This could be a Japanese thing. Fifteenth century Sen no Rikyu was the Japanese tea ceremony master who laid down some rules to greatly simplify it (to make itself more pure) from what he saw as grotesque excess. Below are his most important seven but he also made other suggestions such as the size and degree of overlap of the pieces of paper covering the shoji. One thing he didn’t specify was where and how to locate the lantern and I’ve always thought this a curious oversight. This background, by the way, is Rikyu Gray (a.k.a. Rikyu Rat Gray HEX: #888E7E; RGB: R:136 G:142 B:126; CMYK: C:54 M:41 Y:51). It’s basically gray with a hint of green, using colour to draw attention to the absence of colour. As you do.) Many a Japanese-style room will have walls this colour but it’s not paint. Traditionally, the colour is mixed into the plaster applied to the lath. The colour of the walls isn’t something one would change, or would even think of changing. Like the concrete in an early Ando house, it’s just the material from which the wall is made. To want to paint walls some colour because of personal whim is seen as Western affectation, and possibly a bit unhinged. Or both. This was the inference when in the early 1980s, I was told that the lady of Shinohara’s House on a Curved Road had had the master bedroom painted a midnight blue. I think I know who might have told me that, but I’ll let it rest.
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