Nizamuddin Auliya:
Muhammad Nizamuddin Auliya (Urdu: محمد نظام الدّین اولیاء; sometimes spelled Awliya; 1238 – 3 April 1325), also known as Hazrat Nizamuddin, was a Sufi saint of the Chishti Order and arguably one of the most famous Sufis on the Indian Subcontinent. His predecessors were Fariduddin Ganjshakar, Qutbuddin Bakhtiyar Kaki and Moinuddin Chishti. In that sequence, they constitute the initial spiritual chain or silsila of the Chishti order, widely prevalent in the Indian subcontinent.Nizamuddin Auliya, like his predecessors, stressed love as a means of realising God. For him his love of God implied a love of humanity. His vision of the world was marked by a highly evolved sense of religious pluralism and kindness.[2] It is claimed by the 14th century historiographer Ziauddin Barani that his influence on the Muslims of Delhi was such that a paradigm shift was effected in their outlook towards worldly matters. People began to be inclined towards mysticism and prayers and remaining aloof from the world
Ameer Khusro:
Ab'ul Hasan Yamīn ud-Dīn Khusrau (1253 – 1325) (Urdu: ابوالحسن یمینالدین خسرو), better known as Amīr Khusrow Dehlavī, was a Sufi musician, poet and scholar from the Indian subcontinent. He was an iconic figure in the cultural history of the Indian subcontinent. He was a mystic and a spiritual disciple of Nizamuddin Auliya of Delhi. He wrote poetry primarily in Persian, but also in Hindavi. A vocabulary in verse, the Ḳhāliq Bārī, containing Arabic, Persian, and Hindavi terms is often attributed to him. Khusrow is sometimes referred to as the "voice of India" (Tuti-e-Hind), and has been called the "father of Urdu literature.Khusrow is regarded as the "father of qawwali" (a devotional music form of the Sufis in the Indian subcontinent), and introduced the ghazal style of song into India, both of which still exist widely in India and Pakistan. Khusrow was an expert in many styles of Persian poetry which were developed in medieval Persia, from Khāqānī's qasidas to Nizami's khamsa. He used 11 metrical schemes with 35 distinct divisions. He wrote in many verse forms including ghazal, masnavi, qata, rubai, do-baiti and tarkib-band. His contribution to the development of the ghazal was significant
