Courtly Praise and Nature's Beauty: The Ghaznavid Poets (Unsuri, Farrukhi)

Introduction

In the glittering courts of the Ghaznavid Empire (977–1186 CE), poetry was more than ornamentation—it was the very heartbeat of political and cultural life. Two of the era’s brightest stars, Ashraf al-Dīn ‘Unsurī and Farrukhī Sīstānī, perfected the art of blending courtly praise with vivid depictions of nature. Their verses not only lauded sultans and governors but also painted lush landscapes, evoking the scent of spring flowers and the melody of birdsong. In this post, we’ll explore how these two poets shaped the genres of qasīda (panegyric ode) and ghazal, leaving a legacy that resonated through subsequent Persian literature.

The Ghaznavid Court and the Rise of Persian Poetry

Founded by Sebüktegin and reaching its zenith under Sultan Maḥmūd of Ghazni (r. 998–1030 CE), the Ghaznavid court was a magnet for scholars, artists, and—above all—poets. Maḥmūd himself was a devoted patron, bestowing lavish rewards, honorific titles, and even landed estates (iqṭāʿs) on those who excelled in verse. In this milieu:

• Panegyric (Qasīda) became the highest form of poetic flattery, a public testament to a ruler’s valor, generosity, and courtly magnificence.

• Nature Imagery wove through both courtly and lyrical forms, drawing on Persia’s horticultural traditions and classical precedents to celebrate earthly and celestial beauty.

• Literary Patronage elevated poets to near-celebrities; their success reflected directly on royal prestige.

Against this backdrop, ‘Unsurī and Farrukhī emerged not just as entertainers but as essential spokesmen for Ghaznavid ideology.

Ashraf al-Dīn ‘Unsurī (d. 1039): Master of Panegyric

Often hailed as the “Amīr al-Shu‘arāʾ” …