The Complete Book of Chinese Knotting. Lydia Chen
wooden figure, Eastern Zhou Period (770–256 BCE), from the Chu tomb, Xinyang, Henan Province.
Sketch of the same wooden figure.
Special Characteristics of Chinese Knots
In the realm of knotting, Chinese knots are considered to have the most outstanding decorative value. Even the Japanese and Koreans – themselves masters at tying knots – are fascinated by the knotting techniques and applications of the Chinese for the simple reason that the structure of Chinese knots is highly varied and their applications limitless.
Chinese knots are not only exceptionally graceful but are also practical: they can tie objects tightly. A major characteristic of Chinese knotwork is that all the knots can be tied using one cord, usually about a meter in length. Another is that every basic knot is named according to its distinctive shape, meaning or pronunciation. A Chinese knot body is made up of two layers of cords sandwiching an empty space, hence the three-dimensional, symmetrical body is tough enough to stay in shape when suspended. Redundant cord ends can be hidden inside a knot body and ornamental beads, precious stones or other embellishments can be incorporated for additional aesthetic effect. Since all Chinese knots are identical on both sides, they are pleasing to the eye.
Chinese knots also have unlimited variations due to their complicated weaves and weave sequences, the number of outer loops employed, the tightness of the knot body, etc. Furthermore, the basic knots can be randomly recombined to form many more patterns. All Chinese knots can be used to decorate and tie objects. The scope of ingenuity in Chinese knotting is thus without boundaries.
Knotted masterpiece by Sekishima Noboru.
A study in simplicity and elegance by Sudou Kumiko.
Knotted gold thread pendant by Lydia Chen.
Chinese knot wall décoration by Lydia Chen.
A wall hanging made of flat knots and rolling knots, courtesy of Tanaka Toshiko.
A stunning knot encircling a bead by Lydia Chen.
Korean examples by Kim Ju-shen.
In his book Japanese Gift Wraps, Sekishima Noboru expounded that the Japanese tradition of tying knots, hanamusubi (hana means “flower” and musubi “knot”) was, in fact, a legacy from China’s Tang Dynasty. This occurred in the seventh century when the Japanese Emperor, impressed with the elegance and practicality of the reed and white jute cord knots used to tie a gift from the Chinese, encouraged his people to adopt the same practice. However, the Japanese knots that developed as a result tend to be comparatively austere and formal, perhaps because of the constraints in Japanese tradition and the overall Japanese aesthetic. Up to this day, Japanese knots are still fairly simple and structurally loose and are more decorative than practical in function. They are embedded in everyday activities such as wrapping. The use of numerous colors and diverse types of cord are particular Japanese characteristics.
Closely related to Chinese knotting is maedup or Korean knotting. As with Japanese knots, it is believed that Korean knotting techniques originated from China. According to the late Kim Ju-shen, one-time president of the Korean Handicraft Association, historical data about Korean knots is grossly lacking and their origin and use in ancient times is unclear although it appears that they are based on Chinese antecedents. However, Korean knots have evolved into a rich culture of their own in terms of design and color and the incorporation of local characteristics. The main differences between Chinese and Korean knots are the proportion of tassel to knot (much longer tassels are used in Korean knots), the type of cord used (Koreans favor round braided cord), and color (Koreans tend towards the five primary colors of red, yellow, green, blue and black and often use all five in a single knot).
Unlike Chinese knots, Western knots, the best known ones being the two-dimensional flat knot and curled knot, are very simple and repetitive – almost monotonous. Not a great deal of skill is needed to tie them. Moreover, they are neither particularly decorative nor useful for tying objects. Since there is little skill involved in Western knotting, any outstanding example that is produced must have a unique design and an intricate blend of colors and materials.
Chinese Knotting Techniques
Fourteen basic Chinese knots are treated in this book, namely the (1) clover-leaf knot, (2) pan chang knot, (3) round brocade knot, (4) constellation knot, (5) good luck knot, (6) Buddha knot, (7) double connection knot, (8) plafond knot, (9) flat knot, (10) creeper knot, (11) double coin knot, (12) button knot, (13) cross knot and (14) tassel knot. These basic knots have numerous, almost unlimited permutations, which can be formed either from variations of their basic designs or from a combination of basic knots. The knotting techniques for producing many of these so-called compound knots were taught in Chinese Knotting: Creative Designs That Are Easy and Fun! and Fun with Chinese Knotting: Making Your Own Accessories and Accents. In this book, four major methods or techniques for tying knots and nine ways of modifying them are applied to each of the fourteen basic knots. Each basic knot is treated separately, with its various modifications derived from the major methods and modification skills clearly shown in words and pictures. Not only will this strategy enable you to learn the knotting techniques of many new knots, but it will also allow you to fully appreciate the concept of basic knots and lead you to create new knots yourself.
FOUR MAIN METHODS OF TYING BASIC KNOTS
From lengthy research into the knots that were first used by the Chinese for practical purposes and later as decorative motifs, Chinese knotting experts, including Lydia Chen, the author of this book and a world-renowned knotter, have identified fourteen basic knots, namely the (1) cloverleaf knot, (2) pan chang knot, (3) round brocade knot, (4) constellation knot, (5) good luck knot, (6) Buddha knot, (7) double connection knot, (8) plafond knot, (9) flat knot, (10) creeper knot, (11) double coin knot, (12) button knot, (13) cross knot and (14) tassel knot.
These fourteen basic knots have been classified not only according to their structure but also the four main methods or techniques used to tie them, which include (1) pulling and wrapping outer loops, (2) using single flat knots, (3) overlapping outer loops and (4) knotting semi-outer loops or “S” curves.
1. Pulling and Wrapping Ear Loops
Cloverleaf Knot
This is made by forming first one ear loop, then a second ear loop and passing it through the first one, then forming a third ear loop and passing it through the second one. The cord end is pulled tight to form the center knot. The cord sections between the inner loops make up the outer loops of the knot.
Pan Chang Knot
This knot is formed using the cloverleaf knotting technique, but increasing the number of ear loops on each side to two or more. The cord end is hooked up with the fourth side of ear loops two times or more using the same technique as the cloverleaf knot.
Round