Maedeup

Kim Eun-young demonstrates how to make a cord or “dahoe” and tie a knot in Seoul. / Korea Times photos by Choi Won-suk

Knot making master tied to tradition in daily lives

By Chung Ah-young

Kim Eun-young was born to be a master artisan of “maedeup” or traditional knots. Kim has a proud family heritage, being the daughter of poet Kim Kwang-kyun (1914-1993) and the wife of Chun Sung-woo, president of the Kansong Art and Culture Foundation which runs the Kansong Art Museum. The museum was established by his father Chun Hyung-pil who devoted his life and fortune to buying back the nation’s treasures that were looted by Japan during the colonial period.

This family background, however, has given her not only pride but also a sense of responsibility.

“Dyeing silk threads, making cords and tying knots may not be enough to have me considered an artisan. My family heritage has prompted me to create my artwork and pursue a deeper artistic world,” Kim said in an interview with The Korea Times.

Kim is Seoul’s Intangible Cultural Property No. 15 and also CEO of Kansong C&D, which handles the foundation’s marketing and PR.

The museum houses a large number of national treasures, such as “The Portrait of the Beauty” by Joseon master painter Shin Yun-bok.

Kim says while her family background sometimes overshadows her reputation, it is definitely a boon for her.

“The vast amount of cultural treasures has inspired me to develop more techniques for making knots. It’s a big shadow but also a source of artistic inspiration,” she said.

‘Maedeup’ links the artist to the past

Kim plays many roles — a wife, a mother to four children, the co-CEO of a historic museum and a maedeup artisan.

Working on maedeup, however, is also the only time she spends solely by herself. She recalled that she would make knots late at night after her children went to bed.

“I slept for only three to four hours every night taking care of my family and making strings and tying knots. It was hectic. It was only when I worked on maedeup that I could become myself,” she said.

Kim began learning about knots from pioneering master Kim Hee-jin, the state-designated Important Intangible Cultural Asset No. 22, who revived the forgotten tradition in 1966. She had just became engaged to Chun when she started learning the skills.

“Since I saw the knots attached to the norigae (ornaments) owned by my grandmother, I became obsessed with maedeup — I couldn’t believe they were made by human hands,” she said.

Even her age and family affairs couldn’t stop her from pursuing her passion. She entered the Graduate School of Art at Seoul Women’s University at the age of 47 to advance her skills and gain insight on traditional art.

“I entered graduate school when I was 47. Until that time, I did not have time for my career because I had to care for my family,” she said.

Making maedeup involves four major steps — dyeing, making the “dahoe” (cord), making the maedeup (knots) and making the “sul” (tassels). In the past, the four steps were done by different artisans. But because the art is rarely practiced these days, one artisan now performs the whole process.

There are some 38 kinds of traditional basic knots that originate from the Joseon Kingdom (1392-1910). In ancient times, maedeup played the supplementary function of beautifying a main object. Maedeup were widely used in royal courts; in ornaments, such as necklaces, pendants and earrings; and in decorations for Buddhist banners in religious rituals.

During the Joseon era, the use of maedeup as ornaments became popular, as the royal court employed dozens of master dahoe and maedeup artisans.

“Like other craftwork, such as porcelain, knots differ according to the nation of origin. For example, knots from China, Japan and Korea differ from one another,” she said.

Chinese knots are shaped as letters, Japanese knots are loose, while Korean knots are very tight.

Koreans liked knots and used them a lot in everyday life, for instance, in men’s official robes. “Many people think maedeup were used only for women’s items, but they were also used as strings for men’s robes. They were used in everyday items,” she said.

However, the traditional art of making maedeup came close to disappearing.

“Knots made by machines are very smooth on the surface, but handmade knots, although very coarse, are more beautiful,” she said.

Kim said she learned precious techniques from her teacher, who invented a new device called the “Kim Hee-jin Cord Frame,” which allows artisans to make their desired cord width by twisting together several dyed silk threads to form the base string, which is tied to the spools and then hung on the weaving plate.

“My teacher is a living legend who has restored the disappearing traditional craft,” she said.

Maedeup had been featured on royal portraits, seals, palanquins and biers. Shin’s “The Portrait of the Beauty” reveals a beautiful norigae with tassels worn by the woman. Kim has reproduced the ornament.

A perfect decoration for modern times

Maedeup are one of the oldest craftwork in Korea and had been used to make tools for hunting, fishing, communication and record keeping, or to indicate one’s status.

The use of knots has changed over time, but Kim said they are still considered very attractive ornaments.

She has collaborated with contemporary artists, such as furniture designers and textile artists.

Kim, who majored in applied art in college at Ewha Womans University, finds great potential in the application of maedeup in interior design, such as on table runners and light decorations.

She said her students are developing many techniques that they can use to succeed in the traditional art.

Who is Kim Eun-young?

Kim was born in Seoul in 1942. She graduated with a bachelor’s degree in applied art at Ewha Womans University and then, at 47, studied craft at the Graduate School of Art of Seoul Women’s University.

She is the wife of Chun Sung-woo, an artist and the president of the Kansong Art and Culture Foundation which runs the Kansong Art Museum. The museum was established by his father, Chun Hyung-pil who devoted his life and fortune to buying back the nation’s treasures that were looted by Japan during the colonial period.

She began learning about knots from pioneering master Kim Hee-jin, the state-designated Important Intangible Cultural Asset No. 22, who revived the forgotten tradition in 1966.

Kim held her first solo exhibition in 1995, displaying more than 150 traditional knots. She was named as Seoul’s Intangible Cultural Property No. 13 in 1996. She has won numerous awards, including the Prime Minister Award, at the Korea Traditional Craft Arts Contest.

What is 'maedeup'?

Maedeup refers to traditional ornamental knots, which were used for various purposes. Knots are one of the oldest forms of art, dating back to ancient times.

Making maedeup involves four major steps — dyeing, making the dahoe (cord), making the maedeup (knots) and making the sul (tassels). In the past, the four steps were done by different artisans.

There are 38 kinds of traditional basic knots, which originated from the Joseon Kingdom (1392-1910).

There are several types of strings used to make decorative knots, such as circular strings called “dongdahoe” for accessories or pouches, wide and flat strings called “gwangdahoe” for belts, and strings called “gyeokdap” for decorating clothing or ceremonial accessories.

According to “Daejeon Hoetong” or “Comprehensive Collection of the National Code,” during the Joseon period, the government designated the state knot craftsmen.

The shapes of knots vary, from flowers to insects, such as chrysanthemums, ginger pieces, butterflies and dragonflies.

Tassels are used at the end of the decorative knots for musical instruments, vehicles or Buddhist ceremonial items.