Hong Kong Palace Museum | Design for the Forbidden City: Imperial Workshops of the Qing Court

5100. Exhibition introduction

5100. Exhibition introduction

The Imperial Workshops were entrusted with the vital task of supplying and maintaining the many objects used by and displayed for the emperors during the Qing dynasty (1644–1911). The Workshops were established inside the Forbidden City during the Kangxi period (1662–1722), reached its peak during the Yongzheng (1723–1735) and Qianlong (1736–1795) periods, and disbanded in the early 20th century. Within dozens of specialised workshops, skilled craftsmen from across China used the finest materials to produce everything from daily items to breathtaking masterpieces. The wide array of objects they created exemplifies the height of Qing court aesthetics and craftsmanship and forms a significant part of The Palace Museum’s vast collection today.

Bringing together over 150 spectacular objects from The Palace Museum, this is the first major exhibition to explore the history, organisational structure, use of materials, and production processes—as well as the artistic ingenuity and achievements—of the Imperial Workshops. By inviting Hong Kong designers and other creative talents to participate in the exhibition design, the exhibition presents court aesthetics from a fresh perspective and opens up a dialogue between Qing and contemporary life and design.

The exhibition is jointly organised by the Hong Kong Palace Museum and The Palace Museum.

5101. “Imperial Workshops, the twelfth year of the Tongzhi reign” tablet

5101. “Imperial Workshops, the twelfth year of the Tongzhi reign” tablet

Imagine craftsmen reporting for duty each day at the Imperial Workshops, housed deep within a heavily guarded palace. How do they prove they work there? The answer lies in the tablet they wore, a proof of identity much like a modern-day staff badge. The tablets recorded the wearer’s name, age, and distinguishing features. The one on display here describes its owner as a forty-two-year-old craftsman, with a sallow complexion and a beard. These tablets were branded with a hot iron seal issued by the Imperial Household Department. They were reissued from time to time, and the old ones would be destroyed. Examining these tablets, we catch a glimpse of the individuals who, through their painstaking work, produced the remarkable treasures of the Qing court.

5102. Antler armchair

5102. Antler armchair

This impressive armchair is constructed of antlers, except for the seat and back panel. The antlers came from Manchurian elk, hunted by the Kangxi Emperor (r. 1662– to 1722) during an expedition beyond the Great Wall. Elks are abundant in northeastern China and are known for their large size. Qing emperors travelled to the Chengde Mountain Resort to escape from the summer heat and would move to the Mulan hunting grounds to conduct large hunts in autumn. In addition to the annual hunts, these trips encompassed military training, frontier inspections, and diplomacy, including meetings with Mongolian princes.

There were a number of chairs in the Qing court made from antlers, which reminded the court and visitors of the origins of the Manchu people and their accomplishments in horsemanship and archery. The back panel of this chair was replaced during the Qianlong period (1736-1795) and inscribed with a poem by the Qianlong Emperor commemorating how his grandfather, the Kangxi Emperor, had hunted elk to make such chairs.

5103. Seal prototype with a squatting dragon knob

5103. Seal prototype with a squatting dragon knob

This wax model demonstrates the rigorous production system of the Qing Imperial Workshops. The Yongzheng Emperor (r. 1723–1735) required objects to be made in compliance with strict imperial aesthetic standards and methods. Whenever a decree was issued, craftsmen would produce a prototype and submit it to the emperor for inspection, and they could only start production when the emperor approved. By reviewing different designs and samples, the emperor could refine his requirements and ensure conformity with his personal preferences.

Prototypes took various forms, including paper and wooden models. This example here is a rare wax model. Wax is soft and highly malleable and therefore can capture intricate patterns and complex forms in detail. This makes wax especially suitable for modelling imperial seals and other objects that require extreme precision. The model reveals a kind of conversation between the emperor and the craftsmen, showing us how the Imperial Workshops responded to the emperor’s requirements and personal taste, along with the emperor’s feedback throughout the process.

5104. Painted enamel octagonal teapot with landscape, flowers, and birds in reserved panels

5104. Painted enamel octagonal teapot with landscape, flowers, and birds in reserved panels

This teapot is a masterpiece of the Qing imperial court’s painted enamelwork on metal. Craftsmen applied glass-based enamel pigments to a copper body, firing the vessel repeatedly to fuse the vibrant colours with its surface. The body of the teapot features eight painted panels depicting landscapes, flowers, and birds representing the seasons, framed by blue bats. The upper part and the lid are decorated with scrolling floral patterns. Complemented by rich gilding, the piece exudes royal luxury. Beneath the teapot sits a small oil container, which was lit to provide heat.

The teapot’s delicate form draws on European warming vessels, while its handle is made from sparkling aventurine glass. Details like this reflect the innovative use of materials and techniques in the Qing court and the fusing of Chinese and European aesthetics. Building on the foundations of the Yongzheng period (1723–1735), painted enamel craftsmanship during the Qianlong period (1736–1795) advanced rapidly in colour application, pictorial techniques and decorative design.

5105. Cloisonné enamel yi vessel with kui-phoenix patterns

5105. Cloisonné enamel yi vessel with kui-phoenix patterns

The Qing court amassed an astonishing collection of bronze antiquities, which the Qianlong Emperor (r. 1736–1795) ordered compiled into illustrated catalogues. He then requested that the Imperial Workshops use these catalogues, and perhaps the original bronze vessels themselves, as models for making archaistic everyday objects and items for display at court. The yi exhibited here is one of them.

Typically made of bronze, yi is an ancient ritual vessel used for pouring water to wash one’s hands before ceremonies and banquets. The yi here is transformed through application of the Chinese cloisonné enamel technique, which dates to the Yuan dynasty (1271–1368). The Qianlong Emperor repeatedly ordered the Enamel Workshop to produce archaistic objects, likely because the enamel craftsmen had taken part in illustrating the bronze catalogues—or examined the actual bronzes—and therefore possessed a thorough understanding of ancient forms and patterns.

5106. Scholar’s objects set in a case with cloud and crane patterns

5106. Scholar’s objects set in a case with cloud and crane patterns

Traditional scholar’s studios housed a rich array of objects — not only the Four Treasures of the Study (paper, brush, ink, and inkstone), but also accessories and display items such as brush pots, brush rests, water droppers, paperweights, and seals. These objects served both practical and aesthetic purposes.

Safely storing objects of different shapes and materials was no easy task. At the Qing court, boxes designed to contain collections of these scholarly accessories were known as wenju. The recesses, drawers, and hidden mechanisms inside were all carefully designed. Craftsmen created precisely fitted compartments for each object, keeping everything neat and attractive while preventing the objects from knocking against one another and becoming damaged. Some boxes could even be unfolded and transformed into tables. Beautiful both inside and out and displaying exceptional craftsmanship, these boxes gradually evolved into treasures worthy of collection and appreciation themselves.