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See project 128 on page 157 for instructions on making this knot formation.
Ornament Design
It is important to consider the purpose of making an ornament before deciding on its size, form and color. It is usually helpful to draw the ornament on a piece of paper and think of which basic and compound knots could be used to make it. The four concepts below – traditional lucky designs, general design principles, application compatibility and planar (flat) options – provide guidelines on ornament design.
Traditional lucky designs
A casual glance at traditional Chinese knots tells us that the majority of them are tied with a single cord, with both sides being equal and the front and back exactly the same. They also exude auspiciousness, for example, the five happiness knot (page 86) and prosperity knot (page 99). Ornaments can also be designed with a traditional flavor. Diagram 27 shows how the butterfly knot has been modified into a bat knot and double coin knot. The ornament is named “Good Fortune Bat,” denoting luck and good fortune, since bat and luck have the same sound. Diagram 28 shows how a swastika knot (Chinese Knotting, page 44) can be combined with a longevity knot (Chinese Knotting, page 64) to produce a knot named “Long Live the Good Fellow.”
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Chinese knots tend to follow lucky designs. Hanging a longevity tassel tied with yellow cords on a knot formation will impart good wishes.
See project 130 on page 158 for instructions on making this knot formation.
TIPS
• When making ornaments from decorative knots, it is necessary to consider the purpose and the occasion for which the ornament is being made.
• It is also important to think about the size, the most appropriate knots and the most suitable colors.
• Consider what other embellishments, e.g. tassels, beads and bindings, can be incorporated to enhance the beauty of the knots in the ornament.
General design principles
The most elegant knot formations are invariably the result of taking into account such basic design principles as balance, contrast, harmony and variety. When designing a hanging ornament, care must be given to its center of gravity. When enhancing a knot formation with a hanging ornament, it is also important to check that the knot formation can support the ornament without distorting the shape.
Application compatibility
Since a knot formation comprises a combination of two or more different knots, it is necessary to decide at the outset of a project which knots in an ornament will be the major ones and which will be the minor ones. In the example shown in diagram 29, four cloverleaf knots form the minor knots, and these are used to highlight the central pan chang knot, which is the major, dominant knot in the formation.
It is also necessary to consider what will be the dominant element in a formation – the knot itself or the decorative embellishment(s) – as the dominant element must be more eye-catching. Diagram 30 shows that the knot formation, enhanced by a small circular piece of jade, is the major feature. When the embellishment is to be the main design element, it must not be overshadowed by a knot formation whose purpose is merely to support and augment the embellishment. As an example, diagram 31 shows how a smaller knot can be used to grace a larger piece of agate.
Consideration must also be given to the compatibility between the knot formation and the embellishment(s). For example, hair clasps – long hanging ornaments with tassels – are designed in such a way that when the wearer walks the tassels will dangle in harmony, contributing to a graceful appearance. Diagram 32 illustrates a fan decorated with a knot formation sprouting a tassel. A woman using this fan will attract attention as the long tassel swings to the movement of her hand.
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See project 131 on page 158 for instructions on making this knot formation.
Planar options
Traditionally, knot formations are three-dimensional hanging ornaments, but they can also be used to grace planar or flat surfaces, for example as buttons on traditional robes. A knot formation can also be sewn directly onto a garment, making a unique outfit as well as imbuing it with a touch of elegance. Diagram 33 illustrates a necktie adorned with a knot formation, adding a traditional flavor to a Western concept. It is also possible, after a knot formation has been held in place, to draw on the outer loop and bend and twist it in other ways, such as into a lively wing or a bouquet of flowers and leaves, as shown in diagram 34. In addition, a different colored cord can be bent or twisted and sewn onto the lengthened outer loop for a more pleasing aesthetic effect.
A variation on sewing the knot formation flat on a garment is to pack the space between the two surfaces with a filler such as cottonwool and then sew around the edges of the knot formation. This produces the effect of a relief sculpture.
Color Blending
A traditional knot, tied with a single cord, normally comes in a single color, as in diagram 35. Being plain and – some might say – monotonous, a single color knot often needs other knots or embellishments to enhance it. Using the basic skills, two or even three different colored cords can be tied together to produce knots like those in diagrams 36 and 37.
