《宋史·乐志》大宴仪系年考辨

大宴仪是宋代礼乐制度的盛典,但《宋史》对大宴仪的时代编排较为混乱,以致后人在引用大宴仪以佐证重大文学现象与文化现象时产生种种误解,如薛砺若《宋词通论》、刘毓盘《词史》就误把《宋史·乐志》十七所载大宴仪当作仁宗朝的仪制,用以阐释宋大曲体制及宋词繁荣的原因.据考证,《宋史·乐志》十七所载大宴仪非仁宗朝的实际情况,而是徽宗崇宁二年(1103)以前天宁节(徽宗"圣节")的仪制.但徽宗崇宁二年以前的大宴仪实际仍是由神宗熙宁九年、元丰年间(1076-1085)因改革旧制(如用"小儿队"取代两军妓乐,枢密使等官员及宗室预座诸项制度改革)而创立,并用于神、哲、徽三朝,迄徽宗大观三年(1109)因新大宴仪的出世才罢用.所以,《宋史·乐志》十七所见大宴仪的应用时段,最早不先于神宗熙宁九年、元丰元年,最迟不后于徽宗大观三年.

The Textual Research into the Date of the Etiquette of Imperial Court Banquet in the Annals of Song Dynasty, Notes of Musical System

The etiquette of imperial court banquet (EICB)was the grand ceremony of courtesy and music in Song Dynasty.However,due to the confusion of the date compilation in the Annals of Song Dynasty,it was inevitable that varies of mistakes were made when the information was cited about EICB to explain the important literary and cultural phenomena.For example,Xue Li ruo,the author of the Complete Explanation of Ci poetry,and Liu Yu pan, the author of the History of Ci poetry, considered erroneously EICB noted in the Annals of Song Dynasty, Notes of Musical System seventeenth(A.S.D.N.M.S.17th ) as the ceremony of Ren Zong reign and cited it to elaborate the system of Da qu and the source of the prosperity of Ci poetry. They believed that music and dance was so prosperous as a result of political stability and economic development that every detail of A.S.D.N.M.S.17th had been worked out under the reign of Ren Zong. But Xue Li ruo and Liu Yu pan ignored several important facts:firstly, their viewpoints based on the trustless statement of A.S.D.N.M.S.17th, which dated EICB under the reign of Tai Zong ;secondly, they neglected the fact that Shumishi and vice Shumishi (the minister and vice minister of defense in Song dynasty) and Royal Relatives were not allowed to attend the imperial court banquet before the ninth year of Xi ning(1076) of Shen Zong reign ; thirdly, the ceremony under the reign of Ren Zong still employed the Geisha's Dance performed by girls subordinated to two Imperial Armies and Imperial Musical Organ.Actually, all the systems of music and dance as well as the sequence of the ceremony impossibly existed till the great reform of Shen Zong reign.According to the authentic record of Li Tao's Xuzizhitongjianchangbian ,a chronicle on the Northern Song Dynasty(960-1127),Chen Yang's Yueshu , a Complete Explanation about Chinese Musical System and other important historical events, EICB noted in A.S.D.N.M.S.17th was, in fact, practiced on the Tianning festival (the holy festival of Hui Zong reign ) of Jian zhong jing guo(1101) under the reign of Hui Zong, not under the reign of Ren Zong(1022-1063). So this ceremony was advanced at least forty years in Xue Li ruo and Liu Yu pan's books because of their negligence . However, Hui Zong, an Emperor craving for luxury and grandeur, was never satisfied with the size of the imperial court banquet .So the ceremony under his reign was much more luxurious than that of any other Emperors. Through careful researches this paper concludes that the above mentioned ceremony was not established under the reign of Hui Zong .Originally speaking,it was drawn up during Xi-ning and Yuan-feng period(1076-1085) of Shen Zong reign because of the great reform including acceptance of Children's Dance instead of Geisha's Dance , permission of Shumishi and vice Shumishi and Royal Relatives to attend imperial court banquet, and so on. Moreover, it was continuously used under the three reigns of Shen Zong, Zhe Zong and Hui Zong till the third year of Da guan(1109) of Hui Zong reign when the new etiquette was worked out. Therefore, the period when EICB noted in A.S.D.N.M.S.17th.was practiced during the ninth year of Xi ning(1076) and the first year of Yuan feng(1078) of Shen Zong reign and the third year of Da guan(1109) of Hui Zong reign.