After exploring the history of timekeeping in China and the trailblazers of independent watchmaking in the part 1 of the story, we now shift our focus to the second generation of independent watchmakers. These watchmakers are by no means newcomers; most were born in the mid-20th century and built decades of expertise before embarking on their independent paths over the last ten to twenty years. What sets them apart is their unwavering dedication to originality and creativity, particularly in movement construction.

This segment highlights three notable watchmakers: Lin Yong Hua, Ma Xushu, and Xu Jiabao, who specializes in clockmaking. It’s also worth mentioning that Tan Zehua, though starting his horological career in the early 1960s, can also be considered part of this second generation, having transitioned to independent watchmaking only in the past decade. All four craftsmen are official members of the AHCI.

Unlike the newer generation of independent watchmakers in both China and the West, where finishing takes priority and movement construction is put in service of that finishing, the work of these second-generation artisans may sometimes seem less polished. However, it is precisely these unique qualities that highlight their individuality, emphasizing the true spirit of independent watchmaking.

林勇华 (Lin Yong Hua)

Like Tan Zehua, who was discussed in the first story, Lin Yong Hua is one of the more well-known Chinese watchmakers outside of China.

Mr. Lin was born in 1973 in Shenzhen, a city neighboring Hong Kong that thrives with modern industries. Like most independent watchmakers, he developed a passion for watchmaking at a young age and has been part of the industry since its early days. However, Mr. Lin’s path was somewhat unusual: he began his career in quartz watchmaking at a company called Sweda Electronics in 1991, when he was just 18 and fresh out of high school.

Fortunately, he was eventually transferred to the repair and restoration department, where he gained insights into the mechanics of various brands and eras, including some of the top luxury brands, as clients bringing in watches included several millionaires from the early 1990s.

This experience allowed Mr. Lin to build a solid clientele and ultimately set up his restoration shop, Bao Lai, in Shenzhen in 2001, after completing a 10-year tenure with his previous company. He then established his own workshop, “LYH,” in 2009 (some sources cite 2006). However, he was never content to remain just a repairer; he wanted to create something designed and made by him. This ambition led him to start assembling simple mechanical watches from the existing parts he could gather.

His debut work arrived in 2016. Dubbed Vinyl Record (or No. 4), his first watch was an original creation that did not seek to pay tribute to any previous watchmakers. The dial incorporates a range of music-related elements and features a musical note-shaped bridge that holds the balance wheel, as well as a vinyl and tonearm design for the minute indicator. Additionally, there is a digital jumping hour window at 12 o’clock on the “vinyl” minute dial. This watch was instrumental in his membership in the AHCI, as the delegates were immediately impressed by its originality when they visited his workshop in Shenzhen.

The Vinyl Record, also known as No. 4, led to the creation of No. 1, a more refined version designed for Mr. Lin’s debut at Baselworld in 2017. The No. 1 features a luxurious gold case adorned with baguette diamonds and boasts a more eye-catching squarish design. Notably, the movement is engraved with his signature and the occasion, providing a straightforward human touch rarely seen in high-end watches. Additionally, the movement was developed by him, with parts finished to a high standard, including inward angles.

Mr. Lin’s true genius and passion are evident in his various later creations, which look nothing like his debut watch. This includes the Dragonfly Man clock and wristwatch pair from 2018, both of which are original in most respects. The wristwatch is particularly notable for its movement featuring a large central balance and relatively high-quality finishing, all at a price of around USD 10,000 when it debuted. The movement is an original construction and design, though some parts are derived from existing Swiss movements. Mr. Lin stated in an interview that he manufactures about 60% of all the parts himself, using machines ranging from a Wabeco milling machine to a Bergeon lathe.

In 2019, he introduced the Wirepuller, which won the gold medal at the 4th Blue Light Cup Horologe Design Competition in China. The highlight of the Wirepuller is again its movement design, which doubles as the dial due to its skeletonized nature. Most of the movement bridges are located in the bottom half and are skeletonized to resemble a spider web, while the top part is fully reserved for the balance wheel, with a bridge shaped like a spider. While skeleton watches are not uncommon today, few are as original and intriguing as this one.

Mr. Lin has also developed classical movements featuring numerous bridges reminiscent of vintage calibres. This design is not only nostalgic but also presents an opportunity to highlight refined finishing. For instance, the LYH-6, which incorporates a jumping hour and wandering minutes, embodies such a movement. Additionally, in collaboration with the Singaporean brand Celadon HH, he contributed his CH5 calibre to the Cloisonné Duo of Swallows.

马旭曙 (Ma Xushu)

The three watchmakers we have covered so far are relatively well-known, but now we turn to a more understated figure: Ma Xushu. Mr. Ma became the second-ever Chinese watchmaker to join the AHCI in 2015, filling a gap of over two decades since Mr. Kiu Tai Yu first joined in 1992. As you will see, a major turning point in Mr. Ma’s career was his encounter – albeit on paper – with the late Mr. Kiu.

Mr. Ma is one of the most inspiring and interesting watchmakers in China today, not only for his self-taught journey but also because of the long and winding path that brought him to where he is now, during which his character and passion truly shine.

Born in 1959, Mr. Ma developed a strong interest in mechanical watches from a young age. At 17, he began experimenting with repair work – without a mentor – fixing clocks at home and in his neighborhood for free.

His passion for mechanical watches eventually moved a friend to gift him a vintage pocket watch in 1975. The watch, found gathering dust in the friend’s home, became Mr. Ma’s very first timepiece. It was branded “顺全隆” (Shun Quan Long), a piece with over a hundred years of history. Eager to repair it, Mr. Ma took the watch apart, only to accidentally break a part in the process. Unable to afford replacement parts – purchasing a watch back then could cost a few dozen to over a hundred Chinese dollars, equivalent to several months’ salary – he reluctantly stored the disassembled pieces in a drawer.

By 1990, Mr. Ma’s restoration skills had improved significantly, and he once again took out the Shun Quan Long pocket watch, determined to fix it. However, he realized that some parts had gone missing over the years, and, once again, he was unable to repair it. This remained one of his biggest regrets.

Then, in 1995, Mr. Ma came across a Bovet pocket watch that immediately reminded him of the Shun Quan Long, as both shared the same key-winding mechanism. This particular Bovet piece, made for the Chinese market and engraved with 播威 (the Chinese name for Bovet), featured beautifully decorated bridges. But the watch came with a hefty price tag – 2,000 Chinese dollars, equivalent to his annual income. After three days of deliberation, he decided to take the plunge and purchased it. Since then, Mr. Ma frequently visited the shop and developed a friendship with its owner, Mr. Yang, as both shared a deep enthusiasm for watch restoration.

A decade later, in 2005, Mr. Ma discovered the late Kiu Taiyu in a magazine and learned about the tourbillon for the first time. Intrigued, he wanted to create one himself. He scrutinized the pictures in the magazine and began experimenting with parts from existing clocks to build a rudimentary tourbillon. In the initial weeks, progress was slow, but a few months later, the balance wheel started oscillating. Before long, he successfully created a tourbillon and turned his attention to miniaturizing it into a wristwatch.

Mr. Ma’s first tourbillon wristwatch was completed less than two years later. By 2007, he had crafted three tourbillons and wanted to confirm if they were “real” tourbillons. Unable to reach Mr. Kiu, who was in Hong Kong, he was advised by a colleague of Mr. Kiu to contact 许耀南 (Xu Yao Nan) from the Beijing Watch Factory, a leading researcher in tourbillon in mainland China. Mr. Ma called Mr. Xu and sent him pictures of his work. Mr. Xu was thoroughly impressed to learn that Mr. Ma had designed the movement himself. He remarked that while the factory had many technicians, they couldn’t achieve what Mr. Ma had done and invited him to join the factory immediately.

Mr. Ma inquired whether he should take the train or the airplane, to which Mr. Xu replied that either was fine; he simply wanted Mr. Ma to arrive as soon as possible. Mr. Ma was tasked with designing a high-end tourbillon watch, and four months later, he completed the design of 太极 (Tai Chi). A year later, the watch hit the market as a twin-axis tourbillon, featuring a date function and a power reserve indicator – making it the first of its kind in China. Priced at over 300,000 Chinese dollars, it was sold even before completion.

By four years later, Mr. Ma felt limited by creating only Tai Chi. He wanted to express his creativity more freely, which led him to leave the factory and establish his own workshop in 2012. He rented a farmhouse in Beijing as his workspace, and when a journalist visited him that winter, he was surprised to find that there was no heater or air conditioning in Mr. Ma’s workshop.

Mr. Ma presented his latest creation, the 北京星空 (Starry Beijing). The front dial features a single hand that expands and contracts, indicating both the hour and minute, while the back features a compass with a star chart of Beijing’s night sky.

During the interview, the journalist questioned Mr. Ma about his choice of a mother-of-pearl dial, suggesting it was too ornate, and the use of copper-nickel for the case. Mr. Ma explained that he preferred not to rely on others, which is why he chose not to create a metal dial; the equipment and process for coloring would be too much for his small, one-man workshop. He seemed taken aback by the questions and appeared slightly disappointed.

At that moment, his phone rang – it was his daughter. The journalist noticed a teardrop fall onto Mr. Ma’s frostbitten hand. He explained that it was his daughter’s 25th birthday, and he felt regretful for having nothing to give her. He wondered if he should tell her that the watch was successfully conceived. The journalist immediately realized that the watch would be the perfect gift. He promised to publish a story in a magazine and send a copy to Mr. Ma’s daughter.

Later, the journalist reflected that refinement was never the essence of these early independent watchmakers in China; it was the movement and the spirit behind the creation that truly mattered. By that measure, Mr. Ma’s development was both admirable and significant.

Mr. Ma has also created various other developments, but due to space limitations, we can only mention them briefly. These include a cylindrical movement with a tourbillon, a chiming watch, and intriguing pieces beyond typical timepieces, such as a “perpetual” clock that operates based on temperature differences and lever theory. This clock uses the expansion and contraction of liquid due to temperature changes to create movement, which flips a lever to wind the watch. Small innovations like these reflect the passion and ingenuity of the watchmaker. And oh, this clock won the top prize in the 2nd Blue Light Cup in China.

许家宝 (Xu Jiabao)

Next, we delve into the life of a remarkable clockmaker, Xu Jiabao, who stands as one of the best in modern China. Born in 1941, Mr. Xu passed away last year at the age of 82. His journey into the world of clock restoration began nearly seven decades ago, in 1955, culminating in his membership in the AHCI in 2017.

Mr. Xu’s first encounter with a watch occurred at the age of 11 when his brother brought home a wristwatch from an army camp. This experience left a lasting impression on him, as he later recalled in an interview with The New York Times in 2012.

Similar to Mr. Ma, Mr. Xu was a self-taught watchmaker who began his career by repairing clocks both at home and in the neighborhood. He would carry his toolkit and go door to door, gaining invaluable knowledge about mechanics along the way.

Mr. Xu’s story is both encouraging and inspiring. The son of a farmer with only a primary school education, he achieved far more than his academic background might suggest, driven by his passion for watchmaking and relentless hard work.

In the 1970s, Mr. Xu began designing and hand-making his own wristwatches, only to later discover that his true passion lay in clocks. One reason for this was China’s rich history of clockmaking, including the hydro-mechanical astronomical clock tower created by Su Song nearly a thousand years ago. One of Mr. Xu’s main motivations was to revive the art of clockmaking in China, and he certainly succeeded.

Mr. Xu officially embarked on his clockmaking journey in 1985, reportedly crafting seven clocks by 1987. Eventually, his home became filled with clocks – every wall adorned with them, making him a well-known figure in the local community. In 1995, he built a clock that displayed the time in all global time zones. The following year, he designed a large clock tower for the community government in Hetang Town, and in 1998, he created a gigantic musical clock.

However, his true genius shines in his creation of clocks with animated figures. Among these, one standout piece is the 天球仪 (Flying Ball Instrument), completed in 2002. Mr. Xu painstakingly crafted the exterior from brass, plating it with gold to evoke a sense of imperial grandeur. Naturally, he also built the escapement and mechanism entirely by hand.

But what truly sets this clock apart is its captivating action. Every hour, a small ball is released, rolling down a pathway and triggering the music box, which plays a delicate rendition of The Butterfly Lovers for exactly 52 seconds. Interestingly, the mechanism is calibrated to ensure the tune doesn’t play between 10 p.m. and 7 a.m., so as not to disrupt sleep. As the music ends, a ball is launched into the air and lands gracefully inside a golden lotus flower, as you can see in the image below.

Another interesting clock is the 龙龟戏珠仪 (Dragon and Turtle Playing with a Pearl). It weighs 150 kg and takes four years to complete, with various culturally significant elements like the dragon, turtle, and Great Wall. Using a 24-hour format, at the top of each hour, a dragon hidden beneath the Great Wall rises, opens its mouth, and releases a pearl into the waiting turtle. The turtle then rotates 180 degrees to pass the pearl into the mouth of a fish. Finally, the turtle returns to its original position, allowing the pearl to roll into a bridge, where its movement winds up the clock. This performance involves over ten coordinated movements that occur every hour.

It brought a smile to my face studying the three watchmakers above because their interest is so pure and their passion so strong. They regard creating a good watch through their own efforts as of utmost importance. Their stories, as well as their watches and clocks, make you realize that these individuals possess a high level of virtue when it comes to watchmaking. They do not see fame, money, or short-term success as their ultimate goal. Instead, they choose to live a simple life, dedicated to leaving their mark on the art of watchmaking and contributing to the field.

This stands in stark contrast to many modern brands, which cleverly cater to market demands and provide collectors with exactly what they seek. These three watchmakers, however, have forged their own independent paths and stayed true to their vision, no matter how challenging or time-consuming the journey may be. That’s why their watches are so moving – they are the fruits of beautiful minds and souls.