Kuwentong Bangtan: Mona Lisa as J-hope's Anima

When J-hope dropped the MV of "Mona Lisa,” I made sure to give it several views. To boost ratings, viewership and charting, of course, but also for a full-on view of the choreography. His performances in Brooklyn and Chicago were sensual and seductive the MV would make for another experience of passion and desire. On the surface, it sounds and looks exactly that - Hobi wildin' in Brooklyn and Chi Town. But knowing Hobi’s creative mind from his body of works, I had a feeling there was more underneath.

The allusion to Mona Lisa, a masterpiece by Da Vinci, is a juicy topic of discussion for an ARMY Theorist like me.  And then Jung, my bias, entered the chat. 

Carl Jung talked about the “anima,” the inner feminine side of a man’s mind. He defined the anima as the personification of all feminine psychological tendencies within a man—the archetype of life itself, symbolizing emotion, intuition, receptivity, and the bridge to the unconscious (Jung, 1953; Jung, 1964). She’s deep, emotional, creative—a guide that helps a person become whole (Jung, 1953). The anima often shows up in dreams, art, and imagination, appearing as a mysterious woman who stirs strong feelings (Jung, 1964). If Hobi's Mona Lisa isn’t just about a girl, maybe she’s a symbol of his anima, a reflection of his inner world.

In a previous post, I have likened the Gemini girl and Hobi's blonde beauty in the MV of Sweet Dreams as a metaphor of his anima. More than a significant other, this lady he met in the middle of the road amidst the chaos and whimsy is his muse and emotional anchor. A reflection of his creative power, passion and desires. This narrative continues in Mona Lisa.

Take these lyrics: “I like my girls pretty, so fine / One plus the nine.” One plus nine equals ten—a number often seen as whole or complete. She’s not just any girl. She’s the perfect image. Beautiful like a painting, maybe even too perfect to be real. This sounds like the anima as an ideal, not a person but a symbol of what is good, true and beautiful, also known as Aesthetics.

When he sings, “Art piece to frame, Mona, Mona Lisa, yeah, I need ya,” he’s saying more than “I like how you look.” She’s framed, admired, untouchable—like something inside him that he’s trying to understand or get closer to. Her independence (“got her own check”) and her calm confidence (“don’t need no validation”) hint that she’s more than a crush—she’s a powerful part of him that seeks agency and autonomy in his authorial choices.

One line really stood out to me: “Love the way you take the stress and Louis off of me.” That’s not just someone helping him chill. It’s someone helping him take off the pressure of image and fame. The anima does that, too. She helps a person feel more real, more honest and authentic (Jung, 1953; Jung, 1959).

I can connect this to Hobi’s older tracks like “Arson,” where he faced darker parts of himself. The shadow, as Jung would call it. “Mona Lisa”, despite the undulating choreography and the delicious body rolls, feels quieter, more thoughtful, really. It's like Hobi has moved from fighting with himself to listening. Less of an arsonist, and more of the introspective artist being one with his future self but staying rooted to his origins.

As for the choreography, it adds another layer to this idea. With its sexy and seductive moves, Hobi embodies the sensual and magnetic force of the anima. Jung noted that the anima often first appears in seductive forms (Jung, 1959), drawing the ego inward through fascination and desire., thus, we are all enthralled. The dance, then, becomes more than performance. It’s an expression of the unconscious, a physical ritual of creative integration. Through movement, Hobi channels this inner force, turning the song into a full-bodied experience of artistic assertion and continuous emotional self-discovery.

So maybe “Mona Lisa” isn’t about someone else. Maybe it’s about an inner muse. Someone who is calm, mysterious, and wise. She’s helping him grow, create, and stay grounded. It’s Hobi looking at that quiet smile within, and realizing that beauty, truth, and self-growth are all connected.


References:

Jung, C. G. (1953). Psychological Aspects of the Anima. In Collected Works of C.G. Jung (Vol. 9, Part I). Princeton University Press.
Jung, C. G. (1959). Aion: Researches into the Phenomenology of the Self. In Collected Works of C.G. Jung (Vol. 9, Part II). Princeton University Press.
Jung, C. G. (1964). Man and His Symbols. Dell Publishing.