Twilight of the Sultanate c16.s2.17

c16.s2.17

At Delhi music gradually regained its position with the stability of the Sultanate. The Saiyyad kings do not seem to have neglected this art and Mubārak Shāh was known for his love of music.⁶³ The orthodox Sikandar Lodi also was a great lover of music. Although to keep up a show of religious austerity he would not allow anyone to sing or play in his presence, all the celebrated artists used to come and perform before the King's favourite noblemen like Mīrān Saiyyad Rūhullā and Saiyyad Ibn Rasūl, whose tents, by the Sultan's orders, were pitched near those of the king's.⁶⁴ Thus the clever and virtuous monarch filled his ears with melody without damaging his reputation for piety. In the palace, instruments were regularly played on. Shahnāi was played every night, commencing at 9 o'clock.⁶⁵ A number of beautiful singers and players played on instruments like Chang, Qanūn, Tambūr and Vīnā.⁶⁶ According to 'Abdulla, the Sultan's favourite tunes were Mālkaus, Kalyān, Kanada and Husainī;⁶⁷ according to Ahmad Yādgār they were Kedār, Adāna, Husainī and Rāmkalī, while according to Rizqulla Mushtaqī, his favourites were Gaur, Kalyān, Kanada and Maqām-i-Husainī.⁶⁸ This list shows that Sikandar loved to listen to almost every important Rāga. Sikandar Lodi's services in promoting the art of music were laudable. Under his patronage was written and to him was dedicated the *Lahjāt-i-Sikandar Shāhī*, a treatise on music by 'Umar Yahiyā.⁶⁹ Yahiyā was a scholar of Arabic, Persian and Sanskrit and his work is based on many Sanskrit treatises like *Sangīt Ratnākar*,⁷⁰ *Nṛtya Sangrah*, *Sangīt Kalpataru* and the works of Matang.⁷¹ Probably the *Lahjāt* is the first book in Persian on Indian music.