Leaving wood bare is a decision that has to be made before anything is built, because a panel that will be seen has to be chosen. Timber destined for paint or upholstery can come from anywhere in a log; timber that will be polished and looked at every day for thirty years has to be selected for figure, matched across its width and laid up in the right order. That work happens weeks before a chisel touches it.
Setting gold around bare teak is an old pairing, and it works because the two materials disagree completely. Gilding is flat, reflective and uniform. Figured wood is deep, warm and irregular. Put them next to each other and each looks more like itself.
The restraint here is in how little is gilded. Only the border, the rosette and the cresting carry gold; every square inch inside them is left as wood. Our master Indian artisans work to that boundary precisely, because gilding that strays even slightly onto the panel turns a clean division into a smudge, and the whole effect depends on the line staying sharp.