广州榄雕是广东广州增城地区独有的传统微雕工艺，属于中国核雕艺术中极为小众的分支，区别于常见的桃核雕、核桃雕，它以当地特有的乌榄核为原材料，凭借其质地坚实、纹理细腻的特点，雕刻出山水、人物、花鸟、亭台等各类题材。匠人运用浮雕、圆雕、透雕等多种技法，在方寸大小的榄核上呈现出层次丰富的景致，部分精品还能雕刻出多层镂空的船舱、人物眉眼等精微细节，素有 “方寸之间藏天地” 的美誉，清代时曾作为地方贡品进献宫廷。
Guangzhou olive pit carving is a unique traditional miniature carving craft in Zengcheng, Guangzhou, Guangdong, and a very niche branch of Chinese pit carving art. Different from common peach pit and walnut pit carvings, it uses local unique black olive pits as raw material. Relying on their solid texture and fine grain, it carves various themes such as landscapes, figures, flowers, birds and pavilions. Craftsmen use various techniques including relief carving, round carving and openwork carving to present rich layered scenes on an olive pit the size of a square inch. Some fine works can even carve exquisite details such as multi-layer hollow cabins and the eyebrows and eyes of figures, known as “hiding the world within a square inch”. It was once presented to the imperial court as a local tribute in the Qing Dynasty.
榄雕的核心技艺难点在于微雕精度把控，榄核体积狭小且表面凹凸不平，下刀力度稍有偏差便会前功尽弃，对匠人的眼力、手稳与经验要求极高。传统榄雕题材多取自岭南风物、古典戏曲与民间故事，带有鲜明的广府文化特色。由于原料稀缺、学艺周期漫长、成品率极低，如今掌握完整传统榄雕技艺的传承人数量稀少，主要集中在增城本地，属于濒临失传的小众非遗项目，普通大众对其了解十分有限。
The core technical difficulty of olive pit carving lies in the precision control of miniature carving. The olive pit has a small volume and uneven surface, and a slight deviation in the force of the knife will ruin the whole work, requiring extremely high eyesight, hand stability and experience from craftsmen. Traditional olive pit carving themes are mostly derived from Lingnan scenery, classical operas and folk tales, with distinct Cantonese cultural characteristics. Due to scarce raw materials, long learning cycle and extremely low yield, there are only a few inheritors who master the complete traditional olive pit carving technique today, mainly concentrated in Zengcheng local area. It is a niche intangible cultural heritage project on the verge of extinction, and the general public has very limited understanding of it.