由於文獻與出土資料的零星與不完整，關於金、元兩代（十二至十四世紀）玉器的研究成果不但不如上古時代的精深，亦不如明清兩代廣泛。本文以遼、金、元三朝接續呈現的特殊漁獵捺缽文化所產生的「春水玉飾」與「秋山玉飾」為主要標的，闡述十二至十四世紀（金、元兩代與明初）在玉器雕琢工藝上的新契機。 文中首先從文獻分析「春水玉飾」與「秋山玉飾」出現的上限，其次整理考古出土十至十四世紀（遼金元時期）的「春水玉飾」與「秋山玉飾」，再排比其他考古出土十至十四世紀的鏤空紋飾玉器，最後選介十餘件臺北故宮所藏「春水玉飾」與「秋山玉飾」。依據其雕琢工藝，這十餘件玉器的時間跨度涵蓋十二至十四世紀，其中一件或可早至十二世紀初的遼代末期。 這些傳世或出土的十二至十四世紀的鏤空玉飾，其層次從初期的單層發展至多層，並在十四世紀發展出與立雕結合的多層次鏤空。這種多層 鏤空玉雕工藝至今未曾在宋代以前的數千年玉器發展長河中發現，其發生或與西域玉山有關。種種跡象顯示金代西域玉工曾直接或間接傳入當地的多層次鏤空技藝，並且受到女真貴族的喜愛而在當時玉帶飾上得到充分的發揮。元代後期發展出的多層次鏤空合併立雕的玉雕工藝，初期可能是西域玉工的創制，後來漢地玉工也仿製成功，並在紋飾題材與打磨拋光方面顯現出不同的風格，遂在明清玉器中一再展現風姿。

　　　　　Limited and incomplete textual and archeological data leaves us with a poor understanding of Chin and Yuan dynasty jade carving. Research on this period matches neither the depth of ancient Chinese jade studies, nor the breadth of work on pieces from the Ming and Ch'ing. The present essay examines the 'Spring Water' and 'Autumn Mountain' jade motifs associated with the unique seasonal hunting cultures of the Liao, Chin, and Yuan dynasties. Changes in these motifs during the period spanning the twelfth to fourteenth centuries (China to early Ming) represent a critical juncture in the art of jade carving. The essay begins by examining the earliest evidence of 'Spring Water' and "Autumn Mountain' jade ornaments. It then catalogues archeologically excavated examples of these motifs from the tenth through fourtheenth centuries, and compares them with other openwork jade ornaments excavated at similarly dated sites. Finally, it utilizes this framework to date a selected group of over ten 'Spring Water' and 'Autumn Mountain' ornaments in the collection of the National Palace Museum. The carving styles represented by this group of jades span the twelfth to fourteenth centuries, with one example possibly dating to as early as the late Liao period of the early twelfth century. The development of these transmitted or unearthed openwork ornaments begins with single layer carving and then evolves into multi-layer carving, which, by the fourteenth century, is also combined with three dimensional sculpted elements. This style of multi-layer carving is unknown in pre-sung jades of the Yellow and Yangtze River regions, and appears to be related to the jade art of Central and Western Asia. Surviving examples indicate that, during the Chin dynasty, multi-layered jade carving techniques from the Western regions were directly or indirectly transmitted to China, where they became popular with, and were further developed by, the Jurchen elite. I suggest that the combination of multi-layered carving and three-dimensional sculpture seen in jades of the late Yuan was originally developed in Western Asia and subsequently copied by the jade craftsmen of China. These later pieces also exhibit new decorative elements and a polished appearance that together herald the later styles of Ming and Ch'ing jade carving.