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Lot Essay
An Imperial Inscribed Gilt-Bronze Musical and Automaton ‘Acrobat’ Clock
Wang Jin
Guangzhou was one of the most important centers for the production of mechanical clocks and watches in the Qing Dynasty and was one of the earliest places in China to come into contact with European clocks, which the Chinese referred to as zi ming zhong ‘self-chiming’ clocks for their musical chimes and striking bells. The rise of clock and watch manufacturing in Guangzhou benefited from its favourable geographical environment. In the late Ming and early Qing dynasties (mid-17th century), European missionaries brought clocks to Guangzhou, and presented them to Chinese officials, sparking the locals’ interest in European clocks. In addition, during the mid-Kangxi period (late 17th to early 18th century), Emperor Kangxi ordered the lifting of maritime trade restrictions, and established customs offices along the southeastern coast to supervise and manage import-export trade, transforming Guangzhou into the center of Sino-Western trade, which in turn led to a substantial import of European curiosities into China, among them the European clocks. Such historical circumstances paved the way for the foundation of Guangzhou’s clock and watch manufacturing prowess. Historical archives support that the history of clockmaking in Guangzhou can be traced back to the Kangxi period. The "Gazetteer of Guangzhou Prefecture" compiled during the Qianlong period states: "Self-ringing clocks originated from the West. They use a winding mechanism and chime when activated, ringing twelve times during day and night. Note: People in Guangzhou can also make them, but they are not as sophisticated as those from the West." By the Qianlong period, clockmaking in Guangzhou had reached a considerable scale and had become an important production base for mechanical clocks and watches in China.
At that time, Guangzhou had clock workshops established by local craftsmen as well as clock factories founded by Europeans with mechanical equipments brought over from Europe. For example, Captain William Mackintosh of the British East India Company, who frequently travelled between London and Guangzhou, opened a factory in Guangzhou. Another factory was established by descendants of James Cox, a famous London clockmaker in the 18th century.
As Guangzhou clocks and watches were offered as tribute by local officials to the emperor, the Qing Court amassed a substantial collection of the Guangzhou clocks. One prominent feature invariably found on these examples is the colourful enamels adorning their surfaces. Also known as ‘Guang enamels’, these enamels come in various colours such as yellow, green, and blue. The decorative patterns accomplished by using ‘Guang enamels’ are intricate and orderly, demonstrating a level of detail and precision that distinguishes them apart from clocks and watches from other regions.
"Guangzhou clocks" can be divided into three main categories: the first category is the finest Guangzhou clocks, which were primarily offered as tributes by court officials to the emperor for his enjoyment, collection, and use; the second category is the exquisite Guangzhou clocks, which were mainly purchased and collected by wealthy merchants and high-ranking officials; the third category is the ordinary Guangzhou clocks, which were bought and used by the general public.
The dial on the present clock is composed of hands, Roman numerals, and a circle of Chinese characters. It is worth noting that this circle of Chinese characters is a self-motivational poem written by Emperor Jiaqing before his accession to the throne: "Day and night, the cycle keeps turning, with the flow of time never ceasing. Quietly observe each passing moment, never daring to feel complacent." The dial also bears the inscription "Recited by the current emperor," confirming that this clock was completed after Emperor Jiaqing's ascension to the throne in 1796.
Clocks played a similar admonishing role to Emperor Kangxi. In the poem Yong Zi Ming Zhong, ‘Ode to self-chiming clocks’, Emperor Kangxi writes, "The method originated from the West, skillful minds impart and receive knowledge; as the wheels rotate, the hands move according to the marks and the dial is pressed to indicate the divisions." In this poem, Emperor Kangxi not only discusses the relationship between the form, appearance, and timekeeping of clocks, but also states, "In the early morning, diligently handling state affairs, I inquire about memorials with delay." Therefore, for Emperor Kangxi, clocks were not only objects for collection and amusement but also practical timekeepers that served as self-motivation and self-discipline tools.
The poem inscribed on the present dial, titled Qing Qianlong-Jiaqing Gilt-Bronze Folding Fan Clock with Acrobat Figures, was composed by Emperor Jiaqing before he ascended to the throne as the crown prince. The National Palace Museum in Taipei also houses a pocket watch with a poem by Emperor Jiaqing, which can be translated as: "Day and night, the functions never cease, revolving through the Twenty-Four Solar Terms. With the mechanism turning, the divisions and marks shift subtly." (fig. 1) The poem on this timepiece in the collection of the National Palace Museum in Taipei was composed by Emperor Jiaqing after his accession to the throne. It is evident that Emperor Jiaqing had a special affection for timepieces and regarded them as part of courtly life.
The most prominent feature of Guangzhou clocks was their decorative scheme. Taking the present clock as an example, the sides of the clock are decorated in intricate details simulating peacock feathers with ‘Guang enamels’, characterised by the blue tone and achieved through the use of enamel foils. In the middle of each side panel is a double-gourd-shaped ornament, symbolising good luck, prosperity, and fertility. Although the present clock is smaller than other contemporary examples, it has a strong visual impact with strong contrast in colour tones. Due to its compact size, it is convenient to move around, suggesting that it was likely placed in Emperor Jiaqing's study or in an intimate setting.
The present clock not only has a strong visual presence, but is also equipped with intricate mechanical functionalities. The clock's timekeeping system is connected to a musical and an automaton system. It not only tells the time but also chimes at intervals and marks the hours. At every quarter (15 minutes, 30 minutes, 45 minutes), it chimes to mark the quarter. At each hour, it chimes to indicate the time, and after the chime, the music plays while the gilded leaves on top of the clock open, and the figure underneath begins performing on the horizontal bar. Once the music finishes, the figure ceases moving, and the gilded leaves gradually close, returning to the shape of a dome.
At the uppermost part of the present clock, there is an ornamental depiction of a pineapple. During the 17th century, a missionary by the name of Michael Boym authored a botanical publication titled Flora Sinensis, in which he documented visual representations of pineapples (fig. 2). Subsequently, this publication reached the Western world, where Chinese pineapples were perceived as highly distinctive. As a result, the role and significance of the pineapple were magnified to an extraordinary extent. The present clock, decorated with a pineapple on the top, serves as an exemplary embodiment of this cultural phenomenon.
The dial of this timepiece is inscribed with an imperial poem, and it is extremely rare to find similar objects that have survived to this day. Despite the passing of nearly a century, when the spring is fully wound, it still emits a clear and pleasing sound at each hour or quarter. It is accompanied by its original glass cover, which adds to its perfect condition and highlights its rarity. It is a valuable item that is suitable for both collection and investment.
Wang Jin
Guangzhou was one of the most important centers for the production of mechanical clocks and watches in the Qing Dynasty and was one of the earliest places in China to come into contact with European clocks, which the Chinese referred to as zi ming zhong ‘self-chiming’ clocks for their musical chimes and striking bells. The rise of clock and watch manufacturing in Guangzhou benefited from its favourable geographical environment. In the late Ming and early Qing dynasties (mid-17th century), European missionaries brought clocks to Guangzhou, and presented them to Chinese officials, sparking the locals’ interest in European clocks. In addition, during the mid-Kangxi period (late 17th to early 18th century), Emperor Kangxi ordered the lifting of maritime trade restrictions, and established customs offices along the southeastern coast to supervise and manage import-export trade, transforming Guangzhou into the center of Sino-Western trade, which in turn led to a substantial import of European curiosities into China, among them the European clocks. Such historical circumstances paved the way for the foundation of Guangzhou’s clock and watch manufacturing prowess. Historical archives support that the history of clockmaking in Guangzhou can be traced back to the Kangxi period. The "Gazetteer of Guangzhou Prefecture" compiled during the Qianlong period states: "Self-ringing clocks originated from the West. They use a winding mechanism and chime when activated, ringing twelve times during day and night. Note: People in Guangzhou can also make them, but they are not as sophisticated as those from the West." By the Qianlong period, clockmaking in Guangzhou had reached a considerable scale and had become an important production base for mechanical clocks and watches in China.
At that time, Guangzhou had clock workshops established by local craftsmen as well as clock factories founded by Europeans with mechanical equipments brought over from Europe. For example, Captain William Mackintosh of the British East India Company, who frequently travelled between London and Guangzhou, opened a factory in Guangzhou. Another factory was established by descendants of James Cox, a famous London clockmaker in the 18th century.
As Guangzhou clocks and watches were offered as tribute by local officials to the emperor, the Qing Court amassed a substantial collection of the Guangzhou clocks. One prominent feature invariably found on these examples is the colourful enamels adorning their surfaces. Also known as ‘Guang enamels’, these enamels come in various colours such as yellow, green, and blue. The decorative patterns accomplished by using ‘Guang enamels’ are intricate and orderly, demonstrating a level of detail and precision that distinguishes them apart from clocks and watches from other regions.
"Guangzhou clocks" can be divided into three main categories: the first category is the finest Guangzhou clocks, which were primarily offered as tributes by court officials to the emperor for his enjoyment, collection, and use; the second category is the exquisite Guangzhou clocks, which were mainly purchased and collected by wealthy merchants and high-ranking officials; the third category is the ordinary Guangzhou clocks, which were bought and used by the general public.
The dial on the present clock is composed of hands, Roman numerals, and a circle of Chinese characters. It is worth noting that this circle of Chinese characters is a self-motivational poem written by Emperor Jiaqing before his accession to the throne: "Day and night, the cycle keeps turning, with the flow of time never ceasing. Quietly observe each passing moment, never daring to feel complacent." The dial also bears the inscription "Recited by the current emperor," confirming that this clock was completed after Emperor Jiaqing's ascension to the throne in 1796.
Clocks played a similar admonishing role to Emperor Kangxi. In the poem Yong Zi Ming Zhong, ‘Ode to self-chiming clocks’, Emperor Kangxi writes, "The method originated from the West, skillful minds impart and receive knowledge; as the wheels rotate, the hands move according to the marks and the dial is pressed to indicate the divisions." In this poem, Emperor Kangxi not only discusses the relationship between the form, appearance, and timekeeping of clocks, but also states, "In the early morning, diligently handling state affairs, I inquire about memorials with delay." Therefore, for Emperor Kangxi, clocks were not only objects for collection and amusement but also practical timekeepers that served as self-motivation and self-discipline tools.
The poem inscribed on the present dial, titled Qing Qianlong-Jiaqing Gilt-Bronze Folding Fan Clock with Acrobat Figures, was composed by Emperor Jiaqing before he ascended to the throne as the crown prince. The National Palace Museum in Taipei also houses a pocket watch with a poem by Emperor Jiaqing, which can be translated as: "Day and night, the functions never cease, revolving through the Twenty-Four Solar Terms. With the mechanism turning, the divisions and marks shift subtly." (fig. 1) The poem on this timepiece in the collection of the National Palace Museum in Taipei was composed by Emperor Jiaqing after his accession to the throne. It is evident that Emperor Jiaqing had a special affection for timepieces and regarded them as part of courtly life.
The most prominent feature of Guangzhou clocks was their decorative scheme. Taking the present clock as an example, the sides of the clock are decorated in intricate details simulating peacock feathers with ‘Guang enamels’, characterised by the blue tone and achieved through the use of enamel foils. In the middle of each side panel is a double-gourd-shaped ornament, symbolising good luck, prosperity, and fertility. Although the present clock is smaller than other contemporary examples, it has a strong visual impact with strong contrast in colour tones. Due to its compact size, it is convenient to move around, suggesting that it was likely placed in Emperor Jiaqing's study or in an intimate setting.
The present clock not only has a strong visual presence, but is also equipped with intricate mechanical functionalities. The clock's timekeeping system is connected to a musical and an automaton system. It not only tells the time but also chimes at intervals and marks the hours. At every quarter (15 minutes, 30 minutes, 45 minutes), it chimes to mark the quarter. At each hour, it chimes to indicate the time, and after the chime, the music plays while the gilded leaves on top of the clock open, and the figure underneath begins performing on the horizontal bar. Once the music finishes, the figure ceases moving, and the gilded leaves gradually close, returning to the shape of a dome.
At the uppermost part of the present clock, there is an ornamental depiction of a pineapple. During the 17th century, a missionary by the name of Michael Boym authored a botanical publication titled Flora Sinensis, in which he documented visual representations of pineapples (fig. 2). Subsequently, this publication reached the Western world, where Chinese pineapples were perceived as highly distinctive. As a result, the role and significance of the pineapple were magnified to an extraordinary extent. The present clock, decorated with a pineapple on the top, serves as an exemplary embodiment of this cultural phenomenon.
The dial of this timepiece is inscribed with an imperial poem, and it is extremely rare to find similar objects that have survived to this day. Despite the passing of nearly a century, when the spring is fully wound, it still emits a clear and pleasing sound at each hour or quarter. It is accompanied by its original glass cover, which adds to its perfect condition and highlights its rarity. It is a valuable item that is suitable for both collection and investment.