The Divan of Farrukhi Sistani and the Reflection of Musical Culture in the Ghaznavid Era

 

Ferdowsi among Unsuri, Farrukhi, and Asjadi, three other poets of Sultan Mahmud of Ghazni’s court. https://fa.wikipedia.org/wiki/%D9%81%D8%B1%D8%AE%DB%8 

 ORCID: 0009-0004-0024-1223  

The Divan of Farrukhi Sistani and the Reflection of Musical 

Culture in the Ghaznavid Era

By Eslahmuddin Feroz, Former Professor, Department of Music, Faculty of Fine Arts, Kabul University

Abstract

This study examines the various functions and cultural dimensions of music in the Ghaznavid era through an analysis of Farrukhi Sistani’s Divan. The research focuses on references to music in courtly gatherings, military settings, festivals, and mystical and Sufi contexts. The findings indicate that music in Ghaznavid society extended beyond entertainment and served aesthetic, ceremonial, political, military, and spiritual functions. Musicians and singers played an important role in courtly life, while musical instruments and collective songs contributed to military motivation and organization. The celebration of Nowruz and Sadeh also demonstrates the continuity and integration of ancient Arischer traditions within the cultural framework of the Ghaznavid court. Furthermore, references to mystical music reveal its connection with spiritual and contemplative experiences. Overall, Farrukhi’s poetry provides valuable evidence for understanding the multifaceted position of music and musicians in the cultural and social structure of the Ghaznavid period.

Keywords: Farrukhi Sistani, Ghaznavid Era, Persian Music, Courtly Music, Sufi Music

Introduction

The Divan of Farrukhi Sistani is one of the prominent literary and cultural sources of the Ghaznavid period, which portrays not only the poetic and literary aspects, but also the cultural and social life of that era. Farrukhi, the court poet of Mahmud of Ghazni, with his particular skill and taste, presents music as an inseparable element of court life and regards it not merely as entertainment, but also as a means of holding festive gatherings, stimulating the army, and enhancing the social spirit. In his Divan, professional musicians and singers are actively present, and the art of music occupies a special cultural and social position.

Farrukhi provides a vivid image of courtly gatherings in which music, poetry, and song, together, create an atmosphere full of vitality and beauty. At the same time, his Divan shows that music was not limited only to the court and convivial gatherings; rather, it was also used on the battlefields and, with wind and percussion instruments, strengthened the order, grandeur, and morale of the soldiers.

Farrukhi also refers to the presence of mystical and Sufi music and shows that music in the Ghaznavid period also had spiritual and mystical functions. In this article, by examining the Divan of Farrukhi, the position of music in the courtly, martial, and mystical gatherings of the Ghaznavid era is analyzed, and the role that musicians, singers, and poets played in shaping the musical culture of that period is studied.

1. Music and Festivity in the Ghaznavid Courtly Gatherings

The Divan of Farrukhi Sistani provides a vivid picture of music in the courtly gatherings of the Ghaznavid era. Farrukhi, the court poet of Sultan Mahmud, viewed music not as a secondary form of entertainment, but as an inseparable element of the cultural and social life of the court. In his qasidas, he portrays courtly gatherings with the presence of professional musicians and singers and shows that music was present as a key factor in creating vitality, harmony, and beauty in these gatherings.

In praising Amir Yusuf, the commander-in-chief, Farrukhi presents his palaces and gatherings not only as symbols of grandeur and power, but also as lively places of festivity. The verses that recount the presence of mutribs playing the rud and musicians playing the chang and ney testify that music was an inseparable part of courtly culture and that the court of Amir Yusuf was a place for artists to gather and for musical gatherings to be held. Such scenes demonstrate the importance of joy, generosity, and delight in courtly gatherings, in which music was considered the central element.

With poetic and vivid language, Farrukhi shows that music in the Ghaznavid court was not merely a means of entertainment, but also a means of enhancing the cultural quality of gatherings and displaying the grandeur and prosperity of the court. This image highlights the position of music and artists in the courtly and social life of the Ghaznavid era and clearly demonstrates the importance of the professional presence of artists in courtly festivities and gatherings.

2. Martial Music and Its Use in the Ghaznavid Army

In addition to festive music, Farrukhi refers in his Divan to martial music and explains its role on the battlefield. Wind and percussion instruments, such as the kus, played an important role in stimulating the army, creating a sense of military grandeur, and coordinating military operations. By referring to the contrast between the sound of the kus and the melodies of courtly instruments such as the arganun, Farrukhi highlights the differences and diverse functions of music in various cultural and social spheres.

Martial music, particularly through loud instruments, had not only a psychological and stimulating function, but also played an organizational and managerial role on the battlefield. Upon hearing the particular rhythms of the kus and drums, the soldiers became coordinated and their fighting spirit increased. By emphasizing these functions, Farrukhi shows that music in Ghaznavid culture simultaneously possessed entertainment, ceremonial, and military dimensions.

The mention of collective songs, such as the “Sorud-e Aghani,” which was performed on the battlefield, also clarifies the importance of music in coordinating the army and stimulating the forces. This aspect of music shows that during the Ghaznavid period, music was not merely a courtly art, but also a practical and strategic instrument within the military and social structure.

3. Mystical and Sufi Music in the Divan of Farrukhi

Alongside festive and martial music, Farrukhi also refers in his Divan to mystical and Sufi music. In praising Abu Ahmad Muhammad ibn Mahmud, the poet refers to sama‘ and instruments such as the chang and rud alongside singing, and shows that music within this framework was a means of purification of the soul and the opening of the heart.

Mystical music in the Ghaznavid era, simultaneously with the spread of Sufi gatherings, created a spiritual atmosphere and guided the listener toward a spiritual and ecstatic experience. The presence of professional musicians and singers in these gatherings ensured the quality and effectiveness of mystical music. By describing these gatherings, Farrukhi shows that music in the Ghaznavid period was not merely a pleasurable art, but also possessed a mystical and spiritual dimension and was connected with the ethical and spiritual culture of that time.

Thus, the Divan of Farrukhi reflects the diversity of the functions of music: from festivity and joy in courtly gatherings to stimulating soldiers on the battlefield and providing spiritual guidance in Sufi gatherings. This diversity demonstrates that music in the Ghaznavid period was part of the cultural, social, and spiritual identity of society and played an important role in coordination, order, and the enhancement of the quality of cultural life.

4. Festivals, Songs, and Their Importance in Courtly Culture

Festivals and religious celebrations, particularly Nowruz, Sadeh, Eid al-Adha, and Eid al-Fitr, constituted an inseparable part of courtly life and the cultural life of the Ghaznavid period. Farrukhi’s references to the regular presence of musicians and singers at these gatherings reveal the central position of music in the performance of festive rituals. Among these rituals, the Sadeh and Nowruz festivals continued to be celebrated in the Ghaznavid era as some of the ancient pre-Islamic ceremonies, demonstrating the continuity of long-standing cultural traditions within the context of the Islamic civilization of this period. The evidence available in the Divan of Farrukhi shows that these festivals were held at the Ghaznavid court with great splendor and ceremony, and elements such as fire-lighting, arranging festive gatherings, music, and singing were considered among their principal components. By describing these rituals, Farrukhi presents Sadeh and Nowruz as opportunities for praising the king, representing the grandeur of the court, and displaying the order, stability, and cultural prosperity of society.

The grand celebration of the Sadeh and Nowruz festivals during the Ghaznavid period indicates that, despite its Islamic identity, this government adopted an accepting approach toward the national rituals and ancient traditions of the people of Khorasan and reinterpreted them within a courtly and official framework. This reflects the connection between pre-Islamic traditions and the cultural-political structure of the Ghaznavid state.

5. The Position of the Poet and Musician in the Ghaznavid Court

Farrukhi Sistani can be regarded as one of the prominent figures who vividly reflected the connection between poetry and music in the courtly culture of the Ghaznavid era. In his works, music appears not merely as a descriptive subject, but as a living and functional element within the structure of courtly life. The evidence available in the Divan of Farrukhi shows that he was not merely a court panegyrist, but, possessing skills in instrumental performance and singing, also participated in shaping and strengthening the atmosphere of courtly festivities. The poet’s references to his own artistic abilities indicate that, in his view, poetry and music possessed a value beyond material reward and were regarded as instruments for creating a felicitous, joyful, and ceremonial atmosphere in courtly gatherings.

From this perspective, art in Farrukhi’s view possesses cultural and social prestige, and the presence of the poet-musician at court constituted part of the mechanism through which the power and cultural vitality of the Ghaznavid government were represented. The position of Farrukhi and other court musicians also demonstrates a direct and institutionalized relationship between artists and the institution of power. The Ghaznavid kings, through material support and the granting of social prestige, established the presence of artists within the structure of the court and made use of their abilities to strengthen the grandeur of the monarchy, organize the rituals of courtly festivities, and create collective joy. This two-way interaction demonstrates the structural role of music and its practitioners in the cultural-political system of the Ghaznavid court.

Conclusion

An examination of the Divan of Farrukhi Sistani shows that music in the Ghaznavid era was not merely an entertaining phenomenon, but occupied a multidimensional position within the cultural and social structure of that period. The extensive reflection of music in Farrukhi’s descriptions of courtly gatherings, festivals, battlefields, and spiritual settings indicates that this art was actively present in various layers of collective life and functioned as an inseparable part of the cultural existence of courtly society. Through these references, the role of musicians and singers also emerges not merely as that of performers, but as influential elements in shaping the emotional, aesthetic, and ceremonial atmosphere of courtly gatherings.

In the military sphere, the description of resonant instruments and collective songs shows that music had a motivational and organizational function and was effective in stimulating soldiers, creating a sense of grandeur, and maintaining military cohesion. In contrast, festive and celebratory music in Farrukhi’s poetry reflects the grandeur of the court, material prosperity, and social solidarity, and appears as a symbolic instrument in representing political power. Furthermore, references to music in spiritual settings indicate that this art also played a role in spiritual and mystical experiences and could provide the basis for contemplative and spiritual states.

Farrukhi, who himself was familiar with musical traditions, made use of the artistic capacities of music to strengthen the image of the grandeur of the court and to represent courtly culture. Therefore, his poetry is not only a reflection of the poet’s personal taste, but also a literary document for understanding the cultural, symbolic, and social functions of music in the Ghaznavid period.

Accordingly, the study of Farrukhi’s Divan provides a comprehensive perspective on the position of music in the Ghaznavid era; a position in which music simultaneously possessed aesthetic, political, military, and spiritual functions and played an effective role in shaping the cultural identity of that period.

Source: Divan of Farrukhi Sistani (pp. 51, 99, 117, 123, 218, 317, 396)