『Maedeup: Korean Traditional Decorative Knotting』 was designed to make traditional Korean knots comprehensible and readily available to use for a wider audience. While providing a general overview from the history and various types of knots, tools and production processes to its modern use, we also tried to incorporate as much visual material as possible to enhance the understanding of knots.

저자 : Kim Si-jae Kim Si-jae Graduate of National Intangible Cultural Property Maedeupjang, Korea Maedeup Research Institute

Chapter 1 Maedeup: A Historical Introduction Definition of Maedeup 14 Characteristics of Korean Maedeup 16 Arts of Korean Maedeup 20 History of Korean Maedeup 26 Transmission of Korean Maedeup 44 Chapter 2 Preparing Maedeup Maedeup Materials 48 Knot-crafting Tools 53 Chapter 3 Crafting Maedeup Dorae Maedeup, Double Connection Knot 64 Yeonbong Maedeup, Lotus Bud knot, Chinese Button knot 67 Garakji Maedeup, Finger Ring Knot 70 Saengjjok Maedeup, Ginger Knot, Clover Leaf Knot 73 Gukhwa Maedeup, Chrysanthemum Knot 76 Nalgae Maedeup, Wing Knot, Double Coin Knot 80 Dongsimgyeol Maedeup, One-In-Heart Knot 83 Chapter 4 Enjoying Maedeup Swaying: Ceremonial Maedeup 88 Hanging: Indoor Maedeup Ornaments 94 Draping: Maedeup for Pendants and Headdresses 100 Hanging: Maedeup for Personal Belongings 108 Tying: Cords for Sashes and Maedeup for Pouches 114 Adjusting: Maedeup Buttons 124 Decorating: Net Ornaments 128 In the Spotlight: Modern Maedeup 134 Appendix Masters 152 Craft & Design Map 153 List of Artifacts and Illustrations 154 Bibliography 158 Collaborators 159 Cooperation Organizations 160 Index 161

Maedeup refers to a technique of making a pattern by tying or plaiting a cord in a directional manner or a shape made by such a technique. It is presumed that the knot was created for practical purposes such as hanging or connecting objects, and that its history can be traced back to the beginning of mankind. From ancient times to modern times, knots that existed everywhere in the East and the West as universal technology have developed into various forms and uses within these diverse cultures.
Korean knot crafts have also developed independently over thousands of years. The main material used in the Korean knot is thread from silkworms. This silk thread was carefully dyed and colored, and several strands were twisted to form a cord, which is called Dahoe(多繪). And the beautiful knot made from this cord with a long tassel is called Yuso(流蘇). The cords, knots and tassels are combined to form a complete harmony.
-from.‘ Chapter 1. Maedeup: A Historical Introduction’

Examples of functional Maedeup are Oedorae Maedeup(single connection knot), Dorae Maedeup(double connection knot), Gwidorae Maedeup(eared connecton knot), Sambalchang Maedeup(three-pronged spear knot), Yeonbong Maedeup(lotus bud knot) and Garakji Maedeup(finger ring knot). Oedorae Maedeup and Dorae Maedeup are used to tie and shuffle two strands at the beginning and the end of a knot. Derived from Dorae Maedeup, Gwidorae Maedeup is a Dorae Maedeup with an ear on each side. Sambalchang Maedeup and Obalchang Maedeup are mainly used for a pouch string to decorate the lower part of the string as a tassel. Sambalchang Maedeup and Obalchang Maedeup have three and five Go, loops, hanging downward respectively. A Yeonbong Maedeup is of ambivalent characteristic: it is named from its floral appearance and accordingly decorative, but at the same time it often fulfills the function of a button. Garakji Maedeup have a shape of round marbles, are frequently knotted with cords of various colors to be inserted between knots as a decorative point, or used to conceal a joint of Maedeup cords.
-from.‘ Chapter 1. Maedeup: A Historical Introduction’

Sul, Tassels
Tassels adorn the end of a knot to enhance the swinging effect and a craftwork will look quite different depending on what style of tassel was used. Tassels made from cords are Nakjibalsul, tentacle-shaped tassel, Kkeunsul, cord tassel, Bangulsul, bell tassel, while tassels made from several strands of twisted thread are Bongsul, tassel with a coiled head, Ttalgisul, strawberry tassel, Bangmangisul, bat-shaped tassel, Hususul, tassels for hanging sash on the back, Geumjeonjisul, gold leaf tassels, Mujigaesul, rainbow tassels, and small sized tassels with a coiled head are called Jansul.
Nakjibasul is named for its resemblance to octopus(nakji). The cord is rolled several times, folded in half, then made by plaiting the middle with a cord. Based on how many Dan, bands made from the rolled up cord, are plaited, it is called single-headed, double-headed and triple-headed Nakjibalsul. It is used a lot for Daesamjak-norigae, grand triple-jewel pendants.
Kkeunsul, a cord tassel, is named because of its material ? cords. Several strands of cords are folded in half, then plaited in the middle. While similar to the process making of Nakjibalsul, it differs in that the end of the tassels are not connected but frayed. Used for bigger pendants, pouch strings and palanquin Yuso.
-from.‘ Chapter 2. Preparing Maedeup’

Tools Necessary for Plaiting Cord
Tools necessary for plaiting cord are Jaae(or Jasae), a grand reel, Jaguri, a reel, Sangsageori, a thread rack, Bitot, a weight for plaiting thread, Tojjak, a plaiting spool, and Dahoeteul, a plaiting tool.
In order to plait threads one has to begin by dyeing silk thread. The dyed silk thread is unraveled while hanging from Jaae, and then stored after being rolled up onto a Jaguri. When plaiting the thread into cords of necessary thickness, a Sangsageori and Bitot are

이 책은 〈Maedeup: Korean Traditional Decorative Knotting〉 was designed to make traditional Korean knots comprehensible and readily available to use for a wider audience. While providing a general overview from the history and various types of knots, tools and production processes to its modern use, we also tried to incorporate as much visual material as possible to enhance the understanding of knots. 책 소개 〈Maedeup: Korean Traditional Decorative Knotting〉 was designed to make traditional Korean knots comprehensible and readily available to use for a wider audience. Chapter 1, “Maedeup: A Historical Introduction”, explores the definition, characteristics, and different types of Korean knots. It also traces the evolution of knots within Korean culture by studying relevant artifacts and history. It then briefly covers how the efforts of a few craftsmen and governmental cultural protection policy saved it from being lost during the midst of industrialization, and introduces nationally and regionally designated knot artisans. Chapter 2, “Preparing Maedeup”, introduces the materials and tools necessary in crafting knots. It also covers various types of strings and tassels used in knot-crafting, because, in contrast to the past, when artisans specialized separately in thread-making, cord-making, and knot-crafting, contemporary knot artisans do all of the above by themselves. Chapter 3, “Crafting Maedeup”, contains processes and instructions for making several basic knot forms that allow readers to utilize knots for various purposes. In fact, the simplicity and availability of materials and tools for knot-crafting make it more approachable and easier to utilize for ordinary people compared to other traditional Korean crafts. We would like to thank the master artisan Park Sun-hee for participating in the demonstrations. Chapter 4, “Enjoying Maedeup”, explores how traditional knots are utilized through knot artifacts and modern knot artists, and introduces works that are adapted to modern aesthetics. In previous studies, the usage of knots was classified according to the subjects knots were attached to. This was because knots have played a secondary role in decorating the subject. In this book, however, the main focus is the function of knots themselves: swinging, hanging, binding, decorating, etc., and are classified accordingly. It also deals with how knots, which have always played a subordinate role, become the main character, and how they are utilized as such. It was difficult to choose from amongst the abundance of knot works, but we tried to introduce as extensive a variety of knots as possible in order to show how widely knots have been utilized in everyday live. Artifact photographs were excluded if it was difficult to recognize their original form and color, while artifacts with the best-preserved forms and colors were selected and replicas used when no artifacts were available. 출판사 서평 The history of knots dates back to the beginning of mankind. It is also a universal technology, ubiquitous across the East and the West, from ancient to modern times. Knots have evolved differently within various cultures, and in Korea, silk threads were plaited into strings, and these strings were knotted into geometric lines and surfaces, ultimately evolving into an elegant textile art form used widely in clothing, ornaments and living space decorations. Maedeup, Korean traditional decorative knots, perfectly reflects the wisdom, creativity and the sense of aesthetics of the Korean with its exquisite plaiting and knotting. For the book Maedeup: Korean Traditional Decorative Knotting we asked multiple experts for advice, for the purpose of retracing the values and merits of the traditional Maedeup and bringing them to a wider audience, in anticipation that the outstanding sense of beauty and technique of the traditional decorative knotting would be handed down to the next generations. We would like to extend our gratitude to the designated Maedeup skill holders and their pupils of Korea’s National Intangible Cultural Heritage, Maedeup artists and museum personnel for their cooperation, to our consultants for their in-depth comments and interpretations, and to the writing and editing staff who devoted themselves to the work with passion and professionalism even under the most adverse conditions. We hope that this book brings the merits of our Maedeup tradition to artisans, designers and laymen who are interested in this valuable heritage. 이 책의 독자 Students majoring in fashion design Amateurs interested in accessory design Foreigners interested in Korean culture