Dikshita Kshetra Darshanam, is a project by Guruguhaamrta, which endeavours to produce high quality video documentaries combining the musical and other aspects of these Kshetras (places) that are also filmed at these Kshetras.
This project was originally conceived by classical vocalist, G Ravi Kiran, who is also the founder and Managing Trustee of Guruguhaamrta in collaboration with storyteller, arts, culture, history and heritage enthusiast, Madhusudhanan Kalaichelvan.
The first season, comprising a total of 6 episodes, that will be released on a monthly basis, each episode will be available for viewing, for free on Guruguhaamrta's YouTube Channel and features a Dikshitar kriti sung by G Ravi Kiran and elucidated by Madhusudhanan.
The first season, comprising a total of 6 episodes, that will be released on a monthly basis, each episode will be available for viewing, for free on Guruguhaamrta's YouTube Channel and features a Dikshitar kriti sung by G Ravi Kiran and elucidated by Madhusudhanan.
The first episode premieres on March 24, 2022, to coincide - as per the Western calendar - with the 247th birth anniversary of Dikshitar. The first episode features the Bhaktavatsala Perumal Kshetra at Tirukkannamangai, near Tiruvarur and is supported by Indic Academy.
Muthuswami Dikshitar (1775-1835) was an “eternal pilgrim”. Even though he was born in Tiruvarur and later in Manali (near Chennai) and finally at Ettayapuram, he travelled extensively. In his early days, he was taken to Kashi by Chidambaranatha Yogi where he began his life long journey as a staunch Advaitin and a Devi Upasaka.
After his return from Kashi, he composed his first kriti (Srinathadi Guruguho Jayati) at Tiruttani Kshetra. During his life, he travelled to the various kshetras of South India. His kritis describe various aspects of the kshetras visited by him in intricate detail – including the references to Sthala Puranam, the iconography, the details of the other deities, the Kshetra Puranam, the Vriksha (tree) of the Kshetra, the Utsavams and the architectural details of the temple, apart from other intricacies.
Today, there is no authentic documentation where one could map, visually and aurally, the kritis with the details present in them – both explicit and implicit. It is herein that Dikshita Kshetra Darshanam bridges the gap and lends a visual aspect to the aural beauty of these compositions.