嬰戲題材在中國藝術史上，屬於重要的表現母題之一，直到今日民間文化、信仰中仍保留相關圖案，目前學界一般在探究此議題時，通常會以宋代開始為啟端，下至元、明、清的歷程，此為嬰戲圖蓬勃發展階段。至於宋代以前嬰戲題材究竟如何表現？有何特色？此乃筆者本文所關切的議題，無可諱言佛教傳入中國甚早，漢代已出現佛像造像，南北朝至唐代時佛教藝術的發展更是如日中天。唐朝乃佛教興盛年代，創造出許多佛教藝術文化，此時佛教藝術中的化生童子圖像，通常是一種蓮花元素與童子相配的造像，該類圖像是否會對世俗的嬰戲題材產生影響？筆者將針對此議題進行探討，透過遺存及出土的相關資料作品為主軸，配合相關文獻史料的佐證，釐清該類造像藝術脈絡發展，及其在唐代特色。經過本文探究後，得知世俗嬰戲題材的蓮花童子圖案與佛教藝術的化生童子，二者的關係有其相對性影響。在世俗嬰戲題材的表現以嬉鬧為主，此影響唐代佛教繪畫的化生童子，原本在佛教造像藝術中主要以飛天散花、歌伎漫舞、供養體態、雙手合十…等來呈現，具有嚴飾主尊像的配角功能，唐代時仍然延續以外，又加入世俗嬉戲的形貌，使得化生童子具更加活潑、嬉鬧的本質。而化生童子與蓮花的密切關係，也影響到許多世俗嬰戲童子與蓮花相配的題材，在世俗運用上有時也稱其為「化生童子」，顯示該類題材受到化生童子的影響甚鉅，並且該類造型運用甚廣，成為一種具裝飾且富吉祥意涵的語彙，具有再生、宜子、生命潔淨的意涵。

The issue of children at play is an important theme in the Chinese art history. This issue is usually searched from the Song dynasty, and continued to the Yuan, Ming and Qing dynasty which are the booming development stage of children play paintings. The author is very concerned about the representation of the issue of children at play before the Song dynasty. Since Buddhism comes to China so early, it has appeared Buddhist statues in the Han dynasty. And the development of Buddhist art is flourishing from Southern and Northern dynasties to Tang dynasty. In the Tang dynasty, the pictures of the birth by transformation boy of Buddhist art are composed of lotus and boy. The author will explore the influence of the pictures of the birth by transformation boy on secular children play paintings. Through exploring, we know the interaction of the relationship between lotus boy of secular children play paintings and the birth by transformation boy of Buddhist paintings. The birth by transformation boy of Buddhist paintings, which play a supporting role to decorate leading role, are affected by the issue of secular children at play, and become lively and playfully. The lotus boy of secular children play paintings are affected by the birth by transformation boy, and become the decorative and auspicious meaning.