Khorasani style (poetry)
Khorāsānī style (Persian: "sabk-i Khorāsānī" 'the style of Khurāsān', also known as "sabk-i Turkistānī" 'the style of Turkistan', also transliterated "Khurāsānī") was a movement in Persian poetry associated with the court of the Ghaznavids, associated with Greater Khorasan (now divided between Iran, Afghanistan, and Uzbekistan). History. The term was coined in the early twentieth century. It is traditionally considered to characterise the first period of New Persian poetry, running from the ninth century CE into the second half of the twelfth. It is characterized by its plain poetic technique, concrete images and metaphors, and some  archaic linguistic features. While showing limited use of Arabic loan-words, poetry in this style was influenced by Arabic verse, particularly in terms of its prosody, and the dominant genre was the praise-poem. The Khurāsānī period was succeeded by the "sabk-i ‘Irāqī" ('style of Iraq'), with its greater use of Arabisms, more elaborate metaphors and imagery, and turn towards spiritualism. However, the transition between the periods was not a sharp one. The style saw a return to popularity with the so-called literary revival ("bazgasht-e adabi") of the eighteenth to twentieth centuries. Exponents. The pre-eminent study  of the style was by Muḥammad Jaʻfar Maḥjūb in 1971. The chief representatives of this lyricism are Asjadi, Farrukhi Sistani, Unsuri, and Manuchehri. Panegyric masters such as Rudaki were known for their love of nature, their verse abounding with evocative descriptions. Example. A. A. Seyed-Gohrab contrasts the following passages to illustrate the Khorāsānī style. The first is a description of a palace from "Qaṣīda 31" by Farrukhī Sistānī, writing in the earlier eleventh century. It is plain and concrete in its description: The second is from the end of the "sabk-i Khurāsānī" period, near to the "sabk-i  ‘Irāqī" period: a description of a palace built by Arslān Shah of Ghazna, composed by ‘Uthmān Mukhtārī in the vicinity of 1100. This description is far less concrete and much more spiritual in tone: