The Golden Light in My Gouache Paintings: Reflections Inspired by Tanizaki

I’ve been thinking about gold lately. I was cleaning my little girl’s bottles, looking out the window, and noticing how the trees had turned yellow and orange. In the bright autumn sun, they looked golden.
And then I thought about what I had read in In Praise of Shadows by Junichiro Tanizaki.

And when you have wandered into the deepest interiors of those vast structures, have you not noticed how, in the darkness—where not even the slightest ray of light from outside reaches—the surfaces of gilded screens and sliding doors suddenly glow with an unreal radiance, as if touched by the very tip of sunlight from a garden several meters away? That reflected light, like the setting sun flooding the sky, illuminates the surrounding darkness with a pale golden glow, and I think that gold never reveals its beauty in a more moving way.

As we pass by, we often turn back to feast our eyes on the sight once more, and as we move away, the gilded surface of the paper radiates increasingly, with a deep, subdued brilliance. It does not flicker nervously; it shines slowly, more intensely, evoking a giant-like creature swelling and flushing in the face. Sometimes we discover that a sheet of gold, which moments before reflected only dull light, suddenly ignites, as if set aflame, and we cannot help but marvel at how much light can be captured in darkness.

We begin to understand why, in ancient times, Buddha statues were gilded and aristocratic residences were adorned with gold. Modern people, living in brightly lit apartments, do not comprehend what makes gold beautiful. Those who lived in dark homes in earlier times felt drawn to gold not only for its color. Its practical qualities were also important. In poorly lit dwellings, it undoubtedly functioned as a reflector. The use of gold leaf and gold dust was not merely a matter of luxury. By harnessing its light-reflecting properties, the shortcomings of interior lighting were supplemented.

I’ve taken some more photos of my old works—gouache paintings that are quite large for me (4.7″ × 5.3″)—and I’ve been thinking about those gold elements.
Why were they so important to me? Why did I long for them so much?
Why did I make those dark velvet passe-partouts, and why did I put each of them in wooden gold frames?

When I read Tanizaki’s words, it felt as if he had guided me to do it all. And honestly, I don’t even know if anyone would appreciate them. I made these artworks because I needed something hidden in shadow, something that would reflect light, and ultimately, something that could create light in the darkness.

Each of these paintings is very special to me, even if they are just simple still lifes.

Reflections Inspired by Old Masters: Painting Figs in a Classic Style

Those figs were here first. My inspiration came from a photo I found on Pexels, which captured the quiet beauty of fruit in a way that reminded me of the Old Masters. I loved that vibe and wanted to recreate it in my own still life painting.

I used quite a lot of black paint, even though traditional advice often discourages it. For me, black was essential to capture the depth and subtle shadows that define classic still lifes. My goal was to reflect the timeless elegance of fruit, inspired by the techniques of Old Masters in European painting.

I painted on Shikishi White Ibis watercolor board, which already had a gold border. From the start, I was thinking about the frame. I strongly believe that a frame should complete the artwork, not just enclose it. I chose a deep navy-blue velvet for the passe-partout, which enhanced the richness of the composition. Finally, a simple gold frame completed the piece, bringing warmth and harmony to the painting.

This approach—combining classic still life composition, rich shadows, and thoughtful framing—is what gives my paintings their subtle glow and timeless feel. Using gold elements in art and careful framing transforms the artwork, reflecting light and creating a quiet, luminous effect reminiscent of Old Masters’ paintings.

This is one of those paintings I was so sure would sell in minutes.
Well, four months later, it still hangs on my wall 🙂

Am I sorry? Maybe a little — I truly thought someone would fall in love with it just as much as I did.
But at the same time, I believe it’s simply waiting for the right person — the one who’ll feel its quiet charm and warmth.

It’s a still life painting inspired by classic Old Masters — soft light, deep tones, and a touch of gold.
If you’re looking for a unique piece of art to bring timeless elegance to your space, here it is:

Anyway, there will be more stories about Velvet Mat Series. Stay tuned!