Chinese knotting

Chinese knotting, also known as () and decorative knots in non-Chinese cultures, is a decorative handcraft art that began as a form of Chinese folk art in the Tang and Song dynasty (960–1279 CE) in China. This form of craft originated and was derived from the () culture which already existed in China since the ancient times. As a form of art, it is also called Chinese traditional decorative knots. Chinese knotting was later popularized in the Ming and spread to Japan and Korea. There are many different shapes of Chinese knots, the most common being butterflies, flowers, birds, dragons, fish, and even shoes. Culturally they were expected to ward off evil spirits similar to bagua mirrors or act as good-luck charms for Chinese marriages. Around the times of the Chinese new year festival, Chinese knot decorations can be seen hanging on walls, doors of homes and as shop decorations to add some festival feel. Usually, these decorations are red in colour, which is a colour associated with "luck" in traditional Chinese culture. They are also used to make the, the Chinese buttons, which are used to decorate the cheongsam.

Forming the name of "Chinese knotting"

The was not named as "Chinese knotting" before the time of Lydia Chen’s research. In the 1980s, Lydia Chen, known by her Chinese name as Chen Xiasheng (), funded the ''Chinese knotting Promotion Centre'', cooperated with ''ECHO magazine'' (), and sought out the few remaining keepers of the knotting tradition by recording their work in a series of articles and books.

She named these knotting crafts as "Chinese knots" and assembled practical manuals to disseminate the art of Chinese knotting to a broader audience. Chinese knotting then became a popular symbol and souvenirs in the festival and commodity market nowadays.

Characteristics

Historically, Chinese knot work is divided into cords and knots. In the dynastic periods, a certain number of craftsmen were stationed in the court and outside the court to produce cords and knots in order to meet the increasing demand for them at various places of the Imperial court. Cords, knots, and tassels were made as separated pieces and were combined later.

Chinese knots are usually lanyard type arrangements where two cords enter from the top of the knot and two cords leave from the bottom. The knots are usually double-layered and symmetrical. One major characteristic of decorative knot-work is that all the knots are tied using one piece of thread, which is usually about one meter in length. However, finished knots look identical from both the front and back. They can come in a variety of colours such as gold, green, blue or black, though the most commonly used colour is red. This is because it symbolizes good luck and prosperity. There are many different shapes of Chinese knots.

Types and shapes

Lydia Chen lists eleven basic types of Chinese decorative knot work in her first book. More complex knots are constructed from repeating or combining these basic knots.

History

Archaeological studies indicate that the art of tying knots dates back to prehistoric times. Recent discoveries include 100,000-year-old bone needles used for sewing and bodkins, which were used to untie knots. However, due to the delicate nature of the medium, few examples of prehistoric Chinese knotting exist today. Some of the earliest evidence of knotting have been preserved on bronze vessels of the Warring States period (481–221 BC), Buddhist carvings of the Northern Dynasties period (317–581) and on silk paintings during the Western Han period (206 BC–9 CE).

Recording and ruling method

Based on the archaeology and literature evidence, before 476 BCE, the knots in China had a specific function: recording and ruling method, similar to the Inca Quipu. According to the 《》, from the ancient times of ''Bao-xi'' ruling era, except for the use for fishing, knots were used to record and govern the community.

The Eastern Han (25-220 CE) scholar, Zheng Xuan, who annotated also wrote that:

Moreover, the chapter of Tubo (Tibet) in the ''New Book of Tang'' also recorded that:

Ancient totem and symbol

Simultaneously, additional to the use of recording and ruling, knots became an ancient totem and belief motif. In the ancient time, Chinese brought knots a lot of good meanings from the pictograms, quasi-sound, to the totem worship.

An example is the double coin knot pattern painting on the T-shape silk banner discovered by archaeologists in Mawangdui tombs (206 BC – CE 9). The pattern is in the form of intertwined dragons as a double coin knot in the middle of the fabric painting. In the upper part, the fabric painting illustrates the ancient deities Fuxi and Nüwa who are also the initiator of marriage in China that derived the meaning of love for double coin knot in many ancient poems.

The tangible evidence has been excavated that 3000 years ago on the Yinxu Oracle bone script, where knots were recognized as the use of symbol rather than functional use.

Decorative art

According to Lydia Chen, the earliest tangible evidence of using knots as decorative motif is on a high stem small square pot in Spring and Autumn Period (770 – 476 BC) which now are displayed in Shanxi Museum. However, the archaeology research in the latest decade confirmed that the earliest artifact of the decorative knot in China can trace back 4000 years ago when a three-row rattan knotting of double coin knot was excavated from Liangzhu Ruins.

With gradually developing, the knots became a distinctive decorative art in China starting from the Spring and Autumn Period to use the ribbon knotting and the decorative knots on the clothing. This is attested in the where it is written that:

Chinese knotting was thus derived from the () culture. The Chinese word () is the ancient appellation in China for knots, and it was a tradition to tie a knot at the waist by silk or cotton ribbon.

Sui to Ming dynasties

The first peak of the culture was during the Sui Dynasty and Tang Dynasty (581-906 CE), when numbers basic knots, such as Swastika knot () and the Round brocade knot (), generated the vogue on garments and on the common folk art in the palace and home. Therefore, knots were cherished not only as symbols and tools but also as an essential part of everyday life to decorate and express thoughts and feelings.

In Tang and Song Dynasty (960–1279 CE), the Love-based knot is a unique element as evidenced in many of the poem, novel, and painting. For example, in the memoir 《》written by Meng Yuanlao, it is observed that in the traditional wedding custom, a Concentric knot () or the knot made like a Concentric knot was necessary to be held by the bride and groom. Other ancient poems mentioned the Concentric knot to portray love such as Luo Binwang's poem:

It was also mentioned in a poem written by Huang Tingjian:

The most famous poem about the Love knot was written by Meng Jiao in 《 – 》.

The phenomenon of knot tying continued to steadily evolve over thousands of years with the development of more sophisticated techniques and increasingly intricate woven patterns. During Song and Yuan dynasties (960 – 1368), Pan Chang knot, today’s most recognizable Chinese knot started popularly. There are also many artwork evidence showed the knots as clothing decoration in Ming Dynasty (1368 –1644), for instance from Tang Yin's beautiful paintings, knotting ribbon is clearly shown.

Qing dynasty

During the Qing dynasty (1644 –1911), Chinese knotting finally broke from its pure folklore status, becoming an acceptable art form in Chinese society and reached the pinnacle of its success. The culture of then caught a second peak during the period of Qing Dynasty. During that time, basic knots became widely used to grace objects, such as , sachets, purses, fan tassels, spectacle cases, and rosaries, in daily use, and extended the single knot technique into complicated knots.

According to the Chinese classical novel ''Dream of the Red Chamber'', the was developed and spread between the middle and higher hierarchy, making was a way to express love and lucky within family members, lovers, and friends in Qing Dynasty. It was also a form honourable craftsmanship studied and created by maids in the Imperial Palace; as written in the 《》, when knotting, the maids amusing for Ci Xi were able to quickly produce objects of various kinds proficient.”

Republic of China

In the period of the Republic of China (1912–1949), knots can be seen from modern Chinese style without intricate and over decorative. For example, the, which was already appeared before Qing Dynasty, using knot buttons ornament were designed particular for the cheongsam in this period.

21st century

Even though the craft of Chinese knotting declined before 1970s, the use of on the clothing and knots as a folk craft still alive in China.

Influences and derivatives

Japan

The tying knots tradition in Japan is called , a term composed of the words which literally means "flower" and which means "knot".

The is a legacy of the Tang dynasty of China when a Japanese Emperor in the 7th century was so impressed by Chinese knots which were used to tie a gift from the Chinese that he started to encourage Japanese people to adopt the tying knots practice.

Japanese knots are more austere and formal, simple, structurally looser than the Chinese knots. In function, Japanese knots are more decorative than functional. With a greater emphasis on the braids that are used to create the knots, Japanese knotting tends to focus on individual knots.

Korea

In Korea, decorative knot work is known as (), often referred as ''Korean knotwork'' or ''Korean knots'' in English languages.

The Korean knotting techniques is believed to originate from China, but Korean knots evolved into its own rich culture as to design, colour and incorporation of local characteristics. The origins of date back to the Three Kingdoms of Korea in the first century CE. articles were first used at religious ceremonies.

A wall painting found in Anak, Hwanghae Province, now in North Korea, dated 357 CE, indicates that the work was flourishing in silk at that time. Decorative cording was used on silk dresses, to ornament swords, to hang personal items from belts for the aristocracy, in rituals, where it continues now in contemporary wedding ceremonies. Korean knotwork is differentiated from Korean embroidery. is still a commonly practice traditional art, especially among the older generations.

The most basic knot in is called the (or the ''double connection knot''). The knot is used at the start and end of most knot projects. There are approximately 33 basic Korean knots which vary according to the region they come from. The tassel is noteworthy as the most representative work familiar to Westerners, and often purchased as souvenirs for macramé-style wall-hangings.

Related content

* Endless knot

* China:;
* Japan: Mizuhiki
* Korea: Norigae

See also

* Chinese art
* Chinese Folk Art
* Chinese paper cutting
* Chinese paper folding
* List of Japanese tea ceremony equipment#Shifuku
* Macrame

References

External links

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{{DEFAULTSORT:Chinese Knotting
Arts in China
Arts in Japan
Arts in Korea
Chinese folk art
Decorative knots
East Asian art