Ghaznavids - State and Culture

State and Culture

According to Clifford Edmund Bosworth:

"The Ghaznavid sultans were ethnically Turkish, but the sources, all in Arabic or Persian, do not allow us to estimate the persistence of Turkish practices and ways of thought amongst them. Yet given the fact that the essential basis of the Ghaznavids’ military support always remained their Turkish soldiery, there must always have been a need to stay attuned to their troops’ needs and aspirations; also, there are indications of the persistence of some Turkish literary culture under the early Ghaznavids (Köprülüzade, pp. 56-57). The sources do make it clear, however, that the sultans’ exercise of political power and the administrative apparatus which gave it shape came very speedily to be within the Perso-Islamic tradition of statecraft and monarchical rule, with the ruler as a distant figure, buttressed by divine favor, ruling over a mass of traders, artisans, peasants, etc., whose prime duty was obedience in all respects but above all in the payment of taxes. The fact that the personnel of the bureaucracy which directed the day-to-day running of the state, and which raised the revenue to support the sultans’ life-style and to finance the professional army, were Persians who carried on the administrative traditions of the Samanids, only strengthened this conception of secular power.

"Persianisation of the state apparatus was accompanied by the Persianisation of high culture at the Ghaznavid court. Ferdowsī sought Maḥmūd’s beneficence towards the end of his life, but Maḥmūd and Masʿūd are most notably known as the patrons of Persian poets with a simple, lyrical style like ʿOnṣorī, Farroḵī, and Manučehrī (Rypka, Hist. Iran. Lit., pp. 173-77; Clinton; Moayyad). The level of literary creativity was just as high under Ebrāhīm and his successors up to Bahrāmšāh, with such poets as Abu’l-Faraj Rūnī, Sanāʾī, ʿOṯmān Moḵtārī, Masʿūd-e Saʿd-e Salmān, and Sayyed Ḥasan Ḡaznavī (Rypka, Hist. Iran. Lit., pp. 196-97; Bosworth, Later Ghaznavids, pp. 75-77, 107-10). We know from the biographical dictionaries of poets (taḏkera-ye šoʿarā) that the court in Lahore of Ḵosrow Malek had an array of fine poets, none of whose dīvāns has unfortunately survived, and the translator into elegant Persian prose of Ebn Moqaffaʿ’s Kalīla wa Demna, namely Abu’l-Maʿālī Naṣr-Allāh b. Moḥammad, served the sultan for a while as his chief secretary (Bosworth, Later Ghaznavids, pp. 127-28). The Ghaznavids thus present the phenomenon of a dynasty of Turkish slave origin which became culturally Persianised to a perceptibly higher degree than other contemporary dynasties of Turkish origin such as Saljuqs and Qarakhanids."

Persian literary culture enjoyed a renaissance under the Ghaznavids during the 11th century. The Ghaznavid court was so renown for its patronizing of Persian literature, that the poet Farrukhi traveled from his home province to work for them. The poet Unsuri's short collection of poetry was dedicated to Sultan Mahmud and his brothers Nasr and Yaqub. Another poet of the Ghaznavid court, Manuchehri, wrote numerous poems to the merits and advantages of drinking wine.

Sultan Mahmud, modeling the Samanid Bukhara as a cultural center, made Ghazni into a center of learning, even inviting Ferdowsi and al-Biruni. He even attempted to persuade Avicenna but was refused. Mahmud preferred that his fame and glory be publicized in Persian and hundreds of poets assembled at his court. He brought whole libraries from Rayy and Isfahan to Ghazni and even demanded that the Khwarizmshah court send its men of learning to Ghazni. Due to his invasion of Rayy and Isfahan, Persian literary production was inaugurated in Azerbaijan and Iraq.

The Ghaznavids continued to develop historical writing in Persian that had been initiated by their predecessors, the Samanids. The historian Abul-Fazl Bayhaqi's, Tarikh-e Beyhaqi, written in the later half of the 11th century is an example.

Although the Ghaznavids were of Turkic origin and their military leaders were generally of the same stock, as a result of the original involvement of Sebuktigin and Mahmud in Samanid affairs and in the Samanid cultural environment, the dynasty became thoroughly Persianized, so that in practice one cannot consider their rule over Iran one of foreign domination. They also copied their administrative system from the Samanids. In terms of cultural championship and the support of Persian poets, they were far more Persian than the ethnically Iranian Buyids rivals, whose support of Arabic letters in preference to Persian is well known.

Historian Bosworth explains: "In fact with the adoption of Persian administrative and cultural ways the Ghaznavids threw off their original Turkish steppe background and became largely integrated with the Perso-Islamic tradition." As a result, Ghazni developed into a great centre of Arabic learning.

With Sultan Mahmud's invasions of northern India, Persian culture was established at Lahore, which later produced the famous poet, Masud Sa'd Salman. Lahore, under the Ghaznavid rule in the 11th century, attracted Persian scholars from Khorasan, India and Central Asia and became a major Persian cultural centre.

The Persian culture, established by the Ghaznavids in Ghazna and Eastern Afghanistan, survived the Ghurid invasion in the 12th century and endured until the invasion of the Mongols.

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