本文以雲岡石窟中的儒童本生、阿育王施土與羅睺羅因緣作品爲考察對象，透過對作品所在位置的觀察，考量其與洞窟主要尊像的關係，結合經典文本的比對與當時社會環境的思考，希求解釋其可能的意義。現存作品中，儒童本生是以位於第10窟前室東壁第2層北龕作品時代爲早，阿育王施土因緣是以在第18窟南壁拱門上側龕西側作品較早，而羅睺羅因緣則是以第19窟南壁上層西側作品爲先。在與曇曜關係密切的第18窟和第19窟，除有教化一般信眾外，或許前者有希求上位者能如阿育王對佛法護持的用心；後者有出家守戒應得父母同意符合中國社會需求，同時亦契合上位者慎恐教團不法的戒心。隨曇曜在西元483年左右喪失教團領導權，雲岡石窟地位由「國家和皇帝的特別窟」轉變成「一般僧侶和民間信仰者開鑿的大眾窟」，將兩者解釋成是象徵釋迦佛所說諸法的其中之一，較容易爲庶民百姓所理解。第二期中才有的儒童本生作品，宣揚發心布施供養功德可成佛，與透過阿育王施土闡揚布施增福德可成轉輪王，皆是經由布施的途徑達到宣揚目的，使得兩種不同題材的作品可以共出。由於國家政策支持佛教發展的同時，採取管理僧尼的措施，讓宣揚出家守戒的意圖效果不易彰顯，是羅睺羅因緣作品較少的原因之一。

This article aims to explain the possible meanings of the images of Mānava jātaka and Aśoka and Rāhula stories at the Yungang Cave-temples, taking into account their positions in the caves, their relationship with the main statues and the descriptions in sutras.The earliest surviving Mānava jātaka image at Yungang is in Cave 10; the earliest Aśoka tale in Cave 18; the earliest Rāhula tale in Cave 19. The latter two caves both had close connections with Taoyao. Cave 18, besides seeking to edify the faithful, expressed rulers' determination to protect the Dharma Law, while Cave 19 illustrated Chinese social morality by showing that it is necessary to have one's parents' consent before becoming a monk, in accordance with the rulers' vigilance against Buddhist organizations. With Taoyao deprived of his leading position in Buddhist society in 483 AD, the Yungang Caves were transformed from temples of the state and imperial fa mily to those of ordinary monks and laymen. This change could be explained as a demonstration of Shakyamuni's teaching and could be easily understood by commoners.The Mānava jātaka appeared in the second stage of Yungang's construction. It preached that resolving to worship and make offerings to the Buddha will lead to enlightenment. The Aśoka image publicized the idea that distributing alms will help obtain blessings and virtues. Both of these stories encouraged acts of charity, and this is the reason that they could be placed together. Compared with the previous two subjects, the Rāhula story alone has fewer representations at Yungang. This is probably because the Rāhula story publicized leaving one's family and becoming a monk, and contradicted the state policy of controlling and administering monks and nuns.