-Jae appeared in front of the door calling his master. He was faking loyalty and dedication. (chapter 80) Here, he was acting, as if he was sucking up to Yoon Seungho, but his gaze betrayed him. In my opinion, he had been deceived by the butler, for the latter expected that the painter would open the door. This situation was reflected within the same chapter. Notice what the messenger said to the young master in the study: (chapter 80) He was implying that his father had to bootlick an official in order to hide the incident. And how did the lord react to this? He not only asked the servant to do him a fellatio, but also made an allusion to the sexual favor: (chapter 80) His father must have kissed someone’s ass. But as you already know, Yoon Chang-HYeon is not someone who will do such a thing himself. And this shows that he has definitely used his son in order to obtain favors in such a way. Yoon Seungho had to do fellatios and let people lick his ass for his father’s sake, as he was a uke in the past. This is not surprising that the messenger received such a beating in the end. (chapter 80) He gave an order to the main lead, he threatened him. But actually, he was just a servant. He was not treating Yoon Seungho correctly. Interesting is that he showed more courtesy and respect to lord Lee than Yoon Seungho. (chapter 82) It was, as if the man was hoping to obtain father Lee’s support either. Another interesting aspect is that when the butler approached the wounded emissary, the former was definitely brown-nosing. (chapter 82), until he heard that the scholar Lee had approached father Yoon. On the other hand, his introduction didn’t fool the courier, for he was aware of Kim’s meddling. (chapter 82) In my opinion, Yoon Chang-Hyeon had followed the butler’s suggestion. Since the painter would always sleep in the study alone, he envisioned that the messenger would suggest to the artist to meet Heena. The man could fake that he had been sent by his noona. He was dressed up for that reason!! Observe that the color of the hanbok is similar to this one: (chapter 94) Thus I had this sudden idea. What if the messenger was receiving his karma for beating the painter in the past? Remember how I had deducted that these two men could have been disguised as nobles!! And this new perception would fit my interpretation. But let’s return to our main topic. The courier refused the obsequious and submissive remarks from the butler. He was no fool, for he knew that because of his “plan”, he had become the biggest victim of Yoon Seungho’s wrath. This explicates why the author never revealed the father’s words, because the manhwaphiles would have discovered the valet’s plan and as such betrayal (chapter 82) This means that if father Lee or Yoon Chang-Hyeon are cornered, they could be forced to “ass-kiss” the king.

Under this new light, it becomes comprehensible why Byeonduck released such panels on Twitter: Baek Na-Kyum is now imitating his lover. He is also licking the lord’s boot/foot. However, contrary to the signification, he is actually making love to his companion. This has nothing to do with selfishness and hypocrisy. We could even say that at the end of season 3, Yoon Seungho had become the teacher’s pet, the yes-man towards Baek Na-Kyum: (chapter 92) He could never refuse his lover’s requests. Thus in the gibang, he encouraged the painter to stay in the gibang. (chapter 93) It was, as if he was seeking the kisaengs’ support. Thus he chose leniency towards these women, though the latter had insulted him. At the same time, he was not hoping to receive any flattery from the noonas. He was the one “sitting on the painter’s right side”. (chapter 93) To conclude, the lord had been “tamed”, he was apple-polishing Baek Na-Kyum, but not in a negative way. It is the positive reflection of Kim who will act behind people’s back, and definitely use sex for his own advantage. We have the perfect example with the 2 sex marathons. He always let the painter suffer in order to cover up his own wrongdoings. But by allowing the main lead to act this way indicates that he was not helping Yoon Seungho. What people thought as assistance was in truth “brown-nosing”.

Under this new light, it becomes comprehensible why Yoon Seungho questioned the painter’s fellatio in the annex. (Chapter 95) In his eyes, the lord didn’t need it, for he was already aroused. Remember in the beginning of the story, Lee Jihwa had to prepare his lover (Chapter 3) Secondly, the painter was in the position not to ask for favors, to suck up to Yoon Seungho. In their relationship, the low-born had the upper hand. Finally, Baek Na-Kyum had done nothing wrong before, so he didn’t have to beg for the main lead’s forgiveness. That’s the reason why the lord was actually rejecting the blow-job!! (Chapter 95) But his teacher taught him this: the fellatio is there for pleasure and sensuality. (Chapter 95) It is the expression of affection and love.

5. The night in the shaman’s house

In my opinion, we should see it as a reflection of Yoon Seungho’s past. Min was also associating sex to favors. (chapter 101) The painter had to do a fellatio to lord Jang in exchange for protection. (chapter 101) The artist was not acting like the teacher’s pet, (chapter 101), hence he needed to receive some lesson. In their eyes, Baek Na-Kyum should have licked their boot, sucked up to them… due to their power and social status. Therefore, it is not astonishing that at the end, they were executed. Why? It is because Min and the others could never “curry Yoon Seungho’s favor”. (chapter 102) Without the painter, the lord had no reason to continue living. Baek Na-Kyum was his source of joy and of strength. Without him, he was powerless. And this leads me to the following observation. Since we have a situation of brown-nosing concerning Black Heart in the shaman’s house, this signifies that we should have a reflection earlier in season 3. And now look at this: (chapter 92) In that scene, Min was indeed “flattering” his ex-sexual partner, while he was rather dismissing the painter. (chapter 92) He was also indirectly currying the lord’s favor. This was the reflection of the night in episode 52 either. However, contrary to season 2, Yoon Seungho had the upper-hand, as the painter had already sided with him. But one might say that this perception of “apple-polishing and buttering up” stands in opposition to my previous statement: sex is like a battle, a fight where there is only one winner. But that one doesn’t exclude the other, since Min had also tried to eliminate Baek Na-Kyum before changing his mind. This truly shows that we had two different philosophies, yet both were evolving around sex. This truly outlines that someone was “consumed by lust” in the end.

6. The Yoons

This means that Yoon Seungho can only discover the butler’s betrayal, when the latter no longer acts, as if he was buttering up to Baek Na-Kyum. But so far, the lord never discovered it. Even when he thought that the artist was dead, Kim gave him the hanbok. This could only reinforce the impression that Kim liked the artist. (chapter 102) On the other hand, Baek Na-Kyum is slowly sensing the valet’s disloyalty towards the aristocrat. (chapter 86) Since the lord could see through Jung In-hun’s true personality, I believe that it is the painter’s duty to grasp the valet’s treason. In my opinion, since he caught Kim having sex with the maid, it is only a matter of time, until he realizes his true personality. In chapter 77, valet Kim had thought that he could rekindle with the owner of the mansion, hence he brought him tea and the medicine. He envisioned that if he acted like a loyal and dedicated servant, he could regain Yoon Seungho’s support. (chapter 77) In other words, he was buttering up to the young master. But observe that in that scene, he never lowered himself in front of the young man. He didn’t go on his knees or he didn’t bow to him either. This attitude exposes the valet’s true personality. He considers himself better than Yoon Seungho and Baek Na-Kyum, refusing to admit any crime or mistake. In that scene, he never said YES! In fact, he kept contradicting his master. (chapter 77) Under this new light, the avid readers can understand why he contacted the patriarch in the end. He knew that Yoon Chang-Hyeon would listen to him, for he had been brown-nosing him for years. And the color brown of his shirt is no coincidence. Observe that when the father visited the mansion, he was wearing brown and red… (chapter 86) He envisioned that his elder son would return him the seat and as such he would become the owner of the family mansion again. Why? It is because of the main lead’s words in the library. His so-called respect towards the father was just fake. That’s the reason why the father imagined that he just needed to show up and he would get the mansion back. However, in reality, he should have sought his son’s support, and as such kiss his ass in order to achieve his goal. But the man has never done it himself. He has always been used to being fawned and ass-kissed that it is not surprising that he barged in the mansion. And this is the same for Yoon Seung-Won. The latter might have sent letters in order to obtain his brother’s support, but we can’t say that he was sucking up to Yoon Seungho. Thus it is no coincidence that at the end, the latter advised his brother to follow the father’s principles. (chapter 37) Here, he was implying that Yoon Seung-Won should do fellatios and other things in exchange for favors.

7. Conclusions

After these observations, I come to the conclusion that the sexual actions are not only reflecting the lord’s brainwashing, but also they are revealing what will happen in season 4. The more the couple will follow these principles (apple-polishing, boot licking, ass-kissing, sucking up, teacher’s pet, yes-man…) in a literal way, the more we will see the negative reflections of these actions in the other characters. The butler and the other antagonists will try to curry favors to the pedophile at the couple’s expense. And now, here is the question. Who will do it, fellatio and other things in exchange for favors? Yoon Chang-Hyeon? Yoon Seung-Won? Kim? Or Heena? As you can imagine, I am inclined to think that this should be Heena. Why? I can not forget the scholar’s words in the library: (chapter 40) Moreover, according to me, she used the young master Seungho and her brother to avoid sex. Furthermore, I would like to point out that when the kisaeng argued with her brother, this is what she said to her brother: (chapter 97) Here, she was referring to favors. Yet, shortly after she proposed this to her brother: (chapter 97) It is clear that the agreement was not selfless. No nobleman would spend money and energy for nothing. The noona was hiding the content of the deal to her brother, the negative reflection from season 1. And now, you comprehend why I am sensing that since her deal was to sell her brother in exchange of favors, her karma should be that she has no other mean than to sell herself in order to survive, as she is now on her own. And if this truly happen, this can only reinforce her resent and hatred towards the couple. But we will see, if Heena is the one “sucking up” in season 4.

Finally I would add that though Baek Na-Kyum kept saying “no no”, deep down he meant “yes, yes” and the perfect example was during the second Wedding Night: (chapter 73). But keep in mind, this is related to the painter’s education. He had been raised not only to hide his homosexuality, but also to reject sexuality as such. Naturally, in reality a no means no and nothing else.

Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My Reddit-Instagram-Tumblr-Twitter account is: @bebebisous33. Thanks for reading and for the support, particularly, I would like to thank all the new followers and people recommending my blog.

Painter Of The Night: The rise of the dragon 🐲

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.

1. Yoon Seungho the king

After the end of season 1, I had been contacted by many followers asking me about the possible ending of Painter Of The Night. Many feared for a depressing ending, as Byeonduck had declared that the protagonists would be happy on their own. In their mind, this meant that the protagonists wouldn’t end up together. My reply was that the couple would become happy without getting too dependent on each other. I meant Yoon Seungho and Baek Na-Kyum would come to give a new sense to their own life, and their love would help them to have a goal and purpose in their life. And that’s how real couples live. Thus while examining season 1 closely, I came to imagine that Yoon Seungho would become the king and Baek Na-Kyum his painter. As you can see, very early on, I connected the noble to royalty. Why? First, we had the lord outlining his powerful position in front of the painter. (chapter 11) Secondly, I had associated the main lead to the eagle which is the symbol for the kings and emperors in Europe. He was seen here flying (chapter 30), and his fingers reminded me of the eagle’s claws. (chapter 18) And this perception got even reinforced, when I saw this panel: (chapter 52) In this scene, he was sitting like a king surrounded by his “court”. The hanbok had such a design that I couldn’t help myself associating it to Joseon’s monarchy.

However, I have to admit my mistake, for this interpretation was strongly influenced by my own culture and as such European history. Yet, here we are dealing with Korean and as such with Joseon culture. Hence the symbol for Joseon’s dynasty is not the eagle, but the dragon. That’s why when I saw this new image on Twitter , I had another revelation. On the one hand, it actually confirmed that Yoon Seungho was somehow destined to become a king, yet he is not represented by the eagle or the phoenix, but by the dragon. Hence the moment I saw this image, one idiom came to my mind: Dragon king!

2. Yongwang

Because of this sudden association, I decided to look more into it. Thus imagine my surprise, when I discovered this:

https://www.koreatimes.co.kr/www/nation/2022/10/113_324712.html

Yongwang, or Dragon King, is a deity of the river or the sea, overseeing peace in the house, good health and longevity in the family, the harvest, catch and safe sailing. Yongwang is also called Yongsin (Dragon God).

Communities worshipped Yongwang as a water god, holding divine powers to control rainfall. Dragon King worship is closely related to the contemporary practice of staging rituals at village springs or wells that are believed to be dwelling places for Yongwang. Around the country there are also legends regarding dragon springs and dragon wells, created by a dragon that brought rain to repay humans by turning wasteland fertile, which shows that Yongwang is closely related to farming. […] In shamanism, Yongwang oversees not only fishing, but the souls of those who have drowned and died. In the worship of household gods, it is a deity that oversees peace in the household, good health and longevity in the family, the harvest, catch and safe sailing.

Among rituals held for Yongwang in the home by women, the most widely spread is yongwangmeogigi (feeding the dragon king), also referred to as yongsinje (dragon god ritual) and gaetje (fishing ritual). This ritual can take place in three different venues: First is a private well in the backyard; second is the communal well, where, in some cases, a spring ritual (saemje) is held, then water from the well is brought to the home and placed in the kitchen or on the sauce jar terrace for the Dragon King; […] https://folkency.nfm.go.kr/en/topic/detail/2618

The moment I read this article, I couldn’t restrain myself making the parallels between Yoon Seungho and Yongwang. First, the deity in the background reminded me of Yongwang. (chapter 100), though this deity is always accompanied with a dragon and in this picture, the readers couldn’t see one. However, it is possible that the author didn’t desire to reveal too much.

“his most distinctive traits are that his beard, moustache and eyebrows are (usually) “spiky,” protruding in sharp points, sometimes resembling coral, and his eyes are often bulging out like those of a fish. He most often holds the banya-jinju (般若眞珠, flaming pearl of wisdom, a type of ma-niju 摩尼珠), but sometimes a branch of coral or a sword.” quoted from http://www.san-shin.org/EKB-Yongwang-DragonKing.html  

Secondly, we have a strong connection between rain and the main lead’s situation and emotional state. It rained, when the lord had sex with Baek Na-Kyum. (chapter 21) Why? It is because the lord was happy. These were the tears of happiness, which Yoon Seungho couldn’t express contrary to the painter. And this is no coincidence that in chapter 58, it started snowing, when the couple was making love: (chapter 58) And we had the same weather, when Yoon Seungho saved his lover. (chapter 102) The weather was expressing the main lead’s emotions: tears of happiness or sadness. We could say that the lord has the “power” to move the sky.

Furthermore, the well plays a huge role in this story. Many people are found dead in a well (chapter 97), and according to me, the messenger was drown there. (chapter 94) In addition, my theory is that Deok-Jae and/or Jung In-Hun’s body were placed in a jar in order to hide the murders. For me, the jar plays a huge role in Painter Of The Night… thus Byeonduck created such a scene in season 2 (chapter 46) and we have so many jars next to the pond: (chapter 94) [For more read the essay “The secret behind the library”]

Furthermore, this story takes place in Jemulpo, a town situated next to the sea, and Yongwang’s realm is supposed to be in the sea. (chapter 91) This is no coincidence. To conclude, all these elements (rain, jar, well, soul of a deceased), connected to the dragon king, are present in Painter Of The Night. Thus I came to the conclusion that Yoon Seungho is like Dragon king. This reinforces my conviction that the main lead is not only connected to shamanism, but also embodies royalty. So he might not be the king of Joseon, but he is powerful in his own way, though he is not aware of this. And note that the moment he wished to commit suicide by drowning in the pond, he was brought back to life. (chapter 102) Water is his true element.

In different temples, you can discover Yongwang accompanied with a woman. She is also dressed in royal clothes with a small crown. What’s unclear is if she’s another Yongwang or if she’s his wife. And this could be a reference to the painter, who will become Yoon Seungho’s bride, but his true identity will remain hidden.

What caught my attention is that the rituals concerning Yongwang are held by women, which stands in opposition to the shrine and Confucianism. (chapter 85) This means that in the Yoons’ mansion, people didn’t venerate this god. And since the aristocrat made such a statement to the elder Yoon Chang-Hyeon, (chapter 86), I have the impression that in season 4, we will assist to a real ritual to ward off evil and back luck, leading the tormenting souls to the afterlife peacefully.

And this leads me to the following observation, the dragon in Korea and Joseon is perceived as a good omen! He would bring good fortune.

Since the release, I realized that the decorated tree (chapter 100) and this altar (chapter 100) were exposing the presence of a ritual. However, my problem was that I couldn’t determine exactly the nature of the ritual. But by making the connection between the dragon and good fortune, I had now more clues. I have to admit that I can not be 100% sure for this, but this is what I found:

Yonggyeong (Kor. 용경, Chin. 龍耕, lit. dragon’s plowing) is a custom observed on Dongji (Kor. 동지, Chin. 冬至, Winter Solstice) in which people tried to predict the outcome of farming for the upcoming year based on the direction and angle of cracks on the surface of a frozen pond. The custom is also known as yonggari (Kor. 용갈이) or yong-ui batgari (Kor. 용의 밭갈이), both meaning ‘plowing by the dragon.’ When ice covers a pond, there is often a crack that divides the ice sheet into two halves, as though a field were divided along a furrow left after plowing. This phenomenon was considered a trail left by a dragon and, therefore, interpreted as having divinatory power concerning farming success in the year ahead. […]

According to another custom referred to as dongbok (Kor. 동복, Chin. 凍卜, lit. ice fortune-telling), on the eve of the year’s first full moon (the fourteenth of the first lunar month), people left two bowls of fresh water out overnight and positioned them north and south of each other. The next morning, they examined the ice sheet that appeared in the bowls and tried to predict the success of farming in the northern and southern regions.  quoted from https://folkency.nfm.go.kr/en/topic/detail/4622

The timing fits to our story, and we have the presence of bowls in front of the deity in the yard. In my eyes, the shaman had prepared a ritual for the dragon king, and was praying for the success of the farming. Don’t forget that it takes place just before Spring. Consequently, this is not surprising that the lord got connected to peasants and this very early on. (chapter 4) (chapter 6) (chapter 82)

This observation leads me to the following conclusion: Yoon Seungho, as a new version of Dragon King, will bring luck to the commoners and peasants. He will help them to improve their living conditions (education and good farming). As you already know, I consider Yoon Seungho as a representative of Sirhak. [For more information read the essay “The scholars’ fight”] And now, you comprehend why very early on, I expected that Yoon Seungho would become a king. He doesn’t need to become a real “king”, yet there is no ambiguity that his fate is to become famous as a spiritual and fair leader.

3. Dragon and imoogi

That’s the reason why I started looking for more information about the dragon. As the readers could see through the deity, this mythical animal is strongly connected to water!

What caught my attention is that the Korean dragon has no wing, yet it can still fly and he has no beard!! But more importantly, this creature is a combination of different animals: the body of the snake, the antlers of the deer, the forehead of the camel, the nose of a pig, the ears of the cow, the claws of the hawk, the scales of the carp, the fist of a tiger and the eyes of the rabbit! He contains all the strongest features of these animals:

  1. luck for the pig
  2. strength for the tiger
  3. elegance of a deer
  4. stubbornness and resistance of a camel
  5. compassionate and giving nature of a cow
  6. the constant change, the metamorphosis of a snake (cycle of death and rebirth)
  7. the rapidity of a hawk
  8. fertility of a carp
  9. the abundance of the rabbit by sharing its eyes

In other sources, I read that the Korean dragon had also features of the dog, the frog and the sheep. But why does this mythical animal possess so many features from different creatures? It is because this powerful, God-like creature embodies the love and respect Korean people have for the natural world. I would even say that he represents nature, and as such he stands for harmony and justice. By being sharing features of different animals, he can understand their life. This is not surprising that the Joseon kings utilized this animal as their emblem. It symbolizes their power (omnipotence and “immortality”) while substantiating their ability to be fair and just rulers. 

Striking is that we have an allusion to these animals in Painter Of The Night. First, the lord was able to kill the boar (chapter 83) and the deer (chapter 22). Then the lord compared Baek Na-Kyum’s eyes to a rabbit. (chapter 78) Since both resemble each other, I deduce that the main lead has the same eyes, the rabbit’s. Like mentioned above, he utilized his fingers similar to claws: (chapter 18) He would fly like a bird, though he has no wing (chapter 30). His fists in this scene reminded me of a tiger’s: (chapter 54) One might argue that this signification is totally impossible, for the lord doesn’t have the body of a snake. This point can be refuted very easily. What is the major characteristic of a snake is molting. A regularly recurrent event during the activity period of all snakes is the shedding of the skin. This coincides with the lord’s change of clothes. The latter reflected his downfall and rising. Furthermore, this animal is linked to death and rebirth. My avid readers are already aware that I had detected different scenes, where we could witness the lord’s spiritual death and rebirth, like for example in the shed: (chapter 62) When he discovered his misjudgment the next morning, he felt like dead. He no longer saw himself as a lord, but came to view the painter as his new lord : (chapter 66) As a conclusion, Yoon Seungho shares so many similarities with the dragon that I came to view him as one. This explicates why even after getting married, he will never wear a beard! The change of dresses and hair dresses of Yoon Seungho represents the different social status in Joseon society: young master, painter, male kisaeng, slave, peasant, executioner, servant, lord, concubine, “wife”/husband” etc. Moreover, since I had detected parallels between the protagonist and the legend of Dangun, this could only reinforce my conviction that Byeonduck is referring to old tales and religions (and as such Dragon King) in her story. The author has already stated that she won’t create a story with the couple set in our time, and this becomes understandable, if she is constantly referring to old traditions and myths.

According to different sources, the Korean dragon is not born as such. They were once said to be Imoogi , a giant lizzard that resembles sea serpents. They exist several different versions on how Imoogi become Dragons. One said it would take a thousand years for them to become a dragon, while another says they must catch Yeouiju (star) falling from the sky. Thus in temples and in pictures, the Korean dragon is also always represented with a ball.

Another theory that exists and sounds the most logical to me, says that Imoogi was born in a place where living and dead intermingled. It was created in cave where thousands of people were stuck due to war in 420AD. As more and more people started to die in the cave, their intense agony and suffering led the foundation for Imoogi’s birth and therefore it symbolizes destruction and sadness. Imoogi controls the power of birth, death and rebirth. Ouroboros, a symbol of wholeness/infinity is also represented by a snake(serpent) eating its tail.” quoted from https://rtaori60.medium.com/imoogi-the-great-lizard-aca02c6c9b1e

Since it takes 1000 years for an imoogi to transform into a dragon, we have 10 years of suffering in Painter Of The Night. For me, this is not random at all. This means that after chapter 102, Yoon Seungho turned into a real dragon! This corresponds to his Coming-Of-Age. That’s the reason why I don’t think that he will be manipulated again like in season 2 and 3! My avid readers are already aware of the presence of ouroboros in this manhwa. For me, Kim symbolizes the imoogi and Ouroboros! He could never turn into a real dragon. But why does the imoogi need to wait for so long ? Some say that this is a curse, other traditions hold the idea that Imoogi are “pupae” or “larvae” of dragons. And they will become full-fledged and full-fledged dragons after being in the ocean for 1000 years. This signifies that time, experience and patience are essential for this transformation. Thus not every imoogi can become a dragon in the end, and that’s Kim’s fate. He was not able to recognize Yoon Seungho as his “yeouiji”. The shaman’s house reminds me of the cavern (chapter 102), and thanks to the painter, Yoon Seungho’s soul was able to escape this “mental prison”.

And this leads me to the following aspect: Baek Na-Kyum is the lord’s Yeouiji, his fallen star fulfilling all his wishes. That’s the reason why the dragon is never seen without his star. One might say that this is exaggerated. However, my avid readers should remember that I had associated the painter to a star, the sun, in previous essays, even before making the relation between the dragon and Yoon Seungho! This explicates why the lord is carrying his lover like his bride (chapter 45) (chapter 102), similar to the dragon in the picture above. His “star” serves as his guide, support and his source of life. Thus when the main lead confessed to the painter for the first time, the sun entered the bedchamber (chapter 55) and as such his heart and mind.

Therefore I come to the conclusion that in season 4, the readers will witness a clash between two dragons, the king and Yoon Seungho! The fight between the fake and the real dragon! Thus when the author released this panel recently, (Twitter), she was actually announcing the arrival of the monarch in Joseon. Hence you comprehend why I selected such a title, the rise of the dragon. “Lord Song” can no longer hide his true identity.

4. Dragon king and expulsion

My readers will certainly recall that the starting point of this essay was this expression “dragon king” which came to my mind, when I saw the recent publication. Why? First, the main figure was wearing the gonryongpo (곤룡포), where dragons are sewn on it. This hanbok is the everyday robe for the king which explains why the latter is always wearing the red robe all the time he appears in front of people. Hence I made this association in my mind: dragon king. When Byeonduck published this image, , she was naturally creating a new story, another Alternative Universe. The student Baek Na-Kyum who got bullied by the classmate Deok-Jae was suddenly sent back to Joseon, and appeared in front of the king’s bedchamber, Yoon Seungho.

Striking is that this panel resembles a lot to this picture which the author hasn’t used yet: The painter is sitting inside a room, while Jung In-Hun is standing outside. Nonetheless, the position of the characters are very similar. This indicates that the author’s new alternative story is actually inspired by the main story!! This can only reinforce my perception that Yoon Seungho in the main story is associated to royalty. However, since it is a reflection, I deduce that this image is the positive reflection of this scene: How did the learned sir react here? He criticized the painter by stating that this was “filthy”. In this scene, the characters are caught by surprise, but it becomes obvious that there is no disgust or expulsion. In fact, the fall of man took place before, for Baek Na-Kyum was sent to Joseon. In this encounter, I detect attraction and curiosity. Hence I come to the conclusion that in the original story, when this scene took place, , Yoon Seungho was far from being living like a king. As you already know, according to my interpretation, the protagonist was treated like a male kisaeng. That’s the reason why I believe that this scene played a huge role in Yoon Seungho’s liberation, the physical expulsion from hell in the end. Since in the parallel story, the student experienced time-travel and as such rejection and expulsion, I conclude that in the main story, Yoon Seungho must have made a similar experience! But this doesn’t end here, as the readers should keep in the mind the following rule: The painter’s destiny reflects the lord’s.

On the other hand, the manhwaphiles will complain that so far, Yoon Seungho has never appeared as a dragon. Yet, we shouldn’t overlook that the phoenix is the symbol for the Queen in Joseon. (chapter 50) (chapter 52) This means that the mysterious lord Song was actually claiming the main lead as his wife in the last scene. Min and his friends were sent there in order to entertain the protagonist, but they failed. This explicates why the next day, Black Heart was seen with a hanbok of lower quality. (chapter 56) It was, as if Min had been compensated for his bruised face by the mysterious lord Song. However, for the pedophile, Black Heart was just a concubine, and not his main wife! Hence the hanbok had not such a detailed and expensive design. This would explain the villain’s jealousy. And now, if you look back at the hanboks from the main lead, you will recognize his ascent. First, he is wearing green, which is similar to Yoon Chang-Hyeon’s color. At the same time, his hat resembled a lot to Kim’s. (chapter 1) Then later, he is mostly wearing blue which is actually the color of the Crown prince. (chapter 11) Yet, his robes initially have no design. Slowly, the lord is wearing colors and designs that are actually reserved for a king: blue, red, black and purple. This constant change of hanboks symbolizes the “snake molting” and as such his transformation and rising. This is not astonishing that on the night of the bloodbath, he had such a hanbok: (chapter 102) Here, he was no longer acting like a noble, but as a ruler. Don’t forget that according to me, the mysterious lord Song had proclaimed the main lead as his unofficial Queen by giving him hanboks with phoenixes. However, naturally, this was never mentioned to Yoon Seungho directly. Why? It is because Kim usually selects his clothes. However, this rise was not natural, as the lord had no real saying in this matter. The real metamorphosis took place in the shaman’s house, when the lord was sent back to the past and as such the darkness. (chapter 102) The moment he left the “cave”, he went to the mountain and surrounded by the wind and water, he changed into a dragon. This expulsion corresponds to the final release, the lord’s mind is finally freed from the darkness, while I believe that this scene is linked to the lord’s physical liberation. .

5. Nightmare and dream

Above, I had mentioned that the painter was the dragon’s fallen star and the love sessions were strongly connected to the weather. If so, why did it snow, when the learned sir left the mansion? (chapter 44) It is because the main lead was thinking that the painter would actually run away. Thus the door was left opened, and he was wearing warm clothes. Yoon Seungho never imagined that Baek Na-Kyum would remain by his side. Yet, during the previous night, the lord had consoled his lover by embracing him.

Furtheremore, the manhwalovers could also wonder why the lord had a nightmare in the bedchamber after their second love session? The painter’s presence should have brought relief. Moreover, during that night, there was no rain. (chapter 71) But this can be refuted easily. First, don’t forget that during this love session, the lord was acting like a servant pleasing his new lord. So this had nothing to do with Yoon Seungho’s feelings like sadness or happiness. He was determined to keep the painter by his side, and ignoring his own feelings. He never expected the artist to reciprocate his feelings. Secondly, Yoon Seungho’s nocturne vision is not just a nightmare, but also a DREAM! Yes, you are reading this correctly. Only recently, I discovered that all the artist’s visions are a combination of 3 elements: memory, nightmare and dream! I will give you three examples as illustration, for I am slowly running out of time.

Chapter 28: This vision is a combination of these three elements: memory, nightmare and dream. This had happened during the First Wedding Night (memory) (chapter 21), then we have a similar situation in chapter 49: , , but the painter was rejecting this future. Hence he considered it as a nightmare.

  • Chapter 34 : Memory ; nightmare the lord becomes a ghost and confronts the painter with his biggest fears (admitting his attraction, passion for erotic paintings and homosexuality) and dream (The painter’s true desire was that the lord would kiss him, he was deeply longing for his lips, yet he was still in denial in this vision.
  • Chapter 98: Memory, for the painter was remembering the corpse in the courtyard, a dream, as he wished the return of his loved one . He hoped that the lord would take care of him personally. Naturally, the “spirit” is the nightmare .

Since the lord’s fate and personality are similar to the painter’s, I could only come to the conclusion that the lord’s vision in the bedchamber is not just showing the past and the future horror. It also exposes the lord’s dream and hope! 😮

So where were his desires visible? First it was about breaking free from his jail… (chapter 74) This had already happened, but the lord had not grasped the significance. (chapter 53) Besides, he had not opened the door himself. Even when he went to the scholar Lee and opened the door with the his foot, the lord still felt trapped. (chapter 67) Then in season 3, he could break a door, but it was thanks to the painter. (chapter 96) This shows that the lord’s wish to get released had not been fulfilled so far. In my eyes, it is connected to the torture Yoon Seungho suffered and as such to the purge organized by the authorities. That’s the reason why I deduce that the lord will break a door in season 4, and this won’t be by accident and it will be witnessed by many people contrary to chapter 53, 67 and 96! The broken door will reflect the lord’s rise and power, and no one will be able to stop this. In my eyes, this wish is connected to the door in the servants’ quarter. That’s how his imprisonment started.

Moreover, the protagonist was voicing his thoughts, the reproach to Kim and his father! They had abandoned him. (chapter 74) The “dragon” wished to see Kim and his father, and confront them! And this did take place in season 3. Yoon Seungho confronted the butler with his attitude and betrayal (chapter 77), but this argument was just short-lived. He still viewed the valet as a hard-working and trustworthy person. He had just made bad decisions. Then in the bedchamber, the lord could blame the father for his suffering: (chapter 86) As you can see, the lord’s wishes were granted, but the nocturne vision was so difficult to grasp that neither the readers nor the main lead could interpret the message correctly immediately. Besides, the nightmare was mostly silent. But this doesn’t end here.

(chapter 74) In this image, he is floating in the air… a sign that his status is changing. At the same time, this shows that he is escaping from the hands. They are trying to drag the main lead down. Thus I come to the conclusion that the vision was announcing the lord’s transformation (into a dragon) and as such his “rise”. Note that in this image, he is still a teenager, but in the following panel the protagonist has already become an adult. (chapter 74) Simultaneously, the vision also displays the lord’s expulsion from “hell”, the sex orgies (chapter 74). the hands are trying to bring him back. This image displayed that Yoon Seungho would become powerful, and the hands wouldn’t be able to contain him any longer. The pink is a reference to the painter, and not just to the gibang! Thanks to the painter, Yoon Seungho is changing so that he will be able to face the KING, but not only him!! This is what the dream was telling him too. Thus we have this image: (chapter 74) Simultaneously, the dream showed that the lord wished to see this painting again, though deep down, he blames this image for his suffering. As you can see, the vision was revealing the tormented disposition of the lord. He was switching from nightmare to dream and the reverse… a mixture of anxieties and desires.

However, pay attention that the painting was standing behind Yoon Seungho, when the hand grabbed him (chapter 74) This signifies that he was approached by someone from behind, he had not noticed that the “door” had been opened. Thus he never expected his apparition. For me, this perception demonstrates that the painting is not the real cause for Yoon Seungho’s suffering. Since he had turned around, I came to recognize that this scene stands in opposition to the situation in the painter’s nightmare: (chapter 34) The painter had been able to witness the entrance of the ghost contrary to Yoon Seungho. The latter was caught by surprise. This image illustrates the lord’s biggest fear. That’s how I realized that his biggest nightmare is not the pedophile in my opinion, for the main lead in Baek Na-Kyum’s “nightmare” (chapter 34) stands for attraction, honesty and love… thus it should be the opposite in Yoon Seungho’s nightmare: repulsion, betrayal and resent! He fears to admit the truth, the biggest traitor is Kim, but he is still in denial. He has repressed the terrible betrayal from Kim, just like the painter’s, though I think that the biggest traitor in Baek Na-Kyum’s case is not really Jung In-Hun, but Heena. This would explain why Heena noona was not present in the terrible vision in chapter 34. This is not random that we don’t see the face of the owner’s hand. Naturally, the king was involved in this betrayal, for Yoon Seungho is caught between the hand and the painting. He was trapped between two forces.

This means that Baek Na-Kyum will help Yoon Seungho to face the truth: Kim is a traitor and the king is the pedophile. The vision is indicating that the butler will betray him again in the future, backstab him one more time… However, this time he will recognize his action. Why? Because this time, there is light in the room… as Baek Na-Kyum symbolizes the Yeouiju, the fallen star helping the dragon. If the author presents another dream from the main lead, we will definitely get new clues. And this brings me to the following conclusion:

Yoon Seungho had been portrayed as a bird of misfortune on purpose. (chapter 86) In reality, he was a dragon, who could bring luck and fortune to the person who would cherish him. This is no coincidence that the pedophile sent hanboks with the crane (chapter 34), (chapter 45) In his eyes, the main lead brought him luck, as all his wishes got fulfilled, and he was never caught committing a sacrilege or crimes. However, since the presence of Baek Na-Kyum by Yoon Seungho’s side, it looks like nothing is going like planned. The main lead is not only drifting more and more away from him, he even left everything behind. That’s the reason why I believe that the dragon, the king, will vent his anger on many people in season 4, a new version of this scene. (chapter 30), but much more brutal and violent!  While this “dragon”, the king, stands for court, and as such civilization and immobility, the Korean dragon embodies nature and hope for commoners who dreamt of ascending the ranks! This is not surprising that Baek Na-Kyum is slowly ascending the ranks, while in the past Kim was acting as the unofficial lord of the Yoons’ mansion.

As a conclusion, in season 4, expect a battle between an “imoogi” and dragons. In addition, it becomes obvious that the winners will be our beloved couple. Since Yoon Seungho was turned into a “dragon”, I am more than ever convinced that he will act like in season 1: confident, perceptive, smart and cheerful! He can not longer be used like a pawn, for the “dragon” can not be tamed! And removing the falling star would signify the dragon’s death!

Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My Reddit-Instagram-Tumblr-Twitter account is: @bebebisous33. Thanks for reading and for the support, particularly, I would like to thank all the new followers and people recommending my blog.

Painter Of The Night: Baek Na-Kyum’s origins

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.

Next to Yoon Seungho’s suffering, Baek Na-Kyum’s lineage represents the second biggest mystery. Thus many readers have already developed their own theory about the painter’s clan. However, the problem is that the author focused more on the noble’s traumatic past than on the painter’s genealogy. We could say that she barely left any clue about Baek Na-Kyum’s origins. The only information we have is this panel: (chapter 01) But after studying the manhwa so closely, I discovered the existence of rules in the manhwa which helped me to dig up new information. I am listing the laws of Painter Of The Night again in order to avoid repeating myself. I will refer to them later in my argumentation (rule 1, 2, eg.). That way the readers can better grasp how I came to new revelations and theories.

  1. The story is going in circle, thus Baek Na-Kyum’s path is similar to Yoon Seungho’s, yet it started much later. The reason is simple. The artist only began suffering the moment the noble’s condition improved. Thus it signifies that when the low-born was outcast and rejected (chapter 94), Yoon Seungho experienced the opposite. (chapter 57) He was admired which created a source of jealousy. While the painter discovered sexuality and his homosexuality very early on, Yoon Seungho was pure, but through incidents he was forced to become a sodomite. While Heena and the scholar tried to repress Baek Na-Kyum’s sexuality, the father pushed his son to have sex out of fear and high expectation.
  2. There’s always a reflection within the same chapter so that we can perceive the characters’ emotions and thoughts.
  3. Each episode is reflected in the next or previous season.
  4. The previous episode will always be mirrored in the next so that every chapter is connected to each other with reflections.
  5. Karma is always retaliating and it will be 1000 times worse. In addition, the son always pays for the father’s sins.
  6. The black frame is indicating either a vision or a memory.

1. Baek Na-Kyum as baby

And now, it is time to return our attention to the image from chapter 1. (chapter 1) What caught my attention is the presence of the black frame related to the servant’s narration. This indicates that this panel and the following represent memories, but they can not be the recollection from the servant, as the latter is just repeating what he has been told. I recognized it while reading episode 101.

1. 1. Comparison between episode 1 and 101

Observe that we have the same situation. A servant was informing Lee Jihwa about the last events: (chapter 101) Striking is that the author used the same method to introduce the memories. First, we see the servant talking before viewing the memories. (chapter 101) And now, compare it to chapter 1: (chapter 1) The order is the same, though the episodes are actually contrasting each other. How? Remember that in episode 1, Yoon Seungho followed the servant’s suggestion, whereas Lee Jihwa refused to do so. The latter chose to run away and vanish.

Striking is that the author added this picture (chapter 101). She was implying that this panel symbolized the vision from the witness, the tailor. This explicates why you see the wall on the left side. The tailor was observing Min in the shadow. This is important, for these images are reflecting the truth, revealing that the servant from episode 101 was actually lying. Thus I deduce that the domestic from chapter 1 was also lying, but contrary to the episode 101, he thought, he was telling the truth. We could say that he was acting as the fake “mirror of truth“. How do I come to this deduction? Simply because the servant in chapter 101 was actually deceiving Lee Jihwa and Yoon Seungho. Note that in the beginning of episode 101, Seokdae tried to defend himself by feigning ignorance. (Chapter 100) He denied his responsibility by putting the blame on someone else („I was told“), yet once facing the young master Jihwa, his declaration exposed his lie. (Chapter 101) He knows something!! Consequently, I come to the conclusion that in chapter 1, the domestic had been deceived about the painter’s childhood too, but he had no idea, while Seokdae was only partially involved in the scheme. The latter had been left in the dark that he could risk his life. (chapter 1) So in episode 1, the servant was not aware that he was lying to the protagonist, when it comes to the painter’s past. However, the domestic with the brown hanbok lied in one aspect, the publication of the book. (chapter 1) One might have the impression that I am digressing from the main topic. Yet the manhwalovers should keep in their mind that the servant from episode 1 served one purpose: to show us the memories of an important witness, someone who watched Baek Na-Kyum growing up. Thus we have three different pictures. First, he is a baby, then a young infant (chapter 1) and later almost a grown-up . (chapter 1) This signifies that the witness was close to Baek Na-Kyum which explains why the domestic trusted the source of his information. However, contrary to episode 101, she never divulged the identity of the witness. It is because the person wished to hide in the shadow.

Another similarity is that a third person is mentioned in the statement in order to give a certain credibility to their declaration. The head-kisaeng or the captain of the guards are the witnesses, but their absence in the image indicates that they are actually used as alibis. In addition, the manhwaphiles will recall that the episode 101 begins with the childhood friend’s sentence (the loss of the topknot), while the domestic got spared. On the other hand, we have the opposite situation in episode 1. (chapter 1) It ends with the domestic’s death, while the incident with the topknot is mentioned in the middle. At the end, the painter is dragged to the mansion. As you can see, both chapters reflect each other. That’s how I had this revelation (chapter 01) It made me realize that this image represented the view of a WITNESS! Someone was present, when the baby was brought to that place. This corresponds to the “dragging“ at the end of episode 1 (rule 2) In the beginning of the story, the adoptive parents (Heena and Jung In-Hun) were not aware of the situation, thus I am assuming that this was different in the past. The “biological parents“ or the “father“ knew about his whereabouts. Hence we need to find out the identity of the witness, though I already gave different clues. He was close the painter and watched him growing up.

1. 2. The fateful place

Moreover where did the domestic deliver the infant? Anyone would say that this was just the house of kisaeng. BUT no, as this panel reveals the entrance of the gibang. (chapter 99) The soil and the position of the pillars of the main gate are different. I can now announce the precise location, and this with certainty. Yes, I discovered the place thanks to rule 4!! (chapter 4) This is the door! You can recognize it thanks to the pillar on the side.

Another detail caught my notice: The shadow of the rooftop on the ground. (chapter 4) Here, the shadow was bigger indicating that it was early in the morning. The painter had just woken up. Consequently, I deduce that the baby was brought to the mansion during the day. This signifies that Baek Na-Kyum was never abandoned! He was entrusted to the owner of that mansion! (chapter 1) You can recognize the gate in the background. This is the domain, which you see when the lord is arguing with the painter in the courtyard. (chapter 4) Pay attention to the background in this picture. And now, you are probably thinking that the owners of that mansion are the Yoons, as we observed the main lead living there. Nevertheless, I had already pointed out that this was not Yoon Seungho’s mansion. This is the Yoons’ domain: (chapter 51) The courtyard is different. According to me, this is the mansion of the Lees. [For more read the essay 360: Lee Jihwa’s special relationship with Yoon Seungho] And since episode 1 and 101 reflect each other, this can only reinforce my interpretation that the Lees are involved in Baek Na-Kyum’s past, for we have Lee Jihwa present in chapter 101. Baek Na-Kyum was brought to the Lees, thus the scholar Lee keeps calling Baek Na-Kyum a peasant! He knows about his true origins. I had always said that the man was revealing his knowledge with his insult. But does it mean that this was the vision from Lee Jihwa’s father?

1. 3. The identity of the witness

(chapter 1) I don’t think so and this for two reasons! (chapter 1) First, the person was keeping an eye on the painter like mentioned above. Secondly, the artist is seen each time with the white head-band! In the last picture, he is seen drawing very young, whereas in this picture, he is much older. (Chapter 2) This item is connected to the scholar Jung In-Hun. Thus the learned sir reminded the artist to have it on his head in chapter 38 (chapter 38). Besides, father Lee views him as a peasant and not a servant. This observation gets reinforced, when you look at the memories from the painter. In his childhood, he was never wearing a white head-band. (Chapter 94) (chapter 87) (chapter 68) (chapter 70) This means that this panel (chapter 1) represents a distorted memory from Jung In-Hun. 😮 The other evidence for this signification is the absence of the landscape. We don’t see the gibang in the background. Striking is that it coincides with the following statement: “we know not of his origins“. From my point of view, it reflects that the scholar has long repressed the true origins of Baek Na-Kyum. He came to adopt this vision that the main lead was a peasant, a servant. Striking is that the painter was seen for the first time with the head-band in this panel: (chapter 94) Thus I assume that it was done on purpose. They used “his girly features“ as a fake excuse to beat him, but the intention behind this violence was to force him to wear the white head-band! As you can see, everything is pointing out that the learned sir and father Lee were somehow involved in this. But I have three more conclusive evidences for this theory. First, it is related to the reflection in chapter 101. (chapter 101) Look where the red-haired master and the servant are! It is in front of the teacher’s home! In Painter Of The Night, there is never a coincidence. This is a sign that Jung In-Hun is related to Baek Na-Kyum’s past and knows his true origins. However, by treating him like a low-born, he came to view him as one. But this doesn’t end it. Remember the rule 2: the reflection within the same chapter. The painter remembered the words from the gibang: (chapter 1) Jung In-Hun would employ such expressions like fiend and sodomy (chapter 18), he was repeating his admired sir’s idioms. Besides, “hell-raiser” is also an indication that the learned sir was a Christian who converted Heena. Thus I deduce that when father Lee received Baek Na-Kyum as a baby, he entrusted him to the learned sir Jung In-Hun who had no connection and no wealth so far. So when the lord described him as such in episode 7, it was not entirely correct. The reality was that the man had been working for the Lees, but he had been “abandoned”. (chapter 75) The scholar was his helping hand explaining why he would appear in this scene. (chapter 68) This was the night of the fake sexual lesson.

And this new discovery led me to the following conclusion. The moment Baek Na-Kyum was forced to wear the white tissue coincides with the loss of Lee Jihwa’s topknot because of rule 5. In my eyes, the painter helped Yoon Seungho to obtain his topknot which occurred after this incident. (chapter 57). However, there was a price to pay for the main lead’s emancipation. Lee Jihwa had to lose his topknot!! (chapter 59) Without a topknot, the red-haired master no longer looked like a real noble. He had lost his position. Hence I believe that the painter was forced to wear the headband. As you can detect, there was a chain reaction linked to the social status: lord or not, low-born or not.

1. Baek Na-Kyum and the gibang

However (chapter 1), since Baek Na-Kyum was so young, he needed a mother to feed him. Thus he was brought to the gibang. And that’s how he ended up in the kisaeng house. This means that Baek Na-Kyum is actually a noble! I would even add that he belongs to the royal family. And this would explain why the painter was forced to wear a headband, the moment Lee Jihwa lost his topknot. We also have the explication why the painter was living in the annex. (chapter 87) He was definitely living in comfort.

Nonetheless, where are the real proofs? First his name! Why was he called Baek Na-Kyum, if he has been abandoned? He should have only a name Na-Kyum. Secondly, why did the main lead let cut his hair? It was to indoctrinate him, to make him realize that he had been abandoned by his parents!! They deceived him with the long hair. It was implied that with short hair, he would be recognized as a boy. (chapter 94) However, the purpose was to let him experience rejection and isolation. It appears to me that his resent for nobles was part of the brainwashing as well! That way, he would never think that he was coming from a noble family. (chapter 94) This means that such a scene was created in order to ruin the main lead’s self-esteem, and naturally Heena who witnessed it was also influenced. Since she was a minor herself, she couldn’t detect the schemes behind such scenes. Don’t you find it weird that the young child was brought to that room? Under this new approach, the learned sir’s neglect concerning the painter’s education appears in a different light. (chapter 6) The painter was never destined to become a farmer. The neglect was done intentionally. And when you recall his words in the library, you can only view his words as pure lies again: (chapter 40) He was never born to be a prostitute, but he was sent there on purpose. Under this new perspective, it becomes more comprehensible why Heena sent Baek Na-Kyum to the learned sir. He was the one who had brought the artist to the gibang, and now he was getting older. One might refute this point, for she declared this: (chapter 68) Nonetheless, the beholder can detect the presence of a drop of sweat on Heena’s cheek. So she was deceiving the artist here. Why? Yes, in her mind, the painter was Jung In-Hun’s son and as such he should become responsible for the learned sir. But she had to lie in order to persuade him to leave the mansion. There’s no ambiguity that the head-kisaeng had no idea about the deal between the Lees and Jung In-Hun.

2. The noble Na-Kyum

But wait… I have more evidences for this theory. The poem from the scholar! Chapter 4 is a reflection of episode 1 (rule 4). (chapter 4) This was inspired by the poetry from Wang Bang-Yeon! (chapter 4) In this poem, the famous author was referring to the death of the young king Danjong who had been killed by his uncle Sejo. Danjong was just a teenager, when he died! As you can see, the text is actually an allusion to royalty and exile. Under this new light, it dawned on me that the scholar Lee had been entrusted to take care of Baek Na-Kyum, but the latter chose to delegate this to the learned sir. There was a reason behind this. For me, he was eyeing at the mansion himself! One might refute this point, for the elder Lee said this: (chapter 82) But note that the man never said that this was his house, just the household of the Lee. Since the artist is related to the king, this signifies that he is related to the elder Lee too, as the family ruling over Joseon belongs to the Lee clan. Hence I am suspecting that Baek Na-Kyum could be the true owner of this mansion. (chapter 1)

“The very night of Danjong’s murder, Sejo’s sleep was haunted by the appearance of Danjong’s mother who denounced him for his evil and left him with this malediction: “You have stolen the throne and killed my son. Yours too shall die.”
When Sejo awoke, he discovered the curse had been fulfilled ― Deokjong (the crown prince and his eldest son) was dead at the age of 20. In fury, Sejo had Danjong’s mother’s tomb dug up and her bones and remains scattered into a river.” Quoted from https://www.koreatimes.co.kr/www/opinion/2019/11/721_278751.html

If you read the analysis “The Dark Knight”, you are already aware of the importance of a curse in Gothic literature. We know that the lord is right now stigmatized as a bird of misfortune, thus I deduce that when the artist was a baby, he could have been labelled as such too. I am suspecting that he was condemned, for his mother had died by giving birth. (chapter 1) Note that the baby had no hair, so he was only a few weeks old. From my point of view, Baek Na-Kyum could have been sent away for that reason. Either he was perceived as a bird of misfortune (rule 1) or the father wished to protect his son from harm, for he was in a vulnerable position. His mother had died. Within the family, he would be protected. As you can imagine, I am sensing another manipulation and scheme, where the king chose to listen to people. One thing is sure: the artist is no peasant, but a nobleman, I would even say, he belongs to the royal family.

And Yoon Seungho has already detected the painter’s true origins. Thus he keeps removing the headband. (chapter 53) How does he know it? In my opinion, it is because Baek Na-Kyum resembles to the king. The only difference is that he has no beard. This would explain why Yoon Seungho said this: (chapter 55) Why would he get upset? Why would the painter’s face evoke such emotions? He is reminded of his abuser. This is no coincidence that the main lead had such a flashbulb right after, where you could see Lee Jihwa and his father. (chapter 55) They are all related. And now, you comprehend why the author wouldn’t reveal the face of the mysterious lord Song in chapter 83 (chapter 83) We could have seen the resemblance, as in this picture he was much younger. As the manhwalovers can sense, I detected a strong connection between the Lees and Baek Na-Kyum. Observe that the moment Lee Jihwa lost his topknot (the symbol for nobility and adulthood), the painter received a purple/burgundy hanbok!! (chapter 102) The colors are already insinuating that the artist belongs to the royalty.

What the painter considered as a curse (his girly feature) is actually a blessing. Yes, his face is the evidence of his lineage! And now, you comprehend why he was beaten by these people (chapter 94), why he was forced to have short hair and wear a white head-band! (chapter 71) If the pedophile came to the gibang and crossed the main lead’s path, he couldn’t recognize his relative (son or nephew) due to the hair and the clothes. Besides, I am certain that my avid readers can recall my other theory: the painter was stolen as a child. This new interpretation would corroborate this theory. The painter has been robbed of his true identity, he had been kidnapped, when he was brought to the kisaeng house!! Besides, if he is the true owner of the mansion, then this signifies that Father Lee succeeded in his coup d’Etat (rule 1, rule 3). In season 3, we have an attempted “coup d’Etat” with Yoon Chang-Hyeon eyeing at the seat. (chapter 86) Moreover, I would like to point out that we have the topic: siblings’ jealousy. This is definitely possible that father Lee is related to the artist, an uncle for example. Finally, if the painter is the king’s son, this is no coincidence that Baek Na-Kyum suffered so much. He was paying for his father’s sins (rule 5). At the same time, if Baek Na-Kyum has to face the infamous lord Song, as his son/nephew, he is put in a position where he can criticize his father/uncle. How could he abandon him and treat Yoon Seungho like that?

3. Baek Na-Kyum’s murder

I had already detected that the painter was supposed to die in chapter 1. But with this new discovery, I have another explanation for his assassination. Baek Na-Kyum was not only a witness of the pedophile’s crime, but also involved in Lee Jihwa’s humiliation. Furthermore, he was on the verge of becoming an adult. Thus he could claim his inheritance. In my eyes, his existence represented a source of threat for father Lee. The latter had completely forgotten the boy (like the saying: out of sight, out of mind), until the incident with the topknot occurred. Since the learned sir and father Lee had neglected him on purpose, they had another reason to get rid of him. Since Yoon Chang-Hyeon viewed his son as a small adult who should dedicate his time to study in order to contribute to the Yoons’ reputation, it is possible that the painter’s father could have made the opposite decision. He should grew up in a more carefree environment, or maybe he could avoid being affected by a curse. Naturally, the scholar Lee has every reason to remove the painter from Yoon Seungho’s side. (chapter 82) All his past crimes could come to the surface! He had not taken care of the painter, and he had been neglected on purpose. He had committed a crime (disobedience to the king), thus he was a traitor. On the other hand, they could use the last publication as a justification for his death! He had threatened the ruler, he was blackmailing him with his secret. There’s no ambiguity that lord Song had no idea about the true identity of the artist.

And now, imagine this. What if Yoon Seungho had killed the painter? Jung In-Hun and father Lee could frame the main lead for the murder and accuse him of killing the king’s relative. The poem would serve as an evidence for the painter’s identification. The protagonist had committed treason… That way, the patriarch Lee could kill two birds with one stone. Yoon Seungho would be forced to leave his propriety (in chapter 1, he was living next to Yoon Seungho), and even lose the family’s mansion. He would destroy the Yoons totally. There exists this possibility that father Lee had already announced to the lord Song that his son/nephew had been kidnapped and died. (chapter 37) So far, we still have no idea about the cause for the treason: Coup d’Etat or attempt of assassination on the king or spying or murder of a royal member (here Baek Na-Kyum)? There’s no ambiguity that the painting in Yoon Chang-Hyeon’s bedchamber was used as an evidence that the elder master Yoon was eyeing at the throne (chapter 83) imagining that Yoon Seungho through his “marriage” would become the crown prince. Since the author mentioned “torture”, I have the impression that the main lead was brought to the bureau of investigation and got tormented there. He was naturally framed, he had been acting as a spy. He was hoping to become the king’s successor as his “bride”. So once the artist had been executed, the scholar Jung could claim that he had been raising the painter the whole time and receive a huge compensation for his benevolence! Then it occurred to me that the learned sir could have approached the palace for that exact reason: Baek Na-Kyum’s true origins. He had been taken care of the painter, but on the day he went to the court, Baek Na-Kyum published the book where the king’s crimes were painted and as such ruined his plan!!

Anyway, there’s one thing that I am certain. The accusation from the past was revealing father Lee’s true desires. He was power-hungry and greedy, hence he projected his own thoughts and emotions onto the patriarch Yoon. But by running away, Lee Jihwa ruined everything! The scholar Lee can no longer aim at the throne.

And if the king were to face Baek Na-Kyum, he would recognize his relative due to his face, especially he would share some similarities with the mother. Since the painter’s face was wounded at the end of season 3(chapter 102), I am assuming that his visage won’t be bruised again, so that his foot could get hurt, for the lord and the butler had a broken foot in chapter 77. (rule 3) (chapter 77) And that’s how the ruler could discover the truth!! Therefore the culprits would be detected easily: father Lee and naturally Kim, as both knew the real identity of Baek Na-Kyum, but chose to remain silent. Yes, knowledge will become Kim’s downfall in the end. Why do I think so? For me, the feet in this panel are Kim’s (chapter 1), but like mentioned in a different analysis, No-Name got framed for the painter’s disappearance. How did I come to this assumption? It is because the author is often portraying the butler by his feet! (chapter 66: According to me, this is Kim and not No-Name) (chapter 77) Don’t forget rule 1 and 3. Nevertheless, the main point for this interpretation is the way the painter ran: (chapter 4) He made the same sounds than the butler: (chapter 17) (chapter 85) Here he had faked running. Since he had been introduced with his feet in chapter 1, she needed to create reflections later. Finally, I would like to point out this: (chapter 7) Their meeting here is an indication that their past must have crossed before because of rule 1!! Since the painter was so devoted to the learned sir, the valet could only jump to the conclusion that the man had truly taken care of Baek Na-Kyum properly.

4. Conclusions

As a conclusion, the first panel is containing many clues about Baek Na-Kyum’s lineage! Only through long reflection, I could reconstruct his past partially. I am well aware that my perception of father Lee and Jung In-Hun contains more speculations concerning their motivations, since I am still lacking some information. Yet, I am convinced that Baek Na-Kyum is related to the Lees and the king. And the painter ended up in the gibang, because the scholar needed a woman to feed the boy. It was to make sure that the boy was not connected to the household Lee. This would have raised questions, if suddenly a baby had appeared in the mansion. Thus Baek Na-Kyum was entrusted to the noonas through the scholar. There’s no doubt that the painter’s face will play a huge role, for during that time, the scientists didn’t know the existence of DNA! It was not possible to take a paternity test. Besides, the author is always avoiding long narration. She uses “chance” and “coincidence” to deliver much information in a short time! Within 26-28 episodes, she has to give all the answers to the readers, while the story is still going on! And that’s how I realized the importance of the door: (chapter 04) The protagonists’ fate got switched the moment they passed a door. Thus the painter didn’t suffer here contrary to the young master (chapter 68). He might have been sad, yet he was not exposed to violence and humiliation. But here, it was different: (chapter 94) He had entered the room. In my eyes, this door had a special meaning (chapter 4) It is where the main characters’ destiny was affected, hence the lord expressed this: (chapter 4) He recognized that the artist was not a servant or slave, but a free man. His words became a reality. He is not embracing a peasant, but a noble, even a member from the royal family. He was speaking the truth, while all the readers were thinking that Yoon Seungho was a hypocrite. We could say that the main lead was under the influence of the spirits/unconscious, thus he caught the artist right on time. At the same time, “peasant” is again a reference to father Lee which reinforces my theory that the scholar Lee is deeply involved in the couple’s suffering.

As for the scholar, since he never mentioned his involvement in the painter’s life (chapter 1), officially Heena raised him, the readers can grasp why Baek Na-Kyum never considered the learned sir as his “father”. He had been raised in the gibang by the noonas, but not by the learned sir. He was just a companion and a friend, whom he felt indebted and attracted to due to his “gentleness and fake selflessness”. This is not surprising that the servant in episode 1 got executed in the end. The servant had lied, because he had repeated the scholar’s words. And the latter had lied about the painter (chapter 1) He had actually painted animals and nature in his childhood, thus the noonas kept his drawings. (chapter 94) The man had trusted the learned sir’s testimony without verifying the facts. He had not detected the presence of a blackmail! (chapter 1) This truly shows that ignorance is indeed no blessing, and people shouldn’t trust others according to their appearances or social status. At the same time, the servant had forgotten that Yoon Seungho was a noble, though he was dressed like a peasant in the bedchamber. (chapter 1) He was not even wearing a hanbok here, and his head-band was different too. As you can see, both protagonists shared the same experience. They were not treated according to their social status. To sum up, the valet Kim brought Baek Na-Kyum to the Lees, who decided to get rid of the painter by entrusting him to the scholar Jung. And Heena became his accomplice, the moment she became his surrogate mother. Let’s not forget that in season 1 and 2, the learned sir was the only one seen with children: girls. (chapter 6) (chapter 29) and Baek Na-Kyum (chapter 68) This shows that the painter embodies the link between the head-kisaeng and the learned sir. Jung In-Hun had entrusted her the baby.

Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My Reddit-Instagram-Tumblr-Twitter account is: @bebebisous33. Thanks for reading and for the support, particularly, I would like to thank all the new followers and people recommending my blog.

Painter Of The Night: Dogs🐕 don’t wear pants 👖

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 starting point of this analysis was this quote from Lee Jihwa. (chapter 12) The mention of a new toy implied the existence of an old plaything. But we know for sure that Yoon Seungho has never possessed anything. He was treated like a male kisaeng himself, for he was not allowed to refuse advances from anyone. (chapter 52) Finally, he was forced to share anything he owned to others. (chapter 52) That’s how I realized that the inner thought from Lee Jihwa was exposing his knowledge. The latter knew about Yoon Seungho’s true conditions. The latter had been treated like a plaything by the pedophile. As the red-haired noble had been raised as an filial son respecting elders, Lee Jihwa saw no reason to change the way Yoon Seungho was “trained”. (chapter 57) Besides, he could only benefit from it. Now, he could have sex to his heart content. He only started playing tricks, the moment he felt that his childhood friend was escaping from his claws.

On the other hand, the author recently explained on a live session that Yoon Seungho’s mother committed suicide, for her son was tormented. However, my problem is that I only heard about this through others. Some stans were saying that Yoon Seungho was getting abused, others would even say, he got tortured. So was it abuse or torture? There’s a slight difference between these two notions. For I was a little unsure about this, I preferred to leave it at “abuse”. But then I realized this. If he had been truly tortured, then he should have traces on his body, they used to break bones… so that they ended up crippled. The readers could witness the way the Joseon authorities tortured people in order to obtain confession. (Chapter 37) On the other hand, since the lord went to the authorities in season 3, I deduce that he must have gone there in the past too, yet not as a victim/plaintiff, but as an accused. Because of this new revelation, I made a new connection: sex and torture.

Striking is that in the father‘s eyes, he was not even a slave, he was like an animal. (Chapter 83) Why? He viewed him like a dog, for he was living in the shed. He even had no proper hanbok and no real hair dress, and the manhwaphiles can certainly remember the idiom: clothes make the man! If he was no man, then he was an animal, a dog. Even his food reminded me of dog food. But why was he living there? (Chapter 83) In this essay, I will answer to this question. As a first conclusion, the lord was not even treated like a male kisaeng in the past, but more like a dog. Consequently, I deduce that when Baek Na-Kyum met the lord in the inn (chapter 1), his status had already changed. He was slowly experiencing emancipation. He was living like a male kisaeng. Thus I conclude that Lee Jihwa contributed to his recovery to a certain extent. (chapter 59) However, don’t get me wrong. I believe that the change occurred thanks to Baek Na-Kyum’s intervention, the new version of this scene. (chapter 68) Their path crossed a second time in the gibang which led to the painter’s expulsion which affected the lord‘s living condition. But let’s return our attention to the lord’s long suffering.

In the past, while reading season 2, I started getting confused about the identity of the abuser. When in the shed (chapter 62) the lord turned into a shadow or ghost from the past, certain gestures were similar to the patriarch‘s. (chapter 57) (chapter 62) This explicates why after reading episode 62 for the first time, I had suspected the father to have raped his own son. Yet this thought was dropped shortly after. Then when episode 77 was released, I realized that in the shed the lord was also reminded of Kim’s betrayal, for the latter would always drag him to the shed. Observe the way he was “carried away“. It was like an “embrace“. (Chapter 77) In episode 77, the readers can witness 2 incidents how the lord was brought to the storage house. (Chapter 77, this is a different situation, for we have different servants except Kim) Therefore in the barn, Yoon Seungho behaved like his surrogate father Kim as well. This explicates why we have the fake embrace and the insincere apology. (chapter 62) (chapter 62) As you can see, the hug from the past was the symbol of violence and hypocrisy. It served to drag the lord to the storage room. And this new observation led me to the following conclusion: Yoon Seungho was copying the behavior from all his abusers from the past: his brutal father, the hypocrite butler and naturally the pedophile. (chapter 62) Hence the protagonist grabbed the painter by the hair. For me, the “mysterious lord Song“ used to hurt the main lead by the hair, when he got angry. How did I come to this interpretation? Note that at no moment we never saw Yoon Chang-Hyeon taking his son’s hair. First, the lord’s head was covered with a hat. (Chapter 57) Even in the bedchamber, he would either slap his son or grab him by the throat. (Chapter 83) (chapter 83) As for Kim, the latter would always restrain the main lead by the shoulders, the fake embrace. (Chapter 57) And now, you comprehend why the lord dragged the two nobles by the topknot. (chapter 8) For a long time, I have demonstrated that this gesture represented one of Yoon Seungho’s biggest traumas. But why would the pedophile do that? One might say that it is because of Yoon Seungho’s resistance and struggling. He needed to punish him for his disobedience. Note that the noble with the mole and Lee Jihwa got humiliated as sanctions. (Chapter 18) However, in my eyes there exists another explanation which I will elaborate in this analysis either. From my point of view, the shed and the humiliation are strongly intertwined. This was particularly visible, when the lord forced Baek Na-Kyum to have sex in the courtyard. (Chapter 64) But why would he do that in the end? It was to train him, to make him obedient. (Chapter 64) Remember how he had declared that the painter was now his sex toy. He should listen to his master or owner. That’s how I came to this deduction. The infamous lord Song is a sadomasochist. In the worse case, he is simply a pure sadist. I am inclined to believe more in the first view. With this, we would have the link between sex and torment. And the picture from the erotic book where you see the bearded man having a braided man on his lap outside indicates that Yoon Seungho was here getting punished. The pedophile loved seeing Yoon Seungho humiliated and in tears. (chapter 01) And now, we have the explanation why the lord could no longer cry and how he came to hate “fake apology”. This was the result of the exposure to the sexual assaults under the form of BDSM.

1. The true nature of BDSM

But what is BDSM exactly?

It’s an abbreviation for bondage, discipline (or domination), sadism (or submission), masochism: sexual activity that involves, for example, tying a partner up, games in which one partner controls another, or giving and receiving pain for pleasure quoted from https://dictionary.cambridge.org/dictionary/english/bdsm

This means that BDSM is a role play, where one acts as a dominant and the other as submissive. However, in order to become an act, there must exist consent and agreement. A contract is necessary, for the dominant has to ensure the submissive’s safety. He needs to know the limit between real and fake, and as such when the pain becomes too much to bear and is no longer a synonym for pleasure. The dominant needs to know boundaries. Thus the couple has to have a safety word. Once this word is said, the “punishment or humiliation“ has to stop. This truly shows that BDSM is strongly regulated. Therefore on different websites, you can see many recommendations. One stipulated 10 rules so that BDSM would be enjoyable for the couple: 1. be patient, 2. be humble, 3. be open, 4. be honest, 5. be realistic, 6. be sensitive, 7. be genuine, 8. be healthy, 9. Communicate, 10. have fun. (https://modemworld.me/ds-essays/the-ten-rules-of-ds/) Striking is that during their last love session, the couple was already following these principles, though there was no real punishment. Don’t forget that the painter had sex in front of people behind the doors. (chapter 96) They ended up in the hallway, anyone could see them. Then in another website, I found the following principles:

„What Daddy should do for his little Prince:

1. Help me brush my hair if you’re with me.

2. Help me pick out clothes and food.

3. Take bathies with me sometimes, and showers with me most of the time if you’re here.

4. Hold my hand as often as possible.

5. Call me my preferred words: little, sweetie, prince, puppy etc.

6. Give me treats when I’m good.

7. Punish me when I’m bad.

8. Praise me when I do good. No matter how small the good thing is.

11. Don’t make threats. Punish me if I’m bad, but don’t take things away or hurt me when you’re mad.

12. Never lose your temper because your day is going bad.

13. Always go to bed and get enough rest as much as possible.

16. If I’m sad I like hugs and kisses and pets and nice words.

17. Littles need to know they are loved.

18. Always be honest with me.

19. If I’m being a brat, I want attention.”

20. Don’t ever break promises, ever.” quoted from https://www.wattpad.com/amp/492636426

2. The real and fake sadomasochist

After reading the second list of rules, the manhwaphiles will realize two important aspects. First, the main lead was slowly developing a manual of BDSM without realizing it. Note that after the coerced sex in the pavilion, he desired to take care of the painter personally. He took the horse, and if he had not met the butler on his way to the pavilion, he would have done it himself. (chapter 25) He even brought the hanbok himself. (chapter 26) The lord went so far to take his bath with his lover to clean him. (chapter 59) He made sure that his partner wouldn’t suffer. (chapter 89) Yoon Seungho knew by experience that the rest of semen in the stomach would cause him ailing. (chapter 77) This was the reason why Yoon Seungho had a fever afterwards. Don’t forget that the pedophile used Taoist sexual practices, this means the young boy had a sex marathon each time, he met the pedophile. Thus I interpret the bruise on Yoon Seungho’s eye not only as an indication of resistance, but also as a source of joy for the sexual predator. We have the reaction from lord Jang as the perfect example. (Chapter 101) He blushed, though he could see that Baek Na-Kyum was in pain, the face covered with blood. Remember what the painter did in the pavilion to the main lead: he scratched his face. (Chapter 25) Thus we have to envision that the lord must have reacted the same way and wounded his abuser. And imagine the consequence if he had wounded the king on the face. This could be seen as a reason for a punishment. (Chapter 77) Remember Black Heart‘s warning in the shaman‘s house: (chapter 102)

Under this new light, the readers can comprehend what happened. Because he was the ruler, he expected acceptance. In addition, the king never took care of his “lover” properly, for in the palace, the staff was supposed to take care of everything for him: he would receive the assistance from maids and eunuchs in order to get dressed. This signifies, he must have had the same expectations in the Yoons’ mansion. He always relied on Yoon Chang-Hyeon and the so-called loyal valet. But the father could only resent his own son, for he rejected homosexuality, as it stands in opposition to lineage. As for the valet, the latter was too much plagued by his own guilt that he resented the nobles for his own wrongdoings. He never realized that he was abandoning the young master.

Yoon Seungho learned through the hard way to take care of himself. However, because the protagonist had been traumatized by the sexual fake lesson, I doubt that he could have an erection. Thus the valet went to the physician again in order to get replenishing medicine. (chapter 33) This is an euphemism for aphrodisiac. Thus we had this confession from the physician. (chapter 57) Why did the butler visit the doctor without Yoon Chang-Hyeon? It is because he had been ordered to fetch the aphrodisiac. By feeding him with the drug, they wanted to force Yoon Seungho to accept the advances from the king, and as such to admit his sexual orientation. He was a sodomite. (chapter 65) They faked his “pleasure“ making him feel guity and dirty. That’s how he got tricked. This explicates why the main lead still has no idea of the use of the aphrodisiac.

And now, you have the answer why the king failed to “tame” Yoon Seungho. He did the exact opposite what he should have done. He never followed such rules: respect, health, etc… Lord Song never became responsible for the young boy, thus he never confessed as well. He never apologized for his mistakes or his brutality. (chapter 71) As a king, he couldn’t bow down to a noble. Observe that the roles of “dominant” and “submissive” are not clearly defined between Yoon Seungho and Baek Na-Kyum. The lord is the dominant sexually speaking, but note the vocabulary: (chapter 72) (chapter 89) If you pay attention to their interaction, the lord acts like the servant. The reason is simple. If you take into consideration the second list of recommendations, you will recognize that the roles are switched. Outside a sex session, the submissive becomes the “king“, and the dominant has to act like his servant. That way, a certain balance is created. But this was never the case between the pedophile and the teenager. The latter was always reduced to a plaything and at the end to an animal. The pedophile never called the protagonist by his name. (Chapter 1) He was just called “my boy“. And that was it. He never created a real bound with the main lead. Therefore trust was totally inexistent. And because the young noble could only fear the man, he came to hate him to the point he could die. The latter made promises which he never kept!! (Chapter 101) How could he vow to “protect or help“ Yoon Seungho, when the latter was tormented constantly and exposed to violence against his will? And this could only escalate to Yoon Seungho‘s attempt to commit suicide. (Chapter 57) What caught my attention is that Kim needed the help from the other servant to keep Yoon Seungho on the bed. This is relevant, because this reveals that Yoon Seungho had reached an age, when the bearded man was no longer strong enough to restrain the main lead. It is very likely that before killing himself, the protagonist had even tried to hurt the ruler. (Chapter 55) I had this idea, for the story is going in circle, meaning that the lord must have done it before, just like he did in season 3. The possible death from the main lead and probably his own pain must have brought the mysterious lord Song back to reality. That‘s the reason why he sent for the physician‘s assistance. He was encouraged to keep his distance from the young man, just like the latter was incited to stay away from the painter in season 1 (sickness, Min), in season 2 (the scholar‘s insult) and in season 3 (the rough sex session in chapter 81-82). Thus I deduce that the pedophile has always kept an eye on Yoon Seungho and his recovery. In my opinion, the man has not forgotten the main lead at all. Why do I think so? It is because he kept the painting… (chapter 82) a souvenir from their time together, just like Min who stole the painting in the study.

Thanks to the painter, the more time passes on, the more Yoon Seungho changed. Not only he returned to his original personality, but he slowly developed the rules how to play BDSM. He discovered the importance of “consent” after the second sex marathon. Striking is that he got reprimanded by his butler after the love session. This explicates why the main lead never requested the painter in his bedchamber, and only visited him during the night, when he was asleep. (chapter 74) Thus I am deducing that Seungho-Ya will become the safe word between the two protagonists. (Chapter 72)

While Yoon Seungho dresses the painter personally, or he cleans him with his own hands, the king imagined that the butler would take care of everything. Thus I come to the deduction that the king will discover the real reason why his relationship with Yoon Seungho was doomed, and why he could never obtain his heart. Kim had also betrayed him, for he had never revealed his knowledge at the right time. He used paltering to escape punishment. However, I would like not to be misunderstood here. Naturally, lord Song is as much responsible as the other abusers. Why? The king only focused on his own pleasure, and never paid attention to the counterpart, he was totally in denial that he was using violence. Deep down, he knew that this was wrong, for the main lead was just a boy, like the “nickname“ was revealing it. He thought, as the ruler, he could overlook social norms. However, here he had definitely crossed the line. So imagine what BDSM means for a teenager. It is indeed a torture. He must have been definitely scared. And the king must have threatened him too not to share his sexual habits to others. I am quite sure that the ruler was not willing to admit his own sexual habits to others, hence he did it in the shed. It is also possible that he didn‘t mind of Yoon Seungho being described as a licentious man. That way, the king‘s behavior wouldn‘t be criticized. But because Yoon Seungho was sent to the shed, and punished there, the “fathers“ misjudged the real “value“ of the main lead. They truly thought that the king only viewed the main lead as an animal. They took the punishments in the shed as face-value reinforcing their disregard for the protagonist.

Thus I come to the conclusion that the shed was the place where the main lead was exposed to BDSM. This explicates why Byeonduck revealed such an image in a tweet. The noble with the mole is trapped in a shed, and the color purple, a symbol for royalty, is dominant. From my point of view, the author revealed everything in this tweet. On the other hand, I would like to point out that here the man doesn’t look scared or rejecting the use of the bondage or the dildo.

This explicates why Yoon Seungho was so rough in the storage room. (Chapter 63) He was reliving his biggest trauma. Yet, he never went overboard in the shed. Note that the moment the painter called his lover “lord Seungho”, there was a switch. (chapter 63) That’s the reason why the lord changed the painter’s position and faced him. (chapter 63) The lord communicated his feelings and thoughts, and he even made a promise. (Chapter 63) This new perception reinforces my impression that there was no rape in the storage room. The painter kept saying “no“, because he was actually scared about his own reactions. Strangely he felt pleasure, thus he kept having climaxes. He was simply in denial. The irony is that the noble attempted himself to be cruel during the night of the revelation (episode 62, 63, 64), but he failed, because the night at the doctor’s house was still fresh in his memory. He couldn‘t forget the tender embrace from the painter. (Chapter 62) This explicates why he stood up during the penetration, he was forcing the artist to hug him, to clinch onto him. He wanted to relive it again.

As you can imagine, the infamous lord Song knew no boundary. He was simply the worst kind of sado-masochiste. First, this was never an act, the submission and as such violence were real. Why? It was because of his social position. He was the king, yet BDSM is a role play. Moreover, I would like to add the Marquis de Sade as the best illustration. The French philosopher from the 18th Century was arrested due to sexual crimes: rape, sodomy, sex with teenagers, abuses (bondage). We don’t know for sure how far he went, yet there’s no ambiguity that the libertine had definitely crossed the line. I doubt that the man knew about the necessity of rules in BDSM as well. Striking is that his „victims“ were prostitutes and people from the lower social class, while he belonged himself to the old nobility. I am suspecting that the man didn’t truly outlive his sexual fantasies with women from the same social status. Thus I came to the following conclusion: the necessity to distinguish fantasy and reality. My faithful readers will certainly recall that the protagonists had to learn to make this distinction. Consequently, I have the impression that the king didn’t make the difference in the beginning. He thought that he was finally able to outlive his sexual fantasies, not comprehending that this was just an illusion, for the “violence“ was real to Yoon Seungho. Under this new approach, we have the explanation why Yoon Seungho never paid attention to the marks left by the ties on his wrists. (Chapter 63) He had internalized the marks left by the bondage. This is no coincidence that the artist‘s wrist was covered by the bandage, the reflection from the torment in his youth. Under this new aspect, the presence of the bed in the shed was like a magical tool, which helped the lord to not turn into his tormentor. He was just a ghost from the past, and the word “lord Seungho“ worked like a magic spell, which stopped Yoon Seungho from becoming as vicious and cruel as lord Song. Moreover Lord Song sounds very similar to lord Seungho. And this new discovery confirms my interpretation that Kim was the helping hand of the king. He had to provide him with the white bands for the bondage, just like he had helped for the young master’s kidnapping in the gibang. (chapter 86) But don‘t get me wrong. The king sent the main lead to the shed, when he wished to punish him. Yes, he repeated the same actions than Yoon Chang-Hyeon. And what is the common denominator between these two circles? The valet…

Besides, he didn’t treat Yoon Seungho like a slave, but like an animal. One might say that it was not his fault, for he was not aware of the physical and emotional torment from the other abusers. However, the moment he “claimed“ Yoon Seungho as his „partner“ or “plaything“, it was his duty to ensure his safety. Besides, if he truly cared for him, he should have showed more interest in the young master. Thus he became responsible for Yoon Seungho’s suffering. Note that so far, no servant was treated like that in the mansion. Even Soongap from Bongchon Bride was treated much better, until he received his terrible punishment. Soongap was never forced to live in the shed. Under this new light, I see it as another evidence that the infamous lord Song could only be the king! He is the only person who has absolute power in Joseon, and as such knows no “real boundaries“. Furthermore, as the ruler, he is expecting no rejection from his subjects. Anyone watching sageuks (historical Korean dramas), is aware that the Joseon king was never an absolute monarch, for he was always controlled by the officials, ministers, the Queen dowager and the Queen. There were also protocols which he was forced to follow. And we have an indication about the king‘s lack of power and wealth. (Chapter 76) Thus I am assuming that the lord Song must have been frustrated about this contradiction. On the one hand, he was supposed to be the most powerful man in Joseon, on the other hand, he had to rely on the aristocracy. Hence I have the impression that the ruler vented his anger and frustration on Yoon Seungho unconsciously. That way, he could outlive his sexual fantasies, where he was powerful. But because of these terrible sexual habits, the young master could never get treated by a physician. Anyone would have recognized the sign of abuse.

But imagine what it meant for Yoon Seungho, a teenager who discovered sex through the most horrible way! He had been traumatized by the penetration between the kisaeng and the fake teacher. Striking is that the perpetrator and the other adults all reduced sex to penetration, like my friend Luzyla pointed out to me. The dildo and the comments from the nobles (chapter 92) (Chapter 101) are a proof that they never discovered the importance of kisses, embraces, caresses and words during sex. They never recognized that they were denying the existence of love, too obsessed with their heritage and their reputation. The manhwalovers will remember my previous observation. The pedophile had never kissed the main lead. The king like all the nobles had disconnected sex from love. Why? It is because sex was a duty… to continue the lineage. And now, you have the explanation why the pedophile and all the others reduced sex to penetration.

Under this new perspective, it becomes comprehensible why Heena got scared in the annex. (Chapter 96) When she heard the noise (PLOP), she was brought back to the past, when she had witnessed a scene of BDSM, though the violence was real. A similar situation to this scene: (chapter 73) The pictures from the erotic publication are the evidence for this theory. After hearing the description from the butler about the events in the shed, the noona Heena believed to know what had happened in the shed. (Chapter 68) She could see the traces on the painter’s body, and conclude that the valet was telling the truth. However, the butler had been misled himself, for his perception was biased by his past experience. (Chapter 64) The butler thought that the “no“ from the painter was truly real, while the latter was just dishonest. It was the result from the “indoctrination“ from Heena and Jung In-Hun. The valet had been deceived in the end. The humiliation and punishment were not real, for the painter did ejaculate, and back then he was not under the influence of the aphrodisiac. (Chapter 64) This was not like in the past, when the brutality was real. And now, you comprehend why Heena‘s resent towards her brother became more visible after witnessing the love session between the noble and Baek Na-Kyum. (Chapter 97) From my point of view, she had already internalized that the painter would never change, he was already too “damaged“ to change. However, since he was close to Yoon Seungho, he could become in danger, for she knew the connection between the ruler and the main lead.

3. The pants

And now, you are probably wondering why I selected such a title, when so far, I didn’t mention the pants. Nevertheless, my faithful readers will certainly recall my previous analysis “Who is wearing the pants?“ , where I had pointed out about the lord’s habit who kept his trousers for the most part of the time. (Chapter 72) He was copying the habit from the pedophile in my eyes. The latter would never remove all his clothes on his own. As the king, he was used to get undressed by his own staff. Only the teenager as the uke was undressed, unless the lord was accompanied by the other nobles, like in this scene. (Chapter 54) And because the ruler was too focused on his own pleasure, he never got to know the young noble. He only realized too late that he had made huge mistakes. (chapter 37) Because he couldn‘t accept his responsibility, he preferred blaming others: Yoon Seungho, Yoon Chang-Hyeon, the real lord Song, the 3 nobles who got tortured, etc. Thus everyone got punished. He had definitely developed feelings for Yoon Seungho, but he would never admit it, for love was not accepted among nobility and even less between 2 men. However, I don‘t think that the man should be romanticized, for he abused a young boy for almost a decade. He has to be judged as a sexual predator, who hunted down Yoon Seungho to get him. (Chapter 72) Yoon Seungho was his prey.

4. Discipline and sadism

After reading my whole explanation, the manhwaworms can comprehend why Yoon Seungho said this to his childhood friend. (Chapter 59) The main lead was supposed to meet his tormentor in a public place. Yet their relationship was based on “humiliation“! The “king“ loved to punish Yoon Seungho through humiliation and violence. This explicates why Yoon Seungho reacted that way. (Chapter 56) (chapter 57) This is what he experienced himself in the past. And observe that the childhood friend’s biggest punishment was actually his public humiliation, when he confessed and got rejected. (Chapter 59) In my eyes, the king sought to obtain Yoon Seungho’s affection, but he never realized this. He definitely confused it with submission. He definitely imagined that once the teenager would become submissive, he would have achieved his goal. But he was doomed to fail. In his mind, as the ruler no one could ever reject him. Besides, as the ruler, he was allowed to use his power and as such his strength to obtain what he desires. Don’t forget that in Joseon, people viewed all the monarchs als representatives of the gods. The latter would support them. However, since his youth Yoon Seungho had a strong opinion and mind. Therefore he had caused trouble to his father, as the latter viewed his critical thinking as a synonym for a lack of respect for traditions and the elders, the so-called illness from his childhood. Besides, I am suspecting that the lord must have had visions as well, which would contradict the father‘s dreams and expectations. (Chapter 57) Yoon Chang-Hyeon looked down on his son’s critical thinking and came to doubt his words. The author left many clues for this interpretation: (chapter 101) Lord Jang got aroused, when he saw the bloodied lips from the painter. Moreover, Black Heart had brought a huge dildo. (Chapter 101) The item was huge, therefore it could only injure the artist’s anus. (Chapter 100) (chapter 101) Even the noble said that this must have hurt. The painter disliked being bitten in the neck. (Chapter 88) Furthermore, the lord said this to the painter in the study: (chapter 85) These were the words from the pedophile. He was repeating his sexual abuser‘s words. And this proves to me again that the lord was abused in the study, but if he rejected the man, he would be sent to the shed where he would receive his punishment. In other words, Yoon Seungho was punished with sex and violence. And now, you have the explanation why he got gangraped in the end. But the readers should keep in their mind that this was no real BDSM, for the brutality was real. The king couldn’t distinguish between reality and illusion. And this coincides with all my previous interpretations.

  • The importance of acting,
  • The protagonists had to learn to distinguish between illusion and reality
  • The constant switching between lord and servant,
  • The differentiation between conscious and unconscious
  • The repetition of trials leading to punishment (an allusion to BDSM)

Naturally, the king is the biggest hypocrite in the end. He raped the boy, and he knew that. But he could always legitimate his actions with the following excuse. The young boy was a sodomite anyway, for he couldn’t do the deed with a kisaeng. He had brought him upon himself, since he had accepted his offer in the first place. He definitely used religion and philosophy (Taoism) to hide his crimes. By maintaining the harmony between the Yin and Yang, he would live healthy and live longer. But exactly like Lee Jihwa, he was attempting to fool himself and the main lead. And because he made no distinction between real and fake submission, neither father Yoon nor Kim felt obliged to view Yoon Seungho as the king’s official wife or concubine. How could they know that the man viewed the main lead more than just a plaything or a dog? This explicates why Kim had such a memory in the end. (Chapter 65) Kim had brought him to the barn, because Yoon Seungho was punished there. This could only be suggested by the butler, as I don’t think that the king would ask for the owner of the mansion for permission. This room was definitely taboo, no one was allowed to approach the study or the shed. Yoon Seungho was exposed to rough sex, and Kim knew this, like mentioned above. But he never witnessed it himself, he only discovered the aftermath. From my point of view, this scene occurred after the lord’s loss of virginity. (Chapter 65) And now, you have the explanation why he got gangraped in the end. I had always sensed that this was a punishment for Yoon Seungho.

I will stop here, for the essay is already very long. But before ending this, I would add two more aspects. I was still unable to comment about this panel, (chapter 94). Notice that violence was used against the painter to mask attraction. The “girly features“ were definitely perceived as something tantalizing. Thus I perceive this incident as a reflection from the BDSM. It was to push the artist away, to incite him to leave the gibang. Heena feared that he might catch the attention of the pedophile, and it is very likely that she was manipulated by the scholar, her idol.

As a conclusion, this new approach gave me new insight about the pedophile‘s personality. Either he will come to the city very soon or he is already in town and this for two reasons. It is related to Yoon Seungho and Black Heart. There’s no ambiguity that the death of Min who was definitely close to him will force him to intervene directly. In the past, I had developed the theory that Black Heart and his friend with the mole were the king’s new companions. In truth, he will use this incident to reenter the main lead‘s life. First, Yoon Seungho was supposed to have committed suicide. He will ask about Yoon Seungho‘s whereabouts and about the incident leading to his disappearance: the rumor about the protagonist‘s crimes (the death of the scholar and the servants)…. And that‘s how he will discover that Baek Na-Kyum is considered as the main lead‘s bride! From my point of view, he knew about the existence of the painter, yet he must have explained his “bride“‘s behavior like this: (chapter 18)

Feel free to comment. If you have any suggestion for topics or manhwas, feel free to ask. If you enjoyed reading it, retweet it or push the button like. My Reddit-Instagram-Tumblr-Twitter account is: @bebebisous33. Thanks for reading and for the support, particularly, I would like to thank all the new followers and people recommending my blog.

Painter Of The Night: A guided tour of Yoon Seungho‘s domain🏡

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.

When I recognized that this room (chapter 1) was not the lord’s bedchamber, because the author had placed it in this building (chapter 1), I realized that we should pay more attention to the location of the rooms. From that moment on, I tried to make a map of Yoon Seungho’s propriety. With this new insight, I made many new discoveries. Thus in this essay, I will guide you through the lord’s domain, although we will have to make a short trip to town as well. 😉In addition, I would like to point out that I am still missing some elements, like for example the exact location of the library. I have some suspicions, but I can not guarantee it for 100%. Before starting the guided tour, I would like to list the different buildings: the lord’s bedchamber, the stable, the shed, the servants’ bathroom, the shrine, the painter’s study, the kitchen, the scholar’s room, the pavilion and finally the library. The starting point for the orientation is the main gate. (chapter 68)

1. Yoon Seungho’s bedchamber

It is facing the main gate and it is situated on the other side of the courtyard. (chapter 25) As you can see, on the side we have a tree which is visible from the patio. The foundations for the patio are in water. (chapter 83) If you combine both images, you will realize that this basin has nothing to do with the pond where the pavilion is. In addition, the terrace attached to lord’s bedchamber has a view on the building where the lord and the painter were held captive in the shed. (chapter 74) Another important aspect is that there’s a yard behind the bedchamber and the patio. (chapter 12) This explicates why Lee Jihwa could drag the spy amateur and interrogate him. (chapter 13)

2. The shed

It’s situated on the right of the main gate and stands perpendicular to the lord’s bedroom. (chapter 77) This signifies that the building is facing the servants’ bathroom which stands on the other side of the courtyard. This explicates why you see the washroom in the background (chapter 64), when the protagonists caught Kim spying on them in the courtyard. As the manhwaworms can view, the lord’s bedchamber and patio stand behind Kim’s left shoulder.

3. The stable

Yes, I could get a clue about its whereabouts. (chapter 25) It is placed outside the mansion, for the lord entered through the main gate. This explicates why you view the patio juxtaposed to the painter’s study in the background. The building has no foundations in water. (chapter 25) Besides, you can see the tree in the background (chapter 25) which is situated next to the well and the servants’ washroom. Since the lord brought the hose in the courtyard, this means that the pavilion is located in the opposite direction. This observation is important, for the lord is standing at the entrance of the mansion: (chapter 98) So he is not far from the stable.

4. The servant and the lord’s bathroom

From the gate, you have to turn to the right and walk by passing the well and the tree. The servants’ bathroom is the background. It is situated on the left of the propriety, behind the patio located next to the painter’s study. (chapter 51) This information is important for two reasons. First, the bathroom is not far away from the well and secondly, there is no other room or building next to the washroom. However, right behind the building, there exist some stairs. (chapter 19) And now it is necessary to outline why the location is really relevant. It is related to the incident with the sword. Observe that when Kim left the restroom, he encountered the lord outside in the courtyard. That’s the reason why you see the tree and the wall in the back. (chapter 26) This detail made me question this: How could Yoon Seungho fetch the sword within a few minutes, though the bathroom is far away from the bedchamber or any other building? (chapter 26) That question confirmed my previous theory: the butler was listening to their conversation. Thus Byeonduck created such a panel. (chapter 26) Since the lord had brought some clothes for the painter, this signifies that Kim had returned with the sword, but he hid in the shadow. Observe that the lord is going to the right, though on this side we have the stairs. On the other hand, this is where the butler was standing. So on his way out, the noble met Kim and the latter handed him over the weapon expecting the noble to kill the artist. Kim couldn’t imagine that Yoon Seungho’s jealousy would make him target the learned sir, especially because the other was in his bedroom, far away from the bathroom. And that’s how I recognized a new pattern. Remember my previous interpretation: the painter is the lord’s reflection. However, in the first season, it was not entirely correct. Why? Because Yoon Seungho was mostly the valet’s reflection. But as time passed on, the artist’s personality affected the aristocrat’s. That’s the reason why the butler started making false predictions. And the manhwaphiles need to question themselves where the learned sir was staying and how Yoon Seungho could walk through the courtyard without any interruption. (chapter 27) However, to answer this, this signifies that I have to leave the servants’ bathroom.

On the other hand, the location of the servants’ bathroom plays an important role in another aspect. Look at this scene. (Chapter 25) The lord was taking a bath after the forced sex. Observe the quality of the wall and now compare it to the bathroom in the second season: (chapter 70) There was wood and windows, but no wall. (chapter 26) This means that the butler prepared the bath for his lord in the servants’ bathroom!! Thus I conclude that only after the abduction, the lord could wash himself in the master’s bathroom which is located elsewhere. I assume that it is situated not far away from the bedchamber, which is on the other side of the courtyard. (chapter 70) (chapter 70) The readers can detect trees in the background and on the left side a multi-level terrace. (chapter 12) This means that the lord’s bathroom is situated on the left of this picture, but it is not visible. However, in the last panel, you can see a well indicating that the domain has two wells. This confirms that the owner’s bathroom must be on the other side of the bedchamber, closer to the wall and the terrace with grass. They usually built bathrooms close to a well in order to lessen the burden of carrying water. This is not anodyne at all. Why? Through this incident, Baek Na-Kyum discovered the lord’s real bathroom. My readers will certainly recall my theory about the incident with the “pervert”. After Yoon Seungho’s return from the hunt, Baek Na-Kyum was sent to the bathroom in order to assist his lover. So where did he go? Naturally to the noble’s bathroom, where he caught the maid having sex with the butler. In other words, Kim was bathing in the lord’s bathroom!! A new version of this scene: (chapter 71) A huge violation of laws!! The servant manipulating the painter hoped that Kim would be punished, for he had heard that the painter was a traitor. He expected that the low-born would tattle on Kim to his husband, but unfortunately for him, nothing happened. I hope, you can now situate the two bathrooms in the mansion.

Before leaving the lord’s bathroom, I would like to explain why Byeonduck drew such images in episode 70 which were quite confusing! (chapter 70) Observe that the houses have thatched roofs. This means that the painter and the domestic are walking through the streets of the city. But why? It is because the butler had given the instruction to let the artist leave the mansion. Kim imagined that once outside the propriety, the painter would run to his sister. In his eyes, he had faked obedience and respect in front of Yoon Seungho. (chapter 69) The valet had been projecting his own thoughts onto Baek Na-Kyum’s: (chapter 87) This means that the servant had indeed disobeyed the lord’s instructions. That’s the reason why the domestic asked Baek Na-Kyum to follow him in a different direction. (chapter 69) And now, you comprehend why the servant was mad and frustrated. During their stroll through town, the painter followed him blindly and absent-minded. Thus he never ran away. I couldn’t help myself laughing after this revelation. The painter was so lost in his memories that he never paid attention to his surroundings. (chapter 70) And if you reread episode 70, you will detect a time jump. It is because the domestic had realized that this walk was totally pointless. The artist had not left his side. They returned to the mansion, and note that in that scene the artist was carrying towels . (chapter 70) contrary to this last panel: (chapter 70) The manhwaphiles can now grasp why the domestic was so angry and slammed the door. (chapter 70) He had the impression, he had lost his precious time because of the artist. However, the man never recognized that the main person responsible for his “hard work” was the butler. Because of this scene in episode 70, people, including myself, were a little confused about the lord’s propriety. Where was the painter exactly? (chapter 70) The manhwalovers can comprehend why the domestic was lying here. He was hoping that the painter would run away. And now, it is time to return to the mansion and to the servants’ bathroom. From that building, I would like to show you the shrine.

5. The shrine ⛩

You are probably surprised that I could also locate the shrine, though it was only mentioned in the third season. (chapter 85) For that you need to take the stairs next to the servants’ washroom and walk through the gate: (chapter 19) That’s the building Jung In-Hun visited in episode 18, thus you had this view. (chapter 18) He was already standing on the stairs. In the background you can see the patio situated next to the artist’s study and on the right of the building the main gate. So the learned sir walked through the gate and reached this building: (chapter 18) The wall is separating the shrine from the servants’ quarters and kitchen. And what did Jung In-Hun find in this building? (chapter 18) The altar had been removed. This signifies that the scholar was the witness of the butler’s sacrilege. The latter showed no respect to the lord’s ancestors. Striking is that the learned sir acted the same way. (chapter 18) He showed no respect, because he was too focused on himself and his envy. (chapter 85) This means that the butler had been expecting Yoon Chang-Hyeon’s arrival, thus he had rearranged the altar so that no one would notice his disrespect. The smaller tables are put on the floor contrary to episode 18. However, if you contrast the two images, you will detect one divergence: the absence of the folding shield. Secondly, observe that the second black name plate has no incense. Therefore the elder master is only bowing in front of one plate name and not the other. (chapter 85) Besides, the second altar is not put in the center of the shrine. A sign that the second altar is neglected. Thus we need to question ourselves where the folding shield was before.

6. The painter’s study

It is situated in the building where the second patio is. (chapter 51) The study is situated, where you can see the two small windows. In the first season, there were two possibilities to access to his room. You could access to it through the door on the side which stands next to the lord’s bedchamber. This means that the lord has a view on the entrance to the smaller courtyard. However, one detail caught my attention. During the first season, the gate to the smaller courtyard was closed. (chapter 10) (chapter 12) (chapter 19) The other access was through this hallway. (chapter 19) This explicates why the lord dragged his friend by the topknot to the courtyard. (chapter 18) But wait…. In the second and third season, this is what you see: (chapter 67) (chapter 78) The gate had been closed, while the main lead asked to always keep the gate next to his bedchamber open. (chapter 68) That way he could keep an eye on the painter, in case he would run away. And now, you comprehend how Lee Jihwa could enter the painter’s room without getting detected. He used the same entrance than the learned sir. (chapter 19) Thanks to this new discovery, I can confirm my previous interpretation. Kim had encouraged the artist to run away in episode 12: (chapter 12) He had made sure to keep the gate closed. He envisioned that the artist would leave through the open door, but no… out of habit, Baek Na-Kyum used the door next to the bedchamber. (chapter 12) But when he faced the master, he got scared, thus he turned around and went back to the study. This explicates why the lord got the impression that Baek Na-Kyum had been caught trying to run away. (chapter 12) Naturally, here the artist wasn’t lying, when he said that he was taking a short walk. He had the intention to do so, but since he was back in the smaller courtyard, his words were not reflecting the truth. However, he had acted like that out of fear, and not because he desired to run away. And observe that the lord made sure that the door remained open! And note that in episode 13, Yoon Seungho didn’t return to Lee Jihwa’s side right away. During his absence the red-haired master had even time to meet the amateur spy. That’s how I realized why the lord vanished. He must have asked the valet to keep the gate between the bigger courtyard and the smaller one opened. It’s even possible that Yoon Seungho requested from the butler to take care of the painter’s wound. Knowing the butler, I am not trusting this statement, for he needed an excuse to approach the artist without getting suspected. However, if my theory about the lord’s order is correct, then this signifies that Kim disregarded his order, since in episode 19, it was closed again. (chapter 19) The painter, heartbroken, was sitting on the threshold of building. (chapter 19) As you can see, on the left there’s the patio juxtaposed to the artist’s study. This means, we have the servants’ bathroom on the left. And now, you comprehend why No-Name refused to kill the painter in the mansion. The only access to the study was through the gate situated next to the bedchamber. In other words, the moment Yoon Seungho closed this door (chapter 19), he protected the painter. Besides, I noticed something else. Yoon Seungho could move walls and create new rooms. (chapter 18) Note that above the characters’ head, there is a wall. This is even more visible in chapter 53: Under this new light, I came to realize the importance of the closed gate. This represented a disgrace, yet the moment the gate to the bigger courtyard was kept opened, this revealed the closeness between Baek Na-Kyum and Yoon Seungho. And since the painter’s fate is the same than the aristocrat’s, this means that the butler must have done the same in the past. The moment he closed the gate, Yoon Seungho was exposed to danger and his father couldn’t even notice it.

But the study is not the only room in the building. (chapter 18) As you can see, on the other side of the hallway, there is another room which has a yellow floor. (chapter 19) In episode 84, the painter was sitting next to this room. (chapter 84) This explicates why Yoon Seungho didn’t find his lover right away. (chapter 84) He was not sitting next to the study, but behind the room facing the study. Imagine that the building has a form of U. The study is located on the top of the U on the left, while he was sitting behind the bedchamber situated on the right of the bottom of the U. I hope, this description is understandable. This is important, because now you can locate the kitchen ( chapter 84). It is visible thanks to the jars. Besides, in the last panel you can detect the presence of a building on the right. It is the shrine.

7. The kitchen

You can see the kitchen in the following picture. (chapter 12) The kitchen is detectable thanks to the big wooden door in the smaller courtyard. However, I am quite certain that there’s a second access to the kitchen. (Chapter 46) They need to have an easy access to the jars situated in the backyard close to the walls. Moreover, observe that the backyard is elevated. (Chapter 46) This corresponds to the terrace covered with grass in the background. (chapter 12) This means that from the kitchen, if you follow the wall, you can pass by the lord’s bedchamber. And if you follow this path, you will discover the pond with the pavilion.

8. The pavilion and the library

As mentioned above, the terrace covered with grass leads to the pavilion. This means that the scholar walked along the wall. (chapter 10) (chapter 10) However, if you pay attention to the last image, you will detect the presence of a building. (chapter 10) Here, it is even more visible. This can not be the lord’s bedchamber, for the foundations are different. They are not in a huge basin. From my point of view, we are seeing here the library. This would explicate why the author created such a panel: (chapter 77) This is a view from the window, as the manhwaworms can see the rain falling. But it is totally dark. Why? It is because the drops are falling in the pond. Besides, let’s not forget that this building was also shown during the night of the forced sex. (chapter 25) This means that the pavilion and the library are located on the north-west side of the propriety behind the shed and not far away from the lord’s washroom. Nevertheless, this localization is not 100% sure. And since in Jihwa’s domain (chapter 3), there was an exit close to the pavilion, I assume that there must be one in the lord’s propriety. This explicates why the valet questioned him about the artist’s whereabouts. (chapter 25) He thought that Baek Na-Kyum must have run away. And now, you are wondering how this is relevant to our story. It is related to Jung In-Hun and his sleeping quarters.

9. Jung In-Hun’s bedroom

We know for sure that his room is close to an exit (chapter 27), for the bearded domestic appeared so suddenly. Another fact is that it is not far from a corner because of this panel: (chapter 50) Furthermore, I would like to point out the presence of the two trees. And now take a closer to this picture: (chapter 12) You can see the two trees. One stands next to the well which corresponds to the tree on the left and another stands behind, which corresponds to the tree on the right. (chapter 50) In other words, the learned sir’s room was placed on the other side of the smaller courtyard. This means that when the butler and the maid brought the lunch to the painter in the study, you could see the learned sir’s room in the background. (chapter 11) This also explicates why Jung In-Hun went through that hallway, when he left the painter behind. (chapter 19) He was returning to his bedchamber.

That’s how I realized two major points. First, the scholar was involved in the incident with the ruined painting. 😨 First, remember what the learned sir told to the painter: (chapter 10) But he was walking in direction to the study, while the pavilion is situated on the other way. He was turning his back on the pond, when he was standing in the courtyard. (chapter 10) Yes, it was similar to the artist’s white lie in episode 12. The latter had hoped to take a stroll, but once facing the lord, he had turned around. Here, we have the exact opposite. The scholar had actually finished his stroll. Besides, don’t forget that in that scene the gate next to the lord’s bedchamber was close. This means that the learned sir dragged the artist far away from the study. Is this a coincidence? I doubt it. Let’s not forget that the scholar was convinced that the lord was admiring him, thus he definitely judged the artist as a rival. Besides, since his bedroom was facing the study, he could have heard the noise from the room. (chapter 11) Besides, the doors were opened. This means that the scholar could have heard the noise. Moreover, the manhwaphiles should remember that he had requested from the artist a promise just before. (chapter 10) Finally, what did the maid state? (chapter 11) She was not lying, for he needed to cross the courtyard to go to the pavilion. However, her words implied something else. From my point of view, the scholar had been informed about the wrongdoing. Another possibility is that he had seen something. Anyway, he knew something was about to happen. Consequently he dragged the painter away and later he just needed to feign ignorance. He acted, as if he heard and saw nothing. In his mind, he would get rid of a rival. He counted on the painter’s selflessness and huge sense of loyalty. So the butler ordered the straw mat beating, but he never expected that the servants would perform it in front of the bedchamber. (chapter 13) He had overlooked one small detail: Yoon Seungho was no longer the young master, but lord Yoon. So the moment the lord was confronted with the sentence, he stopped the punishment right away. This means that Jung In-Hun heard definitely about the incident and did nothing afterwards. At the same time, thanks to this new insight, I could find the explanation for the butler’s late arrival in the learned sir’s bedchamber. (chapter 50) This time, Kim knew how the master would react, once he disclosed Deok-Jae’s insult and the conversation between Jung In-Hun and the painter. He expected him to rush to the learned sir’s room. During that time, he sentenced Deok-Jae to the straw mat beating. Since the lord was away from the bedchamber, the latter wouldn’t see the punishment. He arrived on delay on purpose to keep him there for a while. Yes, this was the negative reflection from episode 11/13.

To sum up, the new real discovery is that the scholar played a role in the incident with the ruined painting. But karma retaliated immediately. (chapter 18) He was confronted with the fact that Yoon Seungho treasured Baek Na-Kyum so much that he would humiliate a noble who would hurt his beloved artist. (chapter 18) He would even caress his cheek. (chapter 18) which could only fuel the scholar’s jealousy and envy. (chapter 19) He was forced to face reality: the lord had tricked and even used him. Finally, the readers should question this scene. Why was the scholar standing in the courtyard? (chapter 35) His room is situated on the opposite site of the courtyard. Moreover, it was the morning, so I doubt that he had gone to the library. From my point of view, the teacher had been manipulated by the butler whom he definitely trusted!! He had been encouraged to show to Yoon Seungho that the painter was only obeying him. In my eyes, the teacher wanted to remind the lord this: (chapter 30) If he desired to have the painter, he needed to treat Jung In-Hun better. Therefore you can grasp the noble’s comment: (chapter 35) He never realized that the painter and himself had been played. The main leads were treated both like puppets, but the scheme failed, for the artist was slowly realizing that the teacher’s concerns were quite superficial. He would no longer follow him blindly. Therefore he stayed in front of the gate. On the other hand, the scholar was unaware that Yoon Seungho could become violent, for the former had never seen the lord with his sword. (chapter 27)

And this leads me to the incident with the sword. Yoon Seungho didn’t know exactly where the learned sir was resting, thus he walked through the hallway and once in the smaller courtyard, he entered the building (chapter 11) from the side. That’s the reason why the learned sir heard these noises. Steps on the parquet and the closing of a door. (chapter 27) The jealous and angry noble was searching for the schlar. And now, you comprehend why Baek Na-Kyum got sick. He had to run almost naked through the courtyard (from the servants’ bathroom) and he had not even the time to dry his body. (chapter 27) With the localization, we can explain why the couple was standing at a corner, for the house is built like a square. But the domestic dragged the scholar away and brought him to the backyard. (chapter 27) This truly exposes Jung In-Hun’s naivety. He believed that he was cunning, but in truth he was not. He always put his life at risk, though he imagined that only the artist would suffer. Yet, he never recognized it. And because of these new discoveries, my theory that the learned sir is indeed dead got reinforced. Moreover, he showed no respect to the ancestors.

10. Conclusions

Why did I give myself so much trouble for this? It is because through this examination, we can more insight concerning the lord’s suffering. First, the closed gate between the study and the bigger courtyard indicates that the butler played a bigger role in the lord’s downfall. Since the young master Seungho lived in the study (chapter 77), I deduce that Yoon Seung-Won must have lived in the scholar’s bedroom. Therefore he could see and hear things. Moreover, if the door was closed, Yoon Chang-Hyeon had no view on the movements in the smaller courtyard. I am already imagining the worst. The butler could drag away the young master unnoticed. Or he could even put the wall on the one side (chapter 53), and close the door on the other side, and no one would detect the presence of an intruder, while saying that he had received orders from Yoon Chang-Hyeon. When the messenger was present, he had put down this wall, and opened the door on the other side, so that Yoon Seungho couldn‘t see the man‘s departure from the bedchamber. (Chapter 82) This explicates why the background is different from this one. (Chapter 78) The lord was standing on the other side of the building.

Note that Jihwa could enter the propriety without the owner’s knowledge in episode 10, but people in the courtyard could see it. When Byeonduck drew such a picture, (chapter 10) she revealed how the antagonist entered the study. He had used the other entrance (chapter 19) and avoided to walk in the big courtyard.

Striking is that when the childhood visited the mansion without the lord’s authorization a second time, the door was open. In addition, the head-maid and the butler were standing at the gate leading to the bigger courtyard. Why? (chapter 17) The answer is simple. The head-maid had chosen to inform her master. But Kim was standing in the way of the maid. He had stopped her from going to the main lead. And now, you comprehend why the valet chose to close the door later again. (chapter 19) (chapter 19) The valet expected that as a good host, Yoon Seungho would investigate the matter, and as a good “butler”, he would lead his master to the kitchen by using the other entrance. Thus the lord would see with his own eyes the painter sitting with the bottle. (chapter 19) He would catch him red-handed. But the lord believed to know already the truth, and showed understanding. (chapter 19) Therefore he protected the artist. As a conclusion, the readers need to pay attention not only to the location of the rooms, but also to the walls and the doors. The walls can be removed, as for the doors they can be closed or opened.

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Painter Of The Night: Love and Sex 👨‍❤️‍👨 (second version)

This is where you can read the manhwa. https://www.lezhinus.com/en/comic/painter But be aware that this manhwa is a mature Yaoi, which means, it is about homosexuality with explicit scenes. If you want to read more essays, here is the link to the table of contents:  https://bebebisous33analyses.wordpress.com/2020/07/04/table-of-contents-painter-of-the-night/

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When I examined the sex scenes from the first season (see the analysis “Sex or Love?), I realized that each character had different expectations from the sexual encounters. They were either looking for sex or for love, but each time they were not able to express their desire and even to recognize the distinction. Why couldn’t they sense the difference? It is related to the way the characters were raised.

1. Sex and philosophy

On the one hand, Baek Na-Kyum was taught by the learned sir and Heena noona that sex and as such homosexuality was dirty (chapter 34), only spiritual love was allowed (chapter 19) (chapter 68). This signified that in his education, not only sex was prohibited, but also sexual desires were denied. Although love was expressed through hugs (chapter 66) (chapter 68) and caresses (chapter 10) (chapter 68), they were devoid of sexuality. The painter experienced love, but was not allowed to experience sexuality. He was only authorized to paint it for the scholar’s sake. On the other side, Yoon Seungho was raised the opposite: love was not allowed, as it was a sign of submission and weakness. Sex was permitted, because it was considered as a fight in order to defeat his opponent. These were the butler’s doctrines. That way, he could still have a connection to the main lead. If he came to love someone (the pedophile), the lord could definitely abandon the valet and reveal his betrayals. In other words, he used pity as a way to tame the lord. At the same time, sex also served to gain some benefit, as it was an exchange of favors (giving versus receiving), (Chapter 71). I connect this philosophy to the king and indirectly to the butler. With sex, the nobles could exchange some favors. These huge divergences in the mindset explicate why there were so many misunderstandings between Yoon Seungho and Baek Na-Kyum, as their education diverged so much.

2. Sex and prostitution

Yet, despite the contrast, both educations had something in common: prostitution. Heena noona hates sex, because it is related to her work. The scholar rejects it, for it is beneath him. He expects the low-borns (Baek Na-Kyum and Heena noona) to become his prostitutes, if it’s necessary, while he can maintain his image of a proper scholar. Father Yoon used his son as a prostitute, and the main lead realized it after his father’s betrayal and abandonment. This explicates why “prostitution” stands in the center of the second season. For Baek Na-Kyum was brought to the mansion against his will, but he received certain privileges, his status was never clearly defined. Although Yoon Seungho thought, he had won the battle (chapt45), as the painter had accepted him as his sexual partner, he had to realize slowly that he was wrong. He imagined that since the artist had remained by his side and was accepting to have sex with him, he had achieved what he wanted: in his unconscious it was to be loved. Yet, it was just an illusion. The painter saw himself as a whore and the master as a man consumed by lust. As you can see, the noble was forced to judge the nature of the sexual encounters differently. He had associated sex to love due to their Wedding night, therefore he imagined that the moment the painter was accepting him, the problem was solved. He would be able to relive this wonderful moment, but however nothing like that happened. He felt never satisfied, as there were no feelings at all. Hence he even had sex during the day, believing that the artist’s lack of experience was the problem. (Chapter 45) While the lord became Baek Na-Kyum’s sexual emancipator, the painter became the lord’s teacher for love. This explicates why the low-born forced the lord to question his own identity and feelings.

But let’s return our focus on the common denominator: prostitution. As long as the painter chose to stay, because he had a roof over his head and could eat properly, we could definitely say that till 49 his stay at the mansion was indeed closer to prostitution than a master- servant relationship, because the commoner was never treated like a domestic. He only had sex with the lord and had some privileges. (chapter 46) He was never asked to do other work, although the artist tried to change his situation. Since he was behaving like a whore, he felt that he had no right to express any thought and emotion. He couldn’t show any pleasure. That’s why there were no feelings in their sex encounters, and the lord could sense the difference. Consequently, when the lord realized that he was still perceived as a man consumed by sex (chapter 48), he changed his behavior. He acted like a real client at the brothel (chapter 48), but at the same time he cornered the painter to have multiple climaxes in order to let him experience that he liked having sex with him. (chapter 49) As you can observe, the lord linked sensuality to love. If he could provoke ejaculations, then it meant that the artist was definitely feeling something for him. However, the moment the lord liberated the painter from his pejorative perception about himself (he is a prostitute), the painter reacted the exact opposite. Now, he was the one using Yoon Seungho, the latter was his plaything. (Chapter 49), his prostitute, for he was the one procuring pleasure to Yoon Seungho. As you can see, the roles had been switched. This means that now the painter had the upper-hand in their relationship. We could even say that the noble was willing to accept his fate. (Chapter 49) Yet there was a difference from the past. Yoon Seungho would feel pleasure as well. This is not surprising that Kim chose to intervene and separate the couple right after. Without sex, the painter had no power over the master. That’s the reason why the butler revealed his knowledge the morning after. The protagonist had to hear from his butler the real cause for Baek Na-Kyum’s passivity and torpor: (chapter 50). Through this revelation, the lord was indirectly confronted by his own reflection: he was indeed asking from Baek Na-Kyum sexual favors in exchange for his stay at the mansion. That’s the reason why the lord had a “relapse“ and kept his distance from the painter.

3. Abstinence and love

However, because Yoon Seungho was now associating sexual pleasure with the painter, the noble was no longer able to have sex at all. Don’t forget that Baek Na-Kyum symbolizes love. Seungho-Ya 😉 couldn’t even get an erection with a fellatio given by someone else. (chapter 52). This was important, because for the noble, it meant that he could no longer have sex with other partners. Without sex, the lord was forced to question himself and ponder on the true nature of his relationship with Baek Na-Kyum. He felt jealousy during that night, he was very protective as well. (Chapter 52) His sexuality had already become an expression of his love, although the main lead was still unaware of his own feelings. That’s why I come to the conclusion, chapter 52 was actually revealing Yoon Seungho’s monogamy, although it looked the opposite. And this becomes truly visible, when the gangrape was about to occur. He felt no urge, when he was with the guests, yet the moment he brought the artist to the bedchamber, he couldn’t stop himself from kissing his loved one. (chapter 54) He was definitely longing for his warmth. This explicates why the noble got so infuriated, when he was confronted with the consequence of his bad decision: (chapter 54) the artist was on the verge to be no longer monogamous, as he would be tasted by other aristocrats. In this scene, the lord would have indeed become a client and pimp, if he hadn’t chased away his guests. Although the painter was indeed upset afterwards about this incident (chapter 55), deep down he sensed that his master had protected him. This night was important for the main lead: he was forced to admit his own feelings for the painter. Therefore, we could say that the issue with the prostitution was solved after chapter 54. Yoon Seungho thought that the moment he confessed, the painter would get scared and run away, but it didn’t happen. Why? Love among men and especially between a brutal noble and a commoner, was a taboo, like Min had underlined. Secondly, if the lord had indeed feelings for him, he had behaved like a beast during that night. He had mistreated Baek Na-Kyum. In his mind, the artist would never accept him.Besides, the painter had clearly denied the affection from the main lead. In his eyes, the painter’s words were indicating a rejection. (chapter 54) Thus I conclude that Yoon Seungho and Baek Na-Kyum had come to an implicit agreement: they had a master-servant relationship (chapter 56), although Baek Na-Kyum started perceiving himself as a domestic from chapter 51 on again. He kept following the head-maid and Kim (chapter 51) in order to help them. Therefore the readers could witness the return of the white headband in chapter 52: his task was to paint for his master. (Chapter 52)

However, this new situation didn’t last long due to the artist’s abduction. The lord thought that since he had properly confessed to his servant (chapter 62) here, he whispered to Baek Na-Kyum that he adored him), he would bind the artist to himself.

4. The real relapse: sex, the symbol of submission

Nevertheless the commoner disappeared making Yoon Seungho think that the moment he revealed his vulnerability, he got betrayed and abandoned. This explicates why the noble punished the artist, when he was found. Since they had a master-servant relationship and the artist had run away, this meant that Baek Na-Kyum was rejecting the lord’s love. Hence he could only treat him like his sex toy (chapter 63), exactly like he had wished in chapter 49. The only difference is that this time, the painter was here for the lord’s pleasure. The roles had been switched again. As the manhwaphiles can perceive, the noble and painter had a similar reaction: they both tried to deny the existence of love in their relationship. That’s the reason why the noble stopped the artist from confessing: (chapter 63) They just had a sexual relationship which could provoke pleasure, but that was it. But in order to ensure that the artist wouldn’t run away again, he used sex to “tame“ Baek Na-Kyum. If the main lead could procure multiple climaxes to the artist, then the latter was forced to admit that only Yoon Seungho could be his “partner“. This explicates why the noble kept pointing out how the artist would react to his lover’s body. (Chapter 63) (chapter 64) He was moaning and would ejaculate constantly thanks to the main lead. Yet, during this second marathon, the noble was actually deceiving himself. (Chapter 62)

5. Love and servitude

Although he treated the painter like a servant, as the latter was asked to paint, Yoon Seungho couldn’t help himself cleaning Baek Na-Kyum and bringing him to his bedchamber. (Chapter 65) This shows that the painter had gained a new position: he was indeed a favored servant. He was allowed to spend the night in his lover’s bed and he could see the lord getting dressed. (Chapter 65) The slight change was that now the main lead was aware of this. This truly exposes the lord’s affection for the artist. He might have treated him like a plaything in the shed, in reality he had attempted to show “his skills“ as a lover. He had licked him, bit him and the painter had felt pleasure, though he kept saying no! This is not surprising that Yoon Seungho had denied the kiss in the study. (Chapter 64) Because that’s how he had been deceived that night in the study. (Chapter 49) Baek Na-Kyum had silenced him with the kiss, as the main lead was about to protest. (Chapter 49) When he mentioned the kiss, the symbol for love, in his confession, it was connected to sensuality and not affection. Hence he didn‘t kiss him at the end of the second marathon. As a conclusion, by bringing the artist to his bedchamber, the lord never realized that his action was betraying his words from the night before. They were definitely more than 2 naked bodies. The lord trusted the painter so that he could lie down next to him in the bed. (Chapter 65) Striking is that Heena noona’s intervention destroyed their terrible but short-lived master-servant relationship, because the noble was faced with the truth: he had brought back the artist to the mansion against his will. (chapter 65) What caught my attention is that the painter’s disappearance mirrored the lord’s wrongdoing. Lee Jihwa and the main lead had both kidnapped the artist. That’s why I believe that when he heard Heena’s words in the study (chapter 68), the noble could only come to the following conclusion: he could only let the painter choose his destiny. But the moment the artist decided to remain by his side, he needed to change Baek Na-Kyum’s position in the mansion. He was no longer a servant, but a noble guest. Hence the lord tied the scarf like aristocrats did. (chapter 69) Consequently, we could say that the painter had a similar status than Jung In-Hun. Yet, there was a huge difference: the owner of the mansion was now acting like the painter’s servant. Hence Deok-Jae’s words came true: (chapter 46).

6. Nobility and love

From chapter 69 on, there were two masters in the mansion: (chapter 71). Why? It is because the lord made the decision that the painter chose him, then this means that he became his wife, though at the end of season 2, he was not thinking about marriage yet. He was not aware of this perception. By becoming his official partner, the spouse obtains the status of his husband: nobility. This explicates why the lord ate with his lover (chapter 74) and allowed him to smoke. Then in season 3, he gave him ladies-in-waiting in order to give him some company. (Chapter 78) He even gave him the music box, which was mistaken as a dowry. However, the problem is that the painter was still fighting his own feelings for the protagonist due to Heena noona’s words and past experience with the scholar. He feared that this new situation was too beautiful to be true, hence he thought that the lord’s feelings would fade away. But there was another reason for doubting the lord’s affection: there was no sex. (chapter 74) The painter had come to associate sex with love too. Yet, the moment he relived his trauma, he only found comfort and safety in the lord’s embrace. (Chapter 76) The main lead didn’t reject the painter’s urge for a hug in front of commoners. At no moment, Yoon Seungho felt embarrassment. He treated him like a special treasure. That’s how the painter came to realize that Yoon Seungho‘s love for him was true and genuine. Consequently, he decided to rely on him and to trust him. That’s why in this panel, the painter closed his eyes: (chapter 76) We could say that he was reminded of his own past. When he was a child, he sensed love through hugs and caresses. Since the painter could feel the lord’s genuine affection and warmth, he recognized that even when there was no sex, love was present. All his senses made him perceive the lord’s love: (chapter 76) His words showed his care and concern, then he bought him an expensive music box. (Chapter 76)

7. The symbols for the couple‘s love

But by accepting the noble’s affection, the painter was also incited to question his affection for Yoon Seungho. On the other hand till chapter 94, he hadn’t voiced it yet. As you can see, the abstinence at the end of season 2 and the beginning of season 3 had a important function. It helped the painter to admit the existence of love and more precisely the lord’s affection for him, a reflection of the lord’s situation in season 2 (50-54). Simultaneously, it meant that the painter could no longer deny his attachment to Yoon Seungho too. Therefore it is not surprising that in the bedchamber, when the artist tried to initiate a kiss, it could be perceived as the start of a love confession. (Chapter 80) And now, you comprehend why the painter didn‘t confess during that night. He got interrupted. The kiss was the symbol for their love. Thus it is no coincidence that just after his confession,. (Chapter 94) the painter initiated a long and sensual kiss with his “husband“. (Chapter 95) Since the painter had received caresses and embraces in his childhood, he came to view the kiss as the symbol for true love. And note that the kisses exchanged in the gibang were full of passion and love. This was the perfect combination of love and sex. (Chapter 95)

On the other hand, the lord had developed a different preference: the locked gaze, the warm embrace and the joined hands. Thus when he confessed his affection for the painter in the kisaeng house, observe what he did: (Chapter 96) This shows that Yoon Seungho has always longed for a pure and spiritual love in the first place. His sexual preferences were already palpable in the last love session (season 2): (chapter 72) We could say that he discovered all his sexual preferences thanks to the painter.

Thus my prediction in the first version that the painter would express his love through sex later came true. He tried to initiate it with a kiss. He was moved by the lord’s loving gaze and smile. (Chapter 80) But he failed due to the intervention of the butler and other schemers. Besides, the whispering of „Kyumah“ could only make his heart race. Let’s not forget that his painting in the sand (chapter 1) externalized his own philosophy: love and sex can’t be separated. Note that the couple is is hugging and kissing at the same time! 😍 This picture will represent the peak of their love! Striking is that when the couple confirmed their mutual affection, they did in the kisaeng house, the symbol for prostitution. This truly exposed that Yoon Seungho had been treated like a male night servant in the past. .

As you can imagine, I am expecting a new version of this love session. (chapter 72) in the next season, for the painter is still calling his lover “lord Seungho“ (chapter 99)