In recent years, there has been a growing interest in Chinese knotting in New Jersey, particularly in the Chinese schools. Not only do the students love to learn the art, the parents have also become quite interested and involved.

In 2001, the author conducted a survey of thirty-three Chinese schools in New Jersey to see how many schools had knotting programs. The results indicate that 13 of the 33 schools had classes in knotting. The total number of students enrolled in the classes was 365. The school that had the largest number of students was the Hua-ren School. Of the 160 students in the school, 120 had instruction in knotting. Among the other schools, Mid-Jersey Chinese School, United Chinese School, Murray Hill Chinese School and Weide Chinese School all had relatively large number of students involved in knotting. At the time of the survey, four more Chinese schools already had plans for introducing knotting, and the rest of the 16 schools would have liked to hold classes but there was a shortage of teachers. There are altogether some 13 to 14 teachers, but none of them have standard knotting instruction manuals. Many use old texts they brought or ordered from Taiwan; others created their own teaching materials. As for the knotting supplies, the threads all had to come from Taiwan because the threads made here were not stiff enough.

The most appropriate age for the students to learn knotting is around 10 years of age. The beginners must first master the simple knots, such as the flat-knot, the linked-knots and elongated-knots. After having mastered the 14 different basic types of knots and the three kinds of three-dimensional Western influenced knotting methods, the students are ready to create their own objects of varying degrees of difficulty.

The survey also revealed that interest in knotting is growing, especially among the adults. Many parents of the students are especially enthusiastic. The adult-class of the Mid-Jersey Chinese School is an example. About 40 parents in the adult class cannot wait until the school begins to hone in on their knotting skills. According the principal of the school, the tying of Chinese knots requires patience, practice, memorization, and creativity—the same type of skills that are nurtured in Chinese calligraphy and painting.

The accomplished teachers, such as Ms. Chou Shenghong, Wang Manli, Yang Lintai and Xu Shenzheng have exhibited widely in New Jersey and have created a wide range of objects for their repertoire. Their displays attracted a large audience because of the intricacy and wide variety of colorful objects. Small objects, such as hair-clasps, knotted buttons, earrings, necklaces, broaches, fan decorations, flower arrangements, bracelets, etc. are the favorite of many viewers. Others appreciate the intricate birds, turtles, gold fish, frogs, butterflies, dragons, cranes, and shrimps. There are also miniature fruits and vegetable, such as corn, bananas, and pineapples. Other highly complex wall hangings are made with jades, vases, clay beads, woven bamboo baskets, and traditional palace lanterns. These objects not only reflect the artists’ individual taste and skill, but also Chinese national character.

The history of Chinese knotting goes back to prehistoric times. Knotting originated as a method of recording historical events. A large knot signified an important, major event; a small knot signified a minor event. Knots also came to signify love between two lovers. The Tang poet, Meng Jiao wrote on the multi-dimensional meaning of knots; knots for the lover, for the husband away from home, for the wife longing for her husband. The feelings of love and longing are perfectly signified by the “knot,” and it shows the permanent place knotting has in the hearts of the Chinese people.

As the art of knotting was passed down from generation to generation, it was transformed from its strictly functional application to an artistic and decorative one. During the 19th century, knotting reached its peak. From the imperial family down to the common people, Chinese knots were used to ornament the clothing of the imperial family, the caps of high officials, their belts and sashes, sword sheaths, carriage decorations, and cheomsam gowns of the modern day fashionable women. Many decorative knots are on display at the Palace Museum, including the knots used to embellish snuff bottles and the hanging decorations of the headdresses of the palace ladies. The artistry and craftsmanship had reached a high point.

In the history of Chinese folk arts, knotting occupies a prominent place because of its artistry and beauty, but it had its ups and downs depending on the changing times. Today, as our lives become more westernized, knotting has lost favor and began to decline so that the art has almost died out.

In the 1960s, Taiwan promoted and rejuvenated the art of knotting. Folk art specialists were encouraged to seek out the elders who still knew the art of knotting to do demonstrations and to be interviewed. Ms. Xia-sheng Chen of the Palace Museum and The Voice of China magazine worked together and systematically introduced knotting to the Chinese and Western audience, and calling it “Chinese Knotting (Zhongguo jie).” As time went on, more and more people accepted it, and now it has become fashionable again. Classes in knotting began popping up everywhere. Thus, this Chinese art, which had been dormant for half a century, was revived on Taiwan.

The 80s was the golden period of knotting on Taiwan. Not only was it fashionable, even industries became interested in producing clothing, decorations, and New Year’s gifts using various kinds of decorative knots. They were well received by the people.

In 1985, the artist Ms. Jinqin Chen-Lin moved from Taiwan to the United States and with her came the art of knotting. As soon as she arrived in the States, she began to promote the art and soon her reputation reached the Chinese schools in New Jersey, and the interest has not abated since.

Chinese knotting as received more and more attention in New Jersey. People such as Marjorie Li and others believe that knotting is an art that has many levels of complexity and has much room for further creativity. It also has market potential. If the art can incorporate some Western elements, together with the right kind of promotion, Chinese knotting can have another renaissance.

At the time of this writing, the English instruction for Chinese knotting is being completed. Soon it will available in the high school art classes and people will be able to find instruction on DVD with step-by-step demonstrations by a master artist, Mrs. Chou Shenghong.

Happy Knotting!