孩童母題作為文藝創作起源甚早，古書在《詩經》、《老子》、《莊子》...等中便有使用「兒 童」語彙的相關記載。至於在藝術表現上，早在戰國時期也發現兒童形貌的玉器，而在漢代畫 像石也出現孩子的形像。但真正在繪畫中出現孩童嬉戲的主題，卻是在三國時期才出現。三國時期以地域來看，可分為南北兩大區塊：北方的魏國，南方的吳國與蜀國，都出現童 子繪畫的題材。但其?容有所差異：北方的童子大多屬於勞動繪畫題材；而南方所呈現的卻是 嬉戲與吉祥裝飾的題材。為何?戲題材會在此時獨立，而中國南北會有如此差異性的發展，將 是本文要探討的重點。本文將透過出土的藝術文物，以及歷史文獻等資料的佐證，來探討三國時期?戲圖發展之 原因。經過本文探討後發現，三國時期北方墓室繪晝中兒童主題，反映出北方經過漢末動亂後 人口大減，在屯田制度與莊園經濟下，需要增加勞動人口，因而出現孩童的主題。至於三國時 期南方漆器?藝中，漆繪有兒童的主題，反映出貴族生活的奢華品味，男童表現出富貴吉祥、 多子多孫的語彙。

The themes of children in the literary originate early, and we can find them in the "Book of Songs," "Lao-tzu ", "Zhuang Zi". Besides in the art we can find the shape of children jades in the Warring States period, and the portrait stones in the Han Dynasty. But the themes of children at play in the painting appear in the Three Kingdoms period.The area divided into the north and south blocks in the Three Kingdoms period, and the themes of boy painting appear in the North Wei and South Wu and Shu. But the content is different. In the North the content focus on labor themes, but in the South the content focus on play and auspiciousness themes. The focus of this paper will explore the independent timing and the different development of the north and south area in the themes of children at play.
The paper will be investigated through the evidence of the unearthed artifacts and historical documents. The study finds that in the North of Three Kingdoms period the appearance of labor themes of children reflect the need of insufficient population after the turmoil in the end of the Han Dynasty. And in the South of Three Kingdoms period the themes of children in the lacquers reflect the taste of noble and the meaning of the wealth, good fortune and many descendants of boys.