Room like settings create a warm ambiance, stimulate the eye, and prompt customers regularly to remark on the calm and serenity that pervade the space. The showroom is designed as a series of vignettes, curated in a manner that is thought provoking and that engages the viewer to rethink the typical, tired style so often used in the display of home decor.
Inner Mongolian furniture is a potpourri of stylistic elements from both Tibetan and Chinese culture. For the most part the lines of this furniture tend to follow the basic tenets of the cabinetry from the northern provinces of China showcasing simple straightforward geometric forms relieved by intense bursts of color on the painted front panels.
The predominance of red, orange and yellow tones that are applied in a color block manner frequently feature a square or circular medallion painted with some type of floral motif. Another feature Inner Mongolian furniture shares with its Chinese counterparts is the split top closure; seen in a majority of the storage cabinets, many of which have been altered to make them more compatible with western storage needs.
An arid landscape that spawns vibrant art is a common denominator among many cultures; this is particularly true of Tibet where limited resources have not stifled their creative design sensibilities.
Primary colors coupled with motifs and symbolism is a blend of both Tibetan and Chinese history and religious doctrine.
The rough hewn, hand-planed lines of the cabinets, altars and shrines, doors, etc. have a great character and are highly coveted by collectors in part due to their scarcity and its sometimes whimsical, sometimes frightening imagery depicted on them.
The two defining factors that shaped both architecture and furniture in the northern regions of China were the bitter cold temperatures that are routine in winter and its status as the financial and business epicenter from the Ming Dynasty through the Ching Dynasty. Houses constructed on a massive scale were common.
Designed to reflect the owner’s position in society and also take advantage of the harder wood species available, this extended to the homes furnishings as well. Northern Elm, Walnut and Jujube are perhaps the most favored woods used in the construction of case good pieces.
Though large in scale, the cabinets, armoires, etc. were relieved by either lustrous lacquer finishes painstakingly applied and in many cases highlighted with beautiful hand-painted details indicative of both China’s cultural heritage and the owners own particular interests and vocation. Or, conversely, heavily carved surfaces on the cabinet front panels contributed to the overall massive feel of the design but were frequently reserved for the trim on the outer edges and legs.
Southern China style has a multitude of different and unique facets in its DNA that set it apart from other provincial styles.
Just look at the rich red lacquer finish that Fujan province is justifiably famous for. When used in combination with lustrous black and highlighted with carved gold gilt detailing it creates a harmonious yet striking exotic note.
Woods like nammu, (s. elm), huang hua li, (yellow rosewood), and camphorwood, evoke visions of fragrant steamy locales from which these rare species originated.
As you examine the minute details that comprise the overall design of the piece it becomes a journey of discovery as you are introduced to perhaps unfamiliar design elements that speak to the faraway land it was home to.
The Silk Road region in China encompasses numerous provinces that yield some of the most coveted of all Chinese provincial furnishings. Within the various territories such as Gansu, Qinghai and Ningxia there lives a cross section of both ethnic and religious population that for centuries have had a tumultuous relationship with the ruling government whether it be one hundred years ago or the current regime. As such this has led to a somewhat isolated existence that until just recently has begun to change.
With new infrastructure proceeding at a record pace, we are able to journey further on the hunt for these unique items. Traveling into these far flung destinations has been incredibly rewarding as we discover these decorated cabinets and chests that still retain their original hand-painting. To be such rare finds to our customers is extremely gratifying. Where else can you purchase a piece of furniture for your home that is the culmination of centuries of this vast melting pot of history? These are truly wonderful conversation pieces to add to anyone’s décor.
One of the things that make a trip to Genghis Khan Furniture truly unique is the vast selection of accessories displayed throughout the store. With a clientele that is well traveled, particularly through China and much of Southeast Asia, it is a common refrain to be told that nowhere else is the assortment so varied and comprehensive.
Everything from beautifully carved stone statuary appropriate for the interior or exterior, to delicately chased silver Tibetan oil lamps – you will find it here.
Literally thousands of objects are displayed in the 12,000 ft showroom giving each space the ambiance of stumbling into Ali Baba’s cave.
Custom work executed in our factories in Southern China allows our customers the opportunity to work with our skilled draftsman in the design of a specialized furniture project. Able to produce both copies and variations of traditional Asian style, along with modern interpretations of western furniture in either solid elm or rosewood has been a hallmark of Genghis Khan Furniture since its inception. Forty eight finishes assures a compatible if not exact match to any existing pieces in our customers’ homes. See below for a sampling of just some of the work contracted by both private clientele and design professionals.
