Under their patronage, poets and scholars from Kashgar, Bukhara, Samarkand, Baghdad, Nishapur, Amol and Ghazni congregated in Lahore. Thus, the Persian language and Persianate culture was brought deep into India and carried further in the 13th century. The Seljuqs won a decisive victory over the Ghaznavids and swept into Khorasan; they brought Persianate culture westward into western Persia, Iraq, Anatolia, and Syria. Iran proper along with Central Asia became the heartland of Persian language and culture. As the Seljuqs came to dominate western Asia, their courts were Persianized as far west as the Mediterranean Sea. Under their rule, many pre-Islamic Iranian traditional arts like Sassanid architecture were resurrected, and great Iranian scholars were patronized. At the same time, the Islamic religious institutions became more organized and Sunni orthodoxy became more codified. The Persian jurist and theologian Al-Ghazali was among the scholars at the Seljuq court who proposed a synthesis of Sufism and Sharia, which became the basis for a richer Islamic theology. Formulating the Sunni concept of division between temporal and religious authorities, he provided a theological basis for the existence of the Sultanate, a temporal office alongside the Caliphate, which at that time was merely a religious office. The main institutional means of establishing a consensus of the ulama on these dogmatic issues was the Nezamiyeh, better known as the madrasas, named after its founder Nizam al-Mulk, a Persian vizier of the Seljuqs. These schools became the means of uniting Sunni ulama, who legitimized the rule of the Sultans. The bureaucracies were staffed by graduates of the madrasas, so both the ulama and the bureaucracies were under the influence of esteemed professors at the madrasas. Shahnameh's impact and affirmation of Persianate culture As the result of the impacts of Persian literature as well as to further political ambitions, it became a custom for rulers in the Persianate lands to not only commission a copy of the Shahnameh, but also to have his own epic, allowing court poets to attempt to reach the level of Ferdowsi: Iranian and Persianate poets received the Shahnameh and modeled themselves after it. Murtazavi formulates three categories of such works too: poets who took up material not covered in the epic, poets who eulogized their patrons and their ancestors in masnavi form for monetary reward, and poets who wrote poems for rulers who saw themselves as heroes in the Shahnameh, echoing the earlier Samanid trend