Page 15 - Chinese Archaic Jades From The Yangdetang Collection PART II Christie's.pdf

polished at a later stage (fig. 9). The slicing technique
involves cutting jade rough with stone blades or thin
stone slabs used in conjunction with jieyusha and water.
The cross-section resulting from this is smoother than
the string-cutting method.

Solid drilling and tube drilling techniques were also
widely used. Solid drilling mainly involved thin stone
instruments and stone drills, which were made into
simple, drill-pipe type tools (fig. 10). No consensus had
been reached on the type of tools that were used for
tube drilling although most conjectured that soft tools
such as bone tubes or bamboo tubes were employed.
The method of tube drilling worked very much like
the string-cutting method. It is perhaps not a reliance
on the tool itself but on the jieyusha sand to abrade the
jade material as its high content of quartz has a hardness
rating that is as high as 7, and higher than that of jade.
However, jieyusha would have worn down the tool itself
in the process of abrading the jade and as such this often
fig. 10 drill-pipe tool used by Maoris resulted in horn-shaped holes.
圖十 毛利人使用的鑽桿式工具
Drilling techniques also played an important role in the
art of removing material and in hollowed-out designs.
In the jade horsehoof-shaped vessel of the Hongshan
一類的軟性工具，同線切割的原理一樣，真正對玉料
culture, to remove the jade core from the centre required
起到切磨作用的是解玉砂（因解玉砂中含有大量硬度 initially to drill through a hole where a sand rope or
達到七的石英砂顆粒，比玉硬）。但是解玉砂在切磨 a piece of leather could be inserted. Using the string-
玉器的過程中，對工具本身也會有較大的磨損，故而 cutting technique, the jade core is gradually removed
(figs. 11 &12). The same method could be employed
常常形成外口大，裡口小的喇叭孔。
in the openwork designs of carved jades. The openwork
design above the head of the divine face-shaped
鑽孔技術在去料和鏤空工藝中也發揮著重要的作用。
ornament of the Shijiahe culture from the Yangdetang
紅山文化的玉馬蹄形器要去掉中間的玉芯，需先打鑽， Collection, lot 2712, would have been created by boring
鑽出一個孔後，穿入砂繩或皮條進行線切割，逐漸將 a hole before cutting out the design. The drill holes
玉芯掏出（圖十一、十二）。同樣玉器鏤空亦用如此 on this carving exemplifies the typical hollowed horn-

方法。養德堂所藏石家河文化玉神人面形飾頭頂部的 shaped interior (fig. 13, lot 2712).
鏤空即是先打孔，再搜鏤。此玉器身的鑽孔也呈現了 Jade carvings from different periods and cultures of the
典型的喇叭孔形狀。（圖十三） Neolithic age are characterised by different design features.
Some are simple, some are elaborate, some are bold, whilst
新石器時代玉器在各個時期以及各個不同文化區內有 some are delicate. The different regions influenced one

著不同的紋飾特點，有些簡單，有些繁縟，有些大氣， another, whilst the different periods might have inherited
features from its predecessor. Various techniques such as
有些秀美。不同地區之間相互影響，不同時期亦有傳
intaglio, relief, low relief, and high relief carvings appeared
承。在紋飾雕刻上此時已出現了陰刻、浮雕、減地、 to have emerged at this point. The possible tools that
剔地等多種技法。所用的工具可能有多種，不同文化 were employed also varied as different cultural regions
地區中治玉工具也不完全相同。但從目前考古發現的 used different jade working tools. However, from the jade

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