Chinese philosophy has its profound exploration of the understanding of life, and most of the literary works are presented with the life consciousness of the literati as their own feelings, among which the vigorous life consciousness in Li Bai’s poems in the Tang Dynasty is particularly prominent. Taking his Yongxia poems as an example, the life consciousness of being positive and high-spirited and free of merit runs throughout, but from the high-spirited and willful heroes of his youth to the frustration of middle-aged officialdom and then to the tossing and turning of his later years, these life experiences have brought great changes in Li Bai‘s thinking and creative style to the creation of Yongxia poems. Li Bai’s life consciousness and creative focus have gradually developed from focusing on individuals to more in-depth thinking in society, from expressing youthful and high-spirited ideals to showing more dual thinking of ideals and reality, showing the continuous enrichment of Li Bai‘s life consciousness. As an important type of Li Bai’s poems, Yongxia poetry shows the unique life consciousness of Li Bai and Confucianism and Taoism, which is of great value for the study of Li Baixia‘s personality and the formation of his romantic poetic style. At a time when utilitarian thought is prevalent, Li Bai’s chivalrous spirit and vigorous life consciousness also have important reference value for the growth of individual personality and the shaping of national spirit.

The image of “Ocean” in Li Bai’s poems is mostly constructed from the external images of the ocean and his inner emotional images to show the beauty of “words beyond the meaning”. Some of Li Bai’s poems about “ocean” were written near the ocean based on his feeling, but most of them were about “virtual ocean”, which was the illusory ocean in his mind through bold imagination and exaggeration based on the allusions. Some of them expressed his depression or his perception about life, or expressed his feelings through allusions and the ocean of immortals. The image of the ocean in his works was just like himself. From this point of view, the image of the ocean is more like “materialized poet himself”. While describing and expressing the ocean, the poet was more like expressing himself. Li Bai sighed in his The 35th Ancient Style Poem that “Thinking of Emperor Wen of Zhou Dynasty in reading Taiga, and the influence of Song have collapsed for a long time." On the principle of style and creation, Li Bai inherited the “self” in Li Sao and the “elegance”, “beauty” and “reality” spirits of the Book of Songs. Therefore, this paper takes the text of Fifty-nine Ancient Style Poems as the subject, and starting from the “image of the ocean” involved in it, analyzes the poet’s inner feelings and inner mind through the “image of the ocean”.

이백의「회사」편에는 다음의 세 가지 정도의 ‘그리움’이 드러나 있다. 첫째는 은일이나 유선에 대한 그리움이었고, 둘째는 망자에 대한 그리움이었으며, 셋째는 친구에 대한 그리움이었다. 그런데 이러한 내용은 위진남북조의 이른바 ‘회사부(懷思賦)’의 내용과 상당 부분 일치하는 것이어서, 본고에서는 이것으로써 이백 회사 편의 연원으로 삼았다. 특히 이러한 내용에는 사안, 하지장 그리고 최종지가 그 그리움의 주요 대상이었다. 사실 사안은 이백에게 있어서 시공간을 초월해 이백이 먼저 다가간 전대(前代)의 ‘지음’이었고, 하지장은 자신을 먼저 알아봐 준 당대(當代)의 ‘지음’이었으며, 최종지는 가장 격의 없이 지낼 수 있었던 현실 속의 ‘지음’이었던 것으로 파악된다. 이백의 회사 편은 바로 이렇듯 이백의 내면세계 속에 매우 각별하게 존재하는 대상에 대한 그리움의 노래였던 것이다.