嬰戲裝飾題材的發展，從漢代的萌芽，經三國時期的獨立成題，到宋代黃金時期的社會寫實， 而後隨著風俗晝的勃興而逐漸流行。由於傳宗接代觀念的深植人心，藉由孩童純真可愛的形象， 表現節慶歡樂氣氛的吉祥畫，廣為民眾喜愛。 本文藉由漢代之後以童子形象為主題的器作與繪畫，輔以歷史文獻，探討「連生貴子」裝飾 紋樣，結果說明了「蓮花」與「笙」，除了是諧音手法的運用之外，「童子與荷蓮」的組合，可以 溯源自佛經，而童子吹笙的形象，則是孩童遊戲的忠實描繪。

Children at Play started in Han Dynasty. This type of decorative style became an artistic theme in the Three Kingdoms, peaked in Sung Dynasty, and gained its popularity through the spread of folk paintings. Combined with the idea of continuing the family line by having a male heir, Children at Play represented both the images of innocent children and joyMness of festivals. Therefore, these decorative icons became one of the favorites among ordinary people. This article attempted to explore the pictures of Lian Sheng Gui Zi( continue to have more baby boys ) by using archives as well as the other art works and paintings. These pictures of young children shown on these art works and paintings were painted after Han Dynasty. My conclusion aimed to point out that a combination of lotus flowers and reed pipes revealed a homophone of both Chinese characters. Also, this combination could be traced from the Buddhist Scriptures. Finally, the images of playing reed pipes among children revealed how these children spent the leisure time at that time.