汉代器物纹饰多用阴刻线，纹饰粗犷有力，器物棱角琢磨圆滑。大件工较粗，小件工较细，细线条的刻道有毛道和跳刀的痕迹，线条不甚连贯。穿孔器物的孔洞内壁大多不够光滑，常留有拉丝痕迹。
Han Dynasty ornaments with more shade lines, decorative rough and powerful, the corner of the utensils polished. The big work is thicker, the small work is finer, the fine line has the hair path and the jump knife trace, the line is not very coherent. Most of the holes in the perforated objects are not smooth enough, often leaving wire drawing marks.
一、汉八刀：
One, Hanba Dao
“汉八刀”是指采用简练的线条进行刻划，运用推拓磨的雕琢技法，线条无丝毫崩裂状和刀痕之迹，刀法刚劲有力。“汉八刀”仅指汉代“葬玉”的做工，多见于玉蝉、玉猪、玉翁仲、玉舞人等陪葬品。
'Han Ba Dao' refers to the use of concise lines to carve, the use of push grinding carving techniques, lines without the slightest crack and knife marks, the knife is strong. 'Han eight Dao' only refers to the Han Dynasty 'buried jade' workmanship, more seen in the jade cicada, jade pig, jade Weng Zhong, jade dancers and other burial products.
二、游丝毛雕：
II. Silk carvings:
粗线的线槽边沿规整，直线处不见崩口，仅在弯转之处偶见歧出线纹；为多条短凹槽连接而成的阴线痕迹，每道凹槽皆作两头尖浅、中间宽深的枣核形，故同条长线纹的宽窄略有不同，槽底为既相连接又大致等长弧形磨砂痕迹。应由小型铁质勾砣以湿砂为介质砣出，制作时先碾出多条短断线，再于间隙处补砣，接短成长，从而形成了这般断续相连的形态。
The edge of the thick line groove is regular, the straight line does not see the break, only in the bend place occasionally sees the off line grain; for many short groove connection from the negative line trace, each groove is made of two ends shallow, middle wide and deep jujube core shape, so the width of the same long line grain is slightly different, the groove bottom is both connected and roughly long arc grinding trace. Should be made of small iron mound with wet sand as the medium mound, the production of a number of short broken lines, and then in the gap fill mound, then short growth, thus forming this form of intermittent connection.
细线的线槽边缘有锯齿状崩口，且出现不规则歧出的细毛刺；槽底深浅不一，有多道细丝状划痕。应是使用的金刚石、玛瑙等较硬工具刻出后，再加以修磨而成。
The edge of the groove of thin line has serrated caving, and the appearance of irregular out of the fine burr; groove bottom depth is different, there are many fine filamentous scratches. Should be used diamond, agate and other hard tools carved out, and then be milled.
三、镂雕：
III. Carving:.
仍旧是遵守“阴线起稿——打孔定位——拉搜成形”的工艺步骤，由于拉丝工具带动潮湿解玉砂进行作业，在镂空截面上会出现纵向拉丝痕迹，如果后期未经仔细打磨，痕迹会出现如波浪般的视觉效果，如果精心打磨，则不甚明显。
It is still the technological step of``starting from the cathode line-hole drilling and positioning--pulling and forming'' . Because the wire drawing tool drives the wet and removing jade sand for operation, the longitudinal drawing trace will appear on the hollow section. If it is not polished carefully in the later stage, the trace will appear like a wavy visual effect. If it is carefully polished, it is not very obvious.
汉代不打多余的孔，一般将圆孔融入造型之中，这与战国镂雕有所区别。战国有一部分打孔于镂空边缘，汉代不再出现，我们称汉代镂雕特征为“镂空边缘无直线，钻孔融入造型中”。
In the Han Dynasty, no extra holes were punched, and generally the round holes were integrated into the modeling, which was different from the embossing of the Warring States. In the Warring States, some holes were punched on the hollow edge, and the Han Dynasty no longer appeared. We called the carving feature of the Han Dynasty as``no straight line on the hollow edge, and the borehole was integrated into the molding'' .
四、高浮雕：
IV. High relief:
汉代开始大量采用。相比于浅浮雕，高浮雕的“地底”比浅浮雕更深，层次变化也更多一些。层次交叉丰富，立体感极强。
The Han Dynasty began to adopt a large number. Compared to the shallow relief, the high relief 'bottom' is deeper than the shallow relief, and the level changes more. Hierarchical cross rich, three-dimensional sense is extremely strong.
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