Chinese Knotting: A Craft Weaving History, Symbolism and Artistry
Representing as an emblem of the Chinese national identity as seen at the Beijing Olympics 2022, Chinese knot is recognized beyond a decorative handicraft, but a folk art that intertwines craft and identity.
Often adorning Chinese homes and temples with its many elaborate designs and signature deep red to express good wishes and ward off evils, especially during festive occasions, Chinese knotting (中国结 zhōngguó jié) is a distinctive and traditional form of decorative folk handicraft. The term “knot” is defined as “the joining of two cords” in Shuowen Jiezi (around CE 100), the first comprehensive Chinese character dictionary (Chen 4). Over the course of history, the craft transformed and developed into a multitude of variants and served different purposes, substantially integrating itself to the everyday life of Chinese people and positioning itself as a highly regarded art form.
Despite its importance, Chinese knots have traditionally played a rather secondary role in the decorative arts as they are often employed to enhance the beauty of other dominant art pieces. For instance, knots appear as a pattern or charm on costumes, etc… Therefore, their importance has easily become unrecognized, resulting in scarce documentation on the craft, its practice and culture.
This project, I aim to study the craft from history to its expansive influence on the other knotting cultures, such as Korean Maedeup and Japanese Hanamusubi. Additionally, I will reflect on the experience of learning Chinese knot as a beginner as an attempt to pose commentary on the transfer of knowledge of the craft.
History
The first hint of the earliest knots in China dates back to the late Paleolithic period, some 18,000 years ago given the found cultural relics of bone needles, pierced shells and dyed stone beads.
Knotted ropes were employed to keep records as well with such practice being well documented in a chapter in the classic Chuang-Tzu, a foundational text of Taoism, that mentioned the prehistoric times practice of tying knots to keep a record of events until the invention of writing later replaced this purpose; commentary on the I Ching where said “In the highest antiquity, government was carried on successfully by the use of knotted cords to preserve memory of things.” (kartsci.org)
Traditionally, knots played a rather secondary, supporting role in the decorative arts of China — employed to enhance the beauty of other dominant art pieces (i.e.: a costume, musical instruments, swords etc…), significance has easily become unrecognized.
Scarce documentation
Relied on other sources for possible references to gain insights on knotwork from its looks to its techniques: poetry, painting, carving, pottery, etc… (Chen 92)
Timeline
Shang and Chou periods (1766-221 B.C.) – certain that they were crucial given their presence on so many personal and household objects
Chinese gentleman carried a special tool known as hsi, which was a device to untie knots.
By the end of the 1st century, double-coin knot met with wide popularity
5th century: witnessed the development of structurally-sophisticated variants of the Shuang-ch’ien design emerged
First peak during the Sui and Tang dynasties (581-907): innovative forms emerged
Favored by the imperial family
The Qing Dynasty (1644-1911/12) witnessed another state of prominence in the the history of knotwork
Basic designs and their structurally complex variants were widely employed – became a common part of Chinese folk art
Being referenced in writing
Late imperial and early republican China — stagnant development of knot work
Due to political chaos and social unrest
1976 – regained popularity thanks to a series of articles published in the Echo Magazine and the efforts to revive the craft culture by artists like Lydia Chen.
Overall, the development of Chinese knot and application can be categorized into two yet inseparable groups.
Knotwork as symbolic icon
Knotwork as Decoration
My Reconstruction of Craft & Reflection
About the primary source
My craft biography research and reconstruction project center on the textbook The Complete Book of Chinese Knotting: A Compendium of Techniques and Variations by Lydia Chen.
Being involved in the knotting research for nearly a century, Chen’s initial exposure to traditional knotting culture was influenced by her father-in-law, Chuang Yen, who was a vice director at the National Palace Museum, and learnt the craft from Wang Zhen-kai, a skilled craftsman. Later, she worked at the National Palace Museum and had the opportunity to study various Chinese knotting techniques from different time periods. Integrating knotting with other art forms, she added more breakthroughs to her creations, such as lacquer knotting and metal knotting. With her background in science and engineering, Chen introduced knotting techniques in her books using geometric algebraic formulas. (Asia Trend)
Craft Reconstruction: Attempt at Chinese Knotting
With just the primary source and my satin cords ordered from Amazon, I decided to begin my reconstruction journey, thinking that is all the materials I need. For the reconstruction process, I decided to follow the manuscript and remake Cloverleaf knot, Double-Coin knot, and Pan chang knot.
It took a little learning curve to work with the instructions on how to create the knots and working with the cord, but I soon was able to follow through and produced the Cloverleaf knot and Double-Coin knot. However, the process got challenging when I got to the Pan chang knot. I quickly realized the just the instructions and illustrations from the book is not enough.
Images source: https://artsproutsart.com/chinese-knots-how-to-chinese-new-year-traditional-craft/
After multiple failing attempts at different type of knots, I consulted a secondary source that I also used in the beginning to acquire my cord for help. Ringing up a neighbor friend, I acquired some pins. My decision looking for pins came from recalling a source that referenced the need for a macrame board and from me consulting youtube video on knotting. Moving forth, I continued with more materials acquired and weaved the following knots.
Takeaways
Amid the surplus of product alternatives and the continuous aging of traditional folk arts, the reconstruction journey makes me wonder the following questions, which I will attempt to my thought while challenge (you) the readers to join in the discussion.
Which craft can afford transformation whether that be in its practices or its process of knowledge transfer to withstand social changes and survive time?
What are the gains and loses of popularizing a craft to mainstream audience?
gains: wider audience = wider appreciation, preservation of craft, more accessibility,
loses: losing high-level expertise/craftsmanship/ tradition, losing meanings, become too commercialized;