Imperial Chinese Automaton Mantel Clock

The Qing Emperors, Kangxi (1662-1722) and Qianlong (1736-1795) had a passion for the decorative arts and Western arts and sciences which fueled their fascination for European clocks. The collection became so vast that Kangxi established Imperial workshops to maintain and repair the clocks and watches, staffed by the Jesuits who trained Chinese craftsmen. The Chinese were masters of the decorative arts and the Emperor had unlimited resources to staff workshops with the finest artisans. What they lacked was the technical expertise, which the Jesuit clockmakers provided. They trained the next generation of Chinese who would eventually produce their own clocks. The clocks produced in the Imperial workshops were made for the Emperor’s use, as tribute to the Emperor, or for other members of the Court.

This led to the eventual production of Chinese clocks that were as good, if not better (certainly more elaborate and more complex) than their European counterparts. The Chinese also learned the art of painting on enamel from the Jesuits, resulting in a new Chinese art form with their unique flourishes. Dissatisfied with sending Chinese wealth to Europe to purchase clocks, Qianlong demanded Chinese-made clocks in European style, expanding the workshops to Guangzhou to make use of the European craftsmen who resided there. At first, European movements were placed in extravagant Chinese-made cases until the end of the 18th century, when the Chinese craftsmen were skilled enough to produce their own clockwork. Guangzhou workshops first produced clocks for imperial use, and later became the catalyst for and independent Chinese clock industry.

The exterior decoration and complex automata were of primary importance. The Chinese-made movements could perform an astonishing number of automated functions and music. The Chinese workshop clocks are some of the most beautiful, complicated clocks ever produced.

In the 19th century the industry expanded to clock production for regular consumers, but still in the European style. If act, Chinese makers with to great lengths to trick customers into believing they were purchasing European imports: they often engrave “nonsense” signatures to mimic European signatures. Guangzhou was the major clockmaking center, but the industry expanded into other regions, such as Suzhou. The largest group of surviving native-made pieces are in the Palace Museum collection in the Forbidden City is from Guangzhou.