镂雕，是玉器制作工艺中一种很重要的雕刻技法。总地讲，镂雕就是在玉器上把地子局部或大部分剔空，以虚衬实地突出玉器的主体纹饰或造型轮廓，具有较好的装饰效果，其很可能是源于钻孔工艺。­

    早在新石器时代良渚文化时期玉器制作中就开始较为熟练地运用镂雕工艺。镂雕时，先以桯钻打一个或数个定位圆孔，再用线具穿过圆孔，抹上解玉砂，然后手工在玉器两侧来回拉动线具，把多余的玉料拉搜去掉。这可谓是最早的”拉丝工”。­

    真正意义上的“拉丝工”盛行于明清两朝。­

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            “拉丝工”主要工具­

钻具：金属桯钻 管钻 （小孔用桯钻、大孔用管钻）­

搜弓：弦为金属丝锯­

 桯：（ting）碓等工具的杆子或短木。

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             拉丝工艺的主要过程­

先在将要镂雕剔掉的部位的轮廓上钻一个或多个小孔，线锯由此进入，反复拉动，带动解玉砂切割，拉切完此处图案一圈，回到起点。­

               拉丝工的痕迹特点­

   起点多为“U”形钻孔，内有深浅不一、间隔不等的旋转纹。­

   线锯拉切的痕迹为趋于垂直玉器表面所在平面的纵向线痕，工痕截面呈不规则的“V”形，但宋元明清也有差异。  ­

   宋元时期使用牛筋拉切，由于牛筋很有韧性，所以牛筋拉切留下的工痕与明清金属线锯不同，牛筋加上解玉砂反复拉切后，会变松弛，从而造成拉锯痕由直转曲、由窄渐宽的现象，逐渐形成扇状。拉切颇见力道，锯痕深峻。­

   明代的金属线锯痕比较随意，向多角度偏转，与玉器表面所在平面位置关系呈“业”字形。­

   清代由于使用的丝锯较细，所以工痕较前朝细密、规整，基本等距，近乎垂直于器表所在平面，呈“山”字形。明清时期有的精雕玉佩在拉切后进行修饰，以淡化“V”形锯痕，整修后的痕迹为平行于平面的磨砂状划痕。­

   宋元和明早期透雕玉佩又常以圆钎砣进行双面镂孔，所以镂空处有半月形的砣痕。­

（图一）半成品“拉丝工”­

（图二）明、清拉丝工­

（图三）砣磨镂空处­

部分图片转引其他网友请见谅­

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