紅山文化玉器的工藝製作技術兼談紅山玉器辨偽

Carving Technique and Identification Criteria of Hongshan Jade Artifacts

方建能(J. N. Fang) ； 錢憲和(H. H. Tsien) ； 譚立平(L. P. Tan)

《國立臺灣博物館學刊》 60卷3期 (2007/09) Pp. 1-36

摘要

紅山文化玉器的工藝製作技術多樣化，簡單地可分為四種基本方式：1.平面、平板切割，2.孔洞的製作，3.表面紋飾的製作，4.拋光。其中孔洞的製作與表面紋飾的製作在本文中討論較為詳細，玉器上的小孔剖面多為圓形的喇叭狀牛鼻孔，平滑的孔壁上常保留有或粗或細的平行或不平行的轉琢螺旋痕跡，底部常為圓弧形，由此可推斷牛鼻孔為實心鑽，旋轉琢鑽而成。因為平滑的壁面上常有平行螺旋紋，所以這類的鑽孔所用的琢玉砂必須是固定在鑽頭上的。玉器物上的大孔的剖面是圓形，而且常是外邊大中間小，所以應該是由管鑽雙向對鑽經修飾而成。紅山玉器上所特有的紅山紋(瓦溝紋)剖面為淺圓弧狀，上常有或粗或細的平行或不平行的螺旋痕，因此推斷瓦溝紋是由厚實的圓錐狀實心鑽頭王家成。扁平狀的勾雲紋器，厚薄常極均勻，應該是由片狀鋸切割成玉片，再加紋飾而成。一些小面積的不規則弧形啄痕應為軟性線鋸切割，龍首玉珮嘴的空間應為硬性線鋸切割而成。這些在製作玉器時所留下的製作痕跡，在紅山玉器上及最近收集到的很多被證明為今日所仿製的紅山型制玉器上都可見到，說明工藝製作痕是可以仿製的。一些對鑽台階上所留下的均勻工整槽溝，說明這類槽壁平直、寬度均勻的凹槽，不是竹管或骨管所能做到的。紅山文化玉器器物及紅山型制器物表面有的組糙、有的細緻，說明細緻的器表是經挫磨修飾，銼磨的工具也有組有細。本文對不同形式的紅山文化玉器及紅山型制玉器上，所遺留下的製作宏觀痕跡與微觀痕跡作了分析排此，討論了不同痕跡所代表的意義，新痕跡與古老痕跡的不同，同時簡單地討論了紅山玉器辨偽的方法。

關鍵字

紅山玉器 ； 工藝製作 ； 紅山紋 ； 瓦溝紋 ； 實心鑽 ； 管鑽 ； 片狀鋸切割 ； 線切割 ； 新製作痕 ； 古老製作痕 ； 銼磨 ； 紅山玉器辨偽

並列摘要

In this paper, different types of macroscopic and microscopic tool marks observed on the artifacts of the Hongshan culture were analyzed. Four basic working methods are to be observed: I. flat surface and slice cutting, 2. hole making, 3. detailed surface motif ＂carving＂ and 4. polishing, of which the hole making and the surface motif carving techniques were discussed in detail. The small holes that appear on the Hongshan jade artifacts are generally loop-shaped like ox nostrils called ＂ox nose loop holes＂. These holes generally show curved bottom. Fine parallel microscopic helical tool marks can be often observed on the interior wall. The section of large holes on the jade artifacts shows a perfect circle and very often shows big outer and small inner walls. The holes were drilled to meet each other. When drilled from both sides, the meeting place of the two borings is sometimes not true to a single cannel and therefore a common shoulder keel or circular remnant remains at the common junction on which a perfect regular U-shaped section can be observed as shown in Fig. 4. These facts also suggest that the holes should be made by cylindrical tube devices. The section of the ancient Chinese tile-shaped motif on the surface of the jades presents typically shallow round groove generally with microscopic parallel helical scoring marks (Fig. 17). Consequently, we can deduce that the tile-shaped motif is made by an artificial massive cylindrical solid drill. The thickness of the flat cloud-form pendant or plaque is always even, consequently, the pendant should be first cut into slice by the blade saw and later decorated with the motifs. Some microscopic curved superficial marks that are segmental and irregular should be made by a soft ＂string like saw＂, but the open space of the dragon head (Fig. 18) should also be made by a hard ＂fretsaw＂. The surface of the Hongshan jade is either rough or smooth. The smooth surface is rasped and polished by different tools. This text discussed also the criteria for identification of the Hongshanjade artifacts.

並列關鍵字

Hongshan jade ； the technical art ； tool marks ； recent tool marks ； old tool marks ； hole making ； surface motif making ； solid drill ； cylindrical tube drill ； blade saw ； string saw ； fret saw ； rasp ； identification ； criteria for identification