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Saturday, 22 November 2025

When Earth Remembered the Stars

 

Echoes Beneath the Western Ghats — A Geoscientific Reflection on the Kaveri Impact Basin and the Charnockite of St. Thomas Mount

 

© Dhinakar Rajaram, 2025 — All rights reserved.


Preface

Born of starlight and stone

This essay is born of both starlight and stone. For years, I travelled across southern India — from Coimbatore to Chennai — tracing landscapes that quietly preserve the Earth’s most ancient memories. Beneath the lush folds of the Western Ghats lies a terrain shaped not merely by time, but by cosmic collision.

The proposed Kaveri Impact Basin, one of the world’s least-known geological enigmas, and the St. Thomas Mount charnockite, a relic of our planet’s deep crust, together reveal how celestial and terrestrial histories entwine. This work is not a technical paper but a reflection written in the spirit of science — to help students, readers, and wanderers see the land beneath their feet as part of the same universe they gaze upon above.

Dhinakar Rajaram


Abstract

When Earth remembered the stars

Southern India’s geological framework preserves some of the most ancient and enigmatic features of Earth’s crust. Recent studies suggest that the region surrounding the Palghat Gap and the Kaveri River basin may represent a large, deeply eroded impact structure — the Kaveri Impact Crater, measuring approximately 120 km across (Subrahmanya & Narasimha, 2017).

This paper-style reflection synthesises published evidence and firsthand field observations from Coimbatore, Salem, and Erode, alongside an interpretive discussion of the St. Thomas Mount charnockite near Chennai — another relic of India’s Archaean past. Together, these localities reveal the intertwined story of celestial violence and continental endurance — an astro-geological continuum connecting India’s landforms to planetary evolution.


1. Introduction

Where planetary scars meet continental memory

Planetary geology reveals that impacts by extraterrestrial bodies have profoundly shaped the evolution of terrestrial crusts. Earth, however, retains few well-preserved craters, their traces largely erased by plate tectonics and erosion. Within this context, the Kaveri Impact Hypothesis presents a rare opportunity to study a potential large, ancient impact structure within the stable Southern Granulite Terrain (SGT) of India.

As an amateur astronomer and student of astro-geology, I have traversed this terrain — particularly along the Coimbatore–Salem corridor — documenting topographic, structural, and lithologic features suggestive of a deeply eroded impact basin. These field experiences complement published research and underscore the importance of preserving such landscapes as geo-heritage resources, where science and wonder coexist.



2. Geological Background

2.1 The Southern Granulite Terrain

An archive of Earth’s oldest metamorphic symphony

The Southern Granulite Terrain (SGT) represents one of Earth’s oldest crustal provinces, composed of high-grade metamorphic rocks — granulites, charnockites, and gneisses — that record pressures exceeding 7 kbar and temperatures above 700 °C (GSI, 2021). These rocks, forged deep within the crust, are the crystalline witnesses of the planet’s formative epochs.


2.2 The Palghat–Cauvery Shear Zone

The invisible frontier beneath the mountains

This major east–west lineament separates the northern Dharwar Craton from the southern Madurai Block. It acts both as a tectonic boundary and, possibly, as the northern structural rim of the hypothesised Kaveri Impact Basin. The zone’s recurrent reactivation through geologic time has influenced drainage, metamorphism, and crustal architecture across southern India.


2.3 Previous Studies

Tracing the first clues of a buried scar

Subrahmanya & Narasimha (2017) identified an elliptical depression bounded by arcuate highlands — the Nilgiri, Anaimalai, and Palani Hills — and reported mineralogical evidence of shock metamorphism, including planar deformation features (PDFs) in quartz, diaplectic glass, and pseudotachylite veins. These features, if verified in situ, provide strong indicators of impact-related deformation.


 Figure 1. Visualisation of the proposed Kaveri Impact Basin showing the elliptical structure east of the Palghat Gap.
Source: The Hindu, Science & Technology (2019).


Figure 2. Topographic rendering of the Kaveri Basin showing the surrounding highlands — Nilgiri, Anaimalai, and Palani Hills.
Source: Wikimedia Commons (2018).


3. Field Observations

3.1 Site and Traverse

Walking the rim of a forgotten crater

Multiple traverses were made between Coimbatore, Salem, and Erode (2013–2019). Rock exposures along the national highway reveal steeply tilted and occasionally overturned beds, with local dips between 45° and 50°, consistent with rim-uplift morphologies observed in ancient multi-ring impact basins.


3.2 Morphological Indicators

Mountains that remember an ancient fall

  • Mountain arcs to the north, west, and south delineate possible rim segments.

  • The Palani Hills, a spur of the Western Ghats, form a prominent southern rim.

  • The terrain slopes eastward toward the Kaveri River, which appears to exploit a structural low formed by the impact basin.

  • Extensive blasting during highway expansion has destroyed many key outcrops — underscoring the urgent need for documentation and protection.

3.3 Visual Evidence


 
 Figures 3 & 4. Northern rim of the proposed Kaveri Impact Structure — north of Coimbatore. This massif shows steeply projected strata and fault-bounded blocks consistent with rim uplift morphology.
Photograph © Dhinakar Rajaram (2015).
 




 

Figures 5, 6 & 7. South-western and western rim highlands near the Anaimalai Range, forming part of the crater’s western arc.
Photographs © Dhinakar Rajaram (2015).




4. Discussion

4.1 Interpreting the Structure

An argument written in arcs and anomalies

The arcuate disposition of the Nilgiri–Anaimalai–Palani massifs, coupled with gravity anomalies and tilted strata, supports an impact-related origin rather than a purely tectonic basin. Numerical models of multi-ring craters of comparable scale predict rim collapse, central uplift, and differential erosion consistent with the present-day morphology of the Kaveri Basin.


4.2 Post-Impact Modifications

When time remodels a catastrophe

Following impact, the basin likely underwent:

  • Rapid erosion and sediment infill.

  • Reactivation of pre-existing shear zones (notably the Moyar–Bhavani–Attur system).

  • Differential uplift during later tectonic phases, rejuvenating rim sectors and exposing deep crustal levels.


4.3 The Kaveri as a Geomorphic Historian

The river that remembers

The Kaveri River flows eastward through the basin’s axis, carving its course along the ancient crater floor — a textbook case of fluvial adaptation to impact-generated weakness zones. The river thus becomes both a hydrological witness and geological historian, tracing through time the contours of an event that once reshaped this corner of the Earth.


 Figure 8. Geological cross-section and gravity model of the proposed Kaveri Impact Structure.
Source: Springer Nature (Journal of the Geological Society of India, 2017).



5. Comparative Planetology — Impact Legacy on Earth

Where celestial scars mirror across worlds

Earth shares its impact history with the Moon and Mars, yet only a fraction of its ancient craters endure — the rest erased by plate tectonics, erosion, and the restless breathing of our planet’s crust.

For perspective, the great survivors of planetary trauma stand as geological monuments to deep time:

  • Vredefort — South Africa (~2.0 Ga, ≈ 300 km)

  • Sudbury — Canada (~1.85 Ga, ≈ 250 km)

  • Chicxulub — Mexico (66 Ma, ≈ 180 km)

If validated, the Kaveri Structure (~120 km) would join this rarefied league — one of the five largest known impact basins on Earth, and among the few that bridge the disciplines of planetary science and regional geology.

" From these vast planetary scars that span continents and epochs, we descend now to a single hill on India’s southeastern coast — St. Thomas Mount — where the story of cosmic violence and crustal endurance continues, written not in craters but in the crystalline folds of charnockite."

6. The Charnockite Beneath St. Thomas Mount

" Where the Earth’s interior finds its voice at the surface ... "

6.1 Lithology and Origin

Where the ancient crust rose and froze in silence

The St. Thomas Mount charnockite in Chennai (Madras) represents Archaean granulite-facies metamorphism (2.6–2.8 Ga). It consists of orthopyroxene, feldspar, quartz, and iron oxides exhibiting NE–SW foliation produced by deep-crustal shearing during the Eastern Ghats Orogeny.

St. Thomas Mount Photo credit : https://commons.wikimedia.org/wiki/File:St_Thomas_Mount.jpg

 


 

Photographs of St. Thomas Mount presumably taken by American military photographer Clyde Waddell in 1942/45  


6.2 Cultural and Scientific Significance

Where faith, nomenclature, and geology converge

Historically, the rock gave rise to the term “charnockite” after Job Charnock, whose tombstone slab was cut from this very exposure. The site is today recognised by the Geological Survey of India as a Geo-heritage Monument (GSI, 2021) — a place where the disciplines of geology, history, and faith intersect upon a single hill of ancient stone.


6.3 Metamorphic Conditions

From the depths of Earth’s crust to the language of its folds

Formation under CO₂-rich, dry conditions (> 750 °C) points to lower-crustal metamorphism, where heat and pressure shaped the rock deep within the Earth. The “strained-flow” textures preserved in the charnockite record plastic deformation — subtle echoes of ancient deep-earth dynamics.

At first glance, the St. Thomas Mount charnockite might seem to “flow” from the southwest toward the northeast. However, modern research paints a more complex picture. Studies of the Madras Block charnockites describe them as plutonic granulite-facies bodies, ranging from monzonite to granite, with orthopyroxene-bearing varieties. Their composition and structure reveal a deep-crustal magmatic history of crystallisation and differentiation rather than a simple directional flow. Foliation trends roughly NE–SW, overprinted by high-grade metamorphism and shearing, and though the SW and NE flanks contain noritic masses surrounding a central charnockite core, no clear evidence confirms a unidirectional magma flow.

No publicly available PhD thesis or recent study focuses exclusively on the structural fabric of St. Thomas Mount, making this blog among the few sources to blend observational insight with scholarly context. In this way, even a single modest hill allows us to read billions of years of Earth’s hidden history, where deep-crustal processes quietly meet the surface, waiting for attentive eyes to witness their story.

As the deep-time saga of formation, flow, and deformation concludes beneath the surface, the modern exposures of St. Thomas Mount reveal these processes in tangible form — the dark grey-green charnockite, the bronzed patina of weathering, and the subtle fractures that whisper of Earth’s ancient inner workings.


6.4 Modern Exposure and Weathering

Where deep-time surfaces and stone breathes again

The outcrop lies partly within the church precincts overlooking the Chennai airport. When freshly fractured, the charnockite appears dark grey-green; yet on exposure to air and moisture, the iron-bearing minerals oxidise rapidly, giving the rock a bronzed, rust-red patina. In certain seasons the surfaces appear to bleed rust — thin films of iron oxide seeping along micro-fractures, a vivid reminder that these deep-crustal rocks still interact with the atmosphere billions of years after their birth.

Urban encroachment and quarrying threaten its preservation, yet several boulders around the hill retain their characteristic hue. This small hill, combining geology, history, and faith, stands as a living geological classroom — a place where the Earth’s deep interior literally meets the open air.


7. Geoscientific and Educational Significance

Where knowledge turns stone into story

From the metamorphic depths of St. Thomas Mount to the celestial imprint of the Kaveri Basin, these two terrains together illuminate the full arc of Earth’s memory — one born of heat and pressure, the other of impact and aftermath.


7.1 Geoheritage

Guardians of Earth’s ancient chronicles

Both the Kaveri Basin and St. Thomas Mount warrant formal Geo-heritage recognition. Each represents a distinct expression of planetary evolution: the Kaveri as a possible relic of impact modification, and St. Thomas Mount as a testimony to metamorphic reconstruction. Together, they frame the continuum of Earth’s geological narrative — from cosmic collision to crustal renewal — offering an unparalleled natural archive within the Indian peninsula.


7.2 Educational Potential

Where the classroom meets the cosmos

For students of Earth science, these sites offer living laboratories that bridge planetary geology and terrestrial metamorphism. Through guided study, learners can:

  • Identify impact signatures — breccias, planar deformation features (PDFs), and circular drainage patterns that reveal ancient trauma.

  • Recognise deep-crustal processes — visible in the orthopyroxene-bearing charnockites of St. Thomas Mount.

  • Synthesize planetary and terrestrial perspectives — understanding how the same physical laws shape both craters on Mars and granulites beneath Chennai.

In uniting these disciplines, the region becomes not merely a field site but a classroom of the cosmos, where the stories of starlight and stone merge into one continuum of learning.



8. The Cosmic Continuum

Where cataclysm and endurance complete the circle

The Kaveri Basin narrates cataclysm; the St. Thomas Mount charnockite narrates endurance. Together, they embody a planetary truth — that the Earth we inhabit was sculpted as much by celestial impacts as by internal metamorphism.

When we journey from Coimbatore to Chennai, we traverse not merely the geography of Tamil Nadu, but nearly two billion years of planetary evolution — from the fiery violence of a meteor strike to the silent resilience of deep-crustal rock. The river that now nourishes life once traced the scars of collision, while the hill that watches over the city rose from the depths in response to pressure and heat. Between them lies the grand continuum of cosmic memory: impact and recovery, destruction and renewal, written in stone.


9. Evidence and Institutional Recognition

From hypothesis to heritage


🔍 Key Evidence Highlights

  • The St. Thomas Mount charnockite was formally recognised by the Geological Survey of India (GSI) as a National Geological Monument / Geo-heritage Site (GSA Conference 2018; Wikipedia 2021).

  • The term “charnockite” was coined by Sir Thomas Holland of the GSI in 1893, referring to the hypersthene granite from this very hill (GSI Records 1893; Wikipedia 2021).

  • For the proposed Kaveri Impact Basin, while not yet officially listed by the GSI, the peer-reviewed work of Subrahmanya & Narasimha (2017) draws upon GSI terrain maps, gravity and magnetic anomaly data, and field-petrographic evidence (Geoscience World 2017; Semantic Scholar 2017).

  • The GSI’s thematic mapping and crustal studies of the Coimbatore–Salem region (Ministry of Mines 2023) document structural alignments that reinforce the region’s geologic significance.

(Sources: Geological Survey of India; Geological Society of America Conference Archive 2018; Ministry of Mines 2023; Subrahmanya & Narasimha 2017.)


9.1 GSI Recognition of the St. Thomas Mount Charnockite

The hill that gave a name to a rock

The Geological Survey of India formally recognises the St. Thomas Mount charnockite as a National Geological Monument, acknowledging its dual historical and scientific importance. The naming of the rock traces back to Sir Thomas Holland of the GSI, who in 1893 coined the term “charnockite” after identifying the distinctive hypersthene granite from this very site (GSI 1893; GSA Conference Archive 2018).

This outcrop thus holds a unique position in both Indian and global geology — serving as the type locality for an entire suite of rocks within the Southern Granulite Terrain. The GSI’s heritage listing ensures that, despite urban encroachment, the hill endures as a protected educational landmark — a living archive of deep time.


9.2 Mapping and Survey Work in the Kaveri Basin Region

Reading the landscape through gravity and stone

Although the Kaveri Impact Basin has not yet been formally recognised by the GSI as a confirmed impact structure, much of its supporting evidence arises from GSI’s regional mapping programmes across Tamil Nadu’s Precambrian shield.

GSI crustal studies and structural maps of the Coimbatore–Salem–Erode corridor document multiple shear zones — notably the Moyar–Bhavani–Attur lineament and the Palghat–Cauvery shear zone — which correspond closely with the inferred crater boundaries (Ministry of Mines 2023).

Further, the peer-reviewed research of Subrahmanya & Narasimha (2017) integrates GSI’s gravity and magnetic anomaly datasets with field petrography, proposing that the region’s arcuate topography and brecciated lithologies may indeed reflect an ancient impact origin.


9.3 Implications for Geo-heritage and Scientific Recognition

Preserving the dialogue between stone and sky

These two sites — one officially enshrined in India’s geological heritage, the other awaiting confirmation — illustrate the continuum of discovery, verification, and preservation in Indian Earth science.

The St. Thomas Mount charnockite stands as a textbook example of successful institutional recognition and protection. The Kaveri Basin, by contrast, awaits similar acknowledgement. Its inclusion in future GSI Geo-heritage inventories would not only validate a growing body of scientific research but also safeguard field sites essential for academic study.

Such recognition bridges the space between professional geology and public awareness, ensuring that India’s landscapes of deep time — from Chennai’s rust-red hill to Coimbatore’s uplifted arcs — are celebrated as integral to our scientific and cultural inheritance.



10. Conclusion

Where astronomy and geology meet in memory

The convergence of astronomy and geology — or astro-geology — offers a profound lens through which to view our planet. The proposed Kaveri Impact Structure and the St. Thomas Mount charnockite are not isolated curiosities; they are interconnected chapters of a single cosmic epic.

Every tilted ridge north of Coimbatore and every bronzed stone beneath St. Thomas Mount speaks in the same ancient dialect — a story of impact and endurance, of fire transformed into form. Recognising and preserving them enriches not only science, but also our cultural understanding of Earth as a dynamic celestial body, born of both cataclysm and calm.


Glossary of Key Terms

Understanding the language of deep time:

Astro-geology (Planetary Geology) — The interdisciplinary science studying geological processes and landforms on celestial bodies such as planets, moons, and asteroids. It bridges astronomy and Earth geology, revealing shared planetary histories.

Astronomy — The study of celestial objects, cosmic phenomena, and the wider universe. In this essay, astronomy provides the cosmic context for understanding how Earth’s geology records extraterrestrial influences.

Charnockite — A coarse-grained, orthopyroxene-bearing metamorphic rock typical of the Southern Granulite Terrain (SGT). Named after Job Charnock, whose tombstone was carved from the St. Thomas Mount outcrop in Chennai. When exposed to air, its iron minerals oxidise, producing a bronzed, rust-red sheen — described as “bleeding rust.”

Shock Metamorphism — Alteration of rock minerals under extreme pressures and temperatures during a meteorite impact, producing diagnostic microstructures such as planar deformation features (PDFs).

Impact Crater — A circular depression formed when a meteorite or asteroid collides with a planetary surface, characterised by raised rims, central uplifts, and brecciated rocks.

Breccia — A rock made of angular fragments cemented together; in impact settings, formed from shattered crust re-welded by melt or debris.

Pseudotachylite — A dark, glassy rock created by frictional melting during impact or fault movement, often seen as veins within crater floors.

Planar Deformation Features (PDFs) — Microscopic lamellae in quartz or feldspar formed only under shock pressures exceeding several GPa — conclusive evidence of impact origin.

Central Uplift — The rebound dome at the centre of a large impact crater, formed when the compressed crust springs back upward after impact.

Foliation — The planar alignment of minerals within metamorphic rocks due to directional pressure. In the St. Thomas Mount charnockite, foliation trends NE–SW, recording ancient crustal shearing.

Neoproterozoic Era — Geological era from about 1,000 to 541 million years ago, the probable time of the hypothesised Kaveri impact.

Archaean Era — The earliest stable era of Earth’s crust (4.0–2.5 billion years ago) when the first continental nuclei, including the charnockites of southern India, formed.

Palghat Gap — A deep, east–west corridor in the Western Ghats between Tamil Nadu and Kerala, marking a crustal discontinuity aligned with the northern rim of the proposed Kaveri Impact Basin.

Southern Granulite Terrain (SGT) — A high-grade metamorphic province in southern India composed of charnockites, gneisses, and granulites — some of Earth’s oldest exposed crust.

Geo-heritage Site — A natural location officially recognised for outstanding geological or educational significance. St. Thomas Mount is one such site under the Geological Survey of India (GSI).

Moyar–Bhavani–Attur Lineament — A major shear zone in southern India representing deep crustal faulting, coinciding with the structural boundary of the proposed Kaveri Impact Basin.

Impact Breccia — A chaotic rock of fragmented and melted material produced during a meteorite impact, found near crater rims or central uplifts.

Granulite-facies Metamorphism — High-temperature (>700 °C), low-water metamorphism deep in the crust that produces orthopyroxene-bearing rocks like charnockite.

Geo-heritage Conservation — The preservation of significant geological sites for education, research, and public awareness — protecting ancient rocks and landforms as records of deep time.

Cosmic Chronology — The timeline connecting celestial events such as meteor impacts and stellar evolution with Earth’s geological and biological history.

Erosion and Tectonic Rejuvenation — Processes that gradually erode ancient craters and uplift older crustal blocks, reshaping the surface over millions of years.

Crater Morphology — The structural form of an impact crater, including rims, terraces, and central uplifts, which reveals the impact’s energy and age.

Planetary Memory — A poetic yet scientific concept denoting how Earth’s landscapes preserve the imprints of cosmic and geological events through deep time — the central theme of When Earth Remembered the Stars.


References

  • Subrahmanya, K. R., & Prakash Narasimha, K. N. (2017). Kaveri Crater – An Impact Structure in the Precambrian Terrain of Southern India. Journal of the Geological Society of India, 90(4), 387–398.

  • Geological Survey of India (GSI). (1893).

  • Geological Survey of India (GSI). (2021).

  • The Hindu. (2019).

  • Wikimedia Commons. (2018). Topographic visualisation of the Kaveri Crater.

  • Springer Nature. (2017). Journal cover image used for educational reference.

  • Geological Society of America Conference Archive. (2018).

  • Ministry of Mines & Geological Survey of India. (2023). Annual Report on Geoscientific Mapping in Tamil Nadu.


Figure Credits

  • Visualisation of the Kaveri Crater — The Hindu (2019)

  • Topographic visualisation of the Kaveri Crater — Wikimedia Commons (2018)

  • Springer Nature journal cover (2017) — used for educational reference

  • Northern Rim of the Kaveri Crater, north of Coimbatore — © Dhinakar Rajaram (2015)

  • Poster — Echoes Beneath the Western Ghats © Dhinakar Rajaram (2025)

  • St. Thomas Mount, photographed by American military photographer Clyde Waddell, 1942–45

  • Image sourced from Wikimedia Commons: St. Thomas Mount


Acknowledgment

To those who listened when the Earth spoke softly

The author extends gratitude to the geoscientific community whose prior research — notably the work of Subrahmanya & Narasimha (2017) — laid the foundation for renewed inquiry into the Kaveri Impact Hypothesis. Sincere thanks are also due to the Geological Survey of India for recognising and preserving St. Thomas Mount as a geo-heritage site, and to the science journalists and photographers of The Hindu, Wikimedia Commons, and Springer Nature whose visual materials aided this educational synthesis.

Special appreciation is offered to readers, students, and fellow enthusiasts of astronomy and geology who continue to explore the silent narratives of our planet. Their curiosity ensures that landscapes like the Kaveri Basin and the charnockite hills of Chennai remain celebrated as living classrooms of deep time.


Author’s Note

Listening to the land between stars and stone

This journey began not in laboratories or libraries, but along highways, ridges, and riverbanks — watching the land and listening to its silences. The Kaveri Impact Basin has long remained hidden in plain sight; the charnockite of St. Thomas Mount, though world-renowned in geology, is scarcely known to the very city that shelters it.

These reflections, drawn from my travels across the Coimbatore–Salem–Erode–Chennai corridor (2013–2019), attempt to bridge that gap — to tell how Earth’s deep-time narratives intertwine with cosmic history.

All field photographs reproduced here were taken by me unless otherwise credited. Scientific diagrams and reference images are used under fair academic citation from The Hindu, Wikipedia Commons, and Springer Nature. The poster titled “Echoes Beneath the Western Ghats” was created to visually summarise this study and to encourage geoscientific curiosity among students and enthusiasts.

If this essay helps even one reader see a mountain or a river with new wonder — as a remnant of the stars — it would have fulfilled its purpose.

Dhinakar Rajaram, 2025


Epigraph

“Every rock is a fossil of fire — a quiet memory of the stars that built our world.”
Dhinakar Rajaram


End Note

When the stones remember the stars

This essay forms part of an ongoing series of reflective science writings exploring the intersection of astronomy, geology, and human understanding. Through these narratives, the author seeks to reveal how cosmic and terrestrial histories converge, showing that the stones beneath our feet are, in truth, fragments of the universe itself.

 
🌍✨
#WhenEarthRememberedTheStars #EchoesBeneathTheWesternGhats #KaveriImpactBasin
#AstroGeology #PlanetaryGeology #ImpactCraterResearch #StThomasMountCharnockite
#IndianGeoHeritage #CoimbatoreGeology #WesternGhatsScience #EarthHistory
#GeoEducation #CosmicContinuum #DeepTime #CraterToCrust #ScienceOfIndia
#GeologyMeetsAstronomy #CelestialAndTerrestrial #DhinakarRajaramWrites

Thursday, 20 November 2025

Two Songs, One Soul

Echoes in Simmendramadhyamam — From Ilaiyaraaja’s Anandha Raagam to Bala Bharathi’s Taj Mahal Thevai Illai

“Two songs, a dozen years apart — bound by one raga that sings across time and temperament, carrying the fragrance of innocence, devotion, and memory; a single melodic soul reborn as both wonder and worship.


1. Introduction

There is a rare beauty in musical homage — when one composer leans into the legacy of another, not to mimic, but to converse. In the annals of Tamil film music, Taj Mahal Thevai Illai Anname Anname (from Amaravathi, 1993) by Bala Bharathi stands as a deeply felt tribute to Ilaiyaraaja’s Anandha Raagam Keetkum Kaalam (from Panneer Pushpangal, 1981).

What binds them is not just emotional intent but a shared rāga backbone — Simhendramadhyamam — a melakarta that, in the hands of both composers, becomes a subtle yet powerful conduit of nostalgia, longing, and reverence.

As a listener who has lived with Ilaiyaraaja’s music since the late 1970s, I feel a quiet recognition whenever Taj Mahal Thevai Illai begins — a sense that the spirit of Anandha Raagam still lingers, softly reimagined. This essay explores that connection — a raga-rooted dialogue between two songs, two composers, and two emotional worlds.


2. The Grammar and Gait of Simhendramadhyamam

To trace the musical kinship between these two compositions, one must first linger on the raga that breathes through both — Simhendramadhyamam, the fifty-seventh melakarta, a raga of discipline, dignity, and slow-burning passion.

  • Melakarta Number: 57

  • Arohanam (Ascent): S R₂ G₂ M₂ P D₁ N₃ S

  • Avarohanam (Descent): S N₃ D₁ P M₂ G₂ R₂ S

  • Swaras Used: Chatushruti Rishabha (R₂), Sādhāraṇa Gandhāra (G₂), Prati Madhyama (M₂), Shuddha Dhaivata (D₁), Kākali Nishāda (N₃)

Salient Traits:

  • A sampūrṇa raga, embracing all seven notes in both ascent and descent — the hallmark of the melakarta lineage.

  • Rich in gamaka, those tender oscillations and microbends that lend Carnatic melody its breath and suppleness.

  • It finds its true eloquence in the upper octave, where emotion turns luminous and sustained notes bloom like slow dawn.

  • In temperament, the raga is majestic yet meditative — poised between regal gravity and inward reflection.

  • In Western tonality, its structure mirrors the Hungarian Minor scale, a fascinating bridge between two musical cultures.

  • In the Dīkṣitar tradition, it is also known by another luminous name — Sumadyuti.

Simhendramadhyamam is not a raga of flamboyant leaps or hurried flourishes. It prefers the quiet grandeur of restraint — the elegance of pauses, the grace of unfolding. It thrives in vilambit, in patience and poise, speaking not in bursts of brilliance but in measured breaths of emotion. It is a raga that waits — and in that waiting, reveals its depth.


3. Ilaiyaraaja’s Anandha Raagam Keetkum Kaalam — A Raga of Youthful Longing

  • Film: Panneer Pushpangal (1981)

  • Singer: Uma Ramanan

  • Lyricist: Gangai Amaran

  • Composer: Ilaiyaraaja

When Anandha Raagam Keetkum Kaalam begins, we are instantly drawn into the world of Simhendramadhyamam. The melody glides G₂ → M₂ → P like a sigh carried by twilight. Ilaiyaraaja’s orchestration is spare yet profound — flute, strings, and soft harmonies giving the raga’s gravitas room to breathe.

Uma Ramanan’s crystalline voice captures a wistful innocence. She sings not with assertion, but with gentle curiosity: every note feels like a question, every pause like a heartbeat held still. The rhythm flows in a gentle 6/8 sway — not driving forward, but circling tenderly, like ripples on still water.

The lyric — “Aayiram aasaiyil un nenjam paadaadho…” — conveys the tremor of first love. In Ilaiyaraaja’s hands, the raga becomes an architecture of innocence, built from silence, longing, and the quiet ache of discovery.


4. Bala Bharathi’s Taj Mahal Thevai Illai — Homage, Heart, and Scale

  • Film: Amaravathi (1993)

  • Singers: S. P. Balasubrahmanyam & S. Janaki

  • Lyricist: Vairamuthu

  • Composer: Bala Bharathi

Bala Bharathi’s Taj Mahal Thevai Illai Anname Anname opens with the tender hush of flute and synth — an unmistakable nod to Ilaiyaraaja’s phrasing. Yet, what follows soon diverges: layered strings, digital warmth, and early-90s tonal lushness paint a wider emotional canvas.

SPB’s rendition carries the dignity of devotion — a voice not just singing to a beloved, but to an ideal. S. Janaki answers with gentle grace, turning the duet into a dialogue between love and reverence.

Melodically, the song often recalls Anandha Raagam Keetkum Kaalam: familiar ascents, mirrored pauses, the same Simhendramadhyamam breathings. Yet Bala Bharathi lets the song wander, exploring subtler emotional shades. It feels less like imitation, more like remembrance — a scale reborn as a salutation.


5. Comparing the Two — A Musical Table

Feature Anandha Raagam Keetkum Kaalam Taj Mahal Thevai Illai Anname Anname
Composer Ilaiyaraaja Bala Bharathi
Singer(s) Uma Ramanan SPB, S. Janaki
Emotional Core Longing, youth, introspection Reverence, maturity, devotion
Orchestration Sparse, acoustic, flute + strings Lush, layered, synth + orchestral strings
Use of Raga Faithful to Simhendramadhyamam’s grammar Inspired by its scale and motifs, with flexible phrasing
Mood Intimate, inward-turning Expansive, outward-reaching
Tribute Element Original, foundational Homage through melodic echo and tone

6. Thematic Continuum — From Question to Reverent Answer

If Anandha Raagam Keetkum Kaalam is a young heart asking, “Do you hear the raga of my yearning?”, then Taj Mahal Thevai Illai is its serene reply: “Yes — and I build a monument in song to hold that longing.”

Ilaiyaraaja’s composition is the tremulous first blush of feeling; Bala Bharathi’s is its mature reflection. The shared raga becomes not just a melodic framework, but a bridge of emotion across time — where innocence finds its echo in reverence, and homage becomes continuity.



7. Context and Continuity

In the early 1980s, Ilaiyaraaja was quietly reshaping the grammar of Tamil film music — weaving classical ragas into popular soundscapes with an ease that felt both natural and revolutionary. By the early 1990s, a new generation of composers, Bala Bharathi among them, carried that idiom forward — not as imitation, but as inheritance.

Taj Mahal Thevai Illai remains one of the most heartfelt tributes of that era: a disciple saluting his master through melody rather than declaration. It is not an echo of dependence, but an articulation of gratitude — music bowing to music.



8. Listener’s Reflection — The Veteran Ear

“Whenever I hear Taj Mahal Thevai Illai, the very first breath of melody takes me back to Anandha Raagam Keetkum Kaalam. The kinship is unmistakable — the same melodic curves, the same wistful pauses, the same quiet ache of Simhendramadhyamam. Yet Bala Bharathi’s song walks its own path. It wanders, it returns, it bows in reverence. What I hear is not imitation, but remembrance — the raga remembering itself.”

This reflection captures what technical analysis never quite can — that fleeting sense of recognition without reasoning. Some bonds in music are not studied; they are simply known. To those who have lived with these melodies for years, the ear itself remembers — listening not just to sound, but to time, to tenderness, and to the raga’s own memory of its earlier self.



9. Where Words Meet Music — Hear the Echoes

🎧 Anandha Raagam Keetkum Kaalam (Panneer Pushpangal, 1981)

 


🎧 Taj Mahal Thevai Illai Anname Anname (Amaravathi, 1993)





10. Conclusion — Melodic Memory as Legacy

Between Ilaiyaraaja’s Anandha Raagam Keetkum Kaalam and Bala Bharathi’s Taj Mahal Thevai Illai flows a single melodic spirit — Simhendramadhyamam — carrying within it two reflections of the same soul. What in the former was youthful wonder and tender introspection becomes, in the latter, a quiet prayer — devotion tinged with remembrance.

Ilaiyaraaja approached the raga as one discovering beauty for the first time; Bala Bharathi, as one returning to it with gratitude. Their dialogue is not merely musical but emotional — a conversation across time and temperament.

In both, Simhendramadhyamam transcends grammar and scale. It becomes memory itself — the living pulse between master and admirer, between silence and sound. The raga does not conclude; it recedes, leaving behind the fragrance of restraint.

As Ilaiyaraaja once said, “Ragas are like people; they respond differently depending on how you love them.”

 
Perhaps that is the grace of this story — for Bala Bharathi loved the same raga that Ilaiyaraaja once awakened, and through that love, allowed it to sing again.


Author’s Note

I have lived with Ilaiyaraaja’s music for as long as I can remember. I write not as a musician, but as a listener who has learned to read emotion through sound — to sense a raga’s intent the way one senses sunlight through a curtain. My understanding of music is born of listening, of quiet curiosity, of seeing how a melody can mirror a human thought. Each essay I write is, in essence, a gesture of gratitude — to the composers who revealed that music is not merely heard, but felt into being.

Dhinakar Rajaram


#Simhendramadhyamam #Ilaiyaraaja #BalaBharathi #TamilFilmMusic #RagaTribute #CarnaticInFilm #AnandhaRaagam #TajMahalThevaiIllai #RagaAnalysis #MusicalLineage


© Dhinakar Rajaram, 2025. All rights reserved.
This work — Two Songs, One Soul: Echoes in Simmendramadhyamam — From Ilaiyaraaja’s Anandha Raagam to Bala Bharathi’s Taj Mahal Thevai Illai — is an original work of research, reflection, and composition by the author.

No part of this publication, including text, imagery, or design, may be reproduced, redistributed, or adapted — in whole or in part — without explicit written consent. Quotations for academic or non-commercial purposes are welcome with proper attribution.

Cover Design: © Dhinakar Rajaram, 2025
Concept & Research: Dhinakar Rajaram
Typography & Layout: Inspired by traditional Carnatic motifs and early Tamil film poster aesthetics.
Artwork Theme: A symbolic continuum of Simhendramadhyamam — blending the lyrical introspection of Anandha Raagam Keetkum Kaalam with the devotional resonance of Taj Mahal Thevai Illai.



Wednesday, 19 November 2025

Thalayai Kuniyum Thamaraiye — The Lotus That Bows in Reethigowai

 

🌸 A Listener’s Reflection on Ilaiyaraaja’s Timeless Composition from Oru Odai Nadhiyagirathu (1983)

 

Prologue — When the Lotus Learns to Bow:

There are songs that seem written about beauty, and then there are songs that become beauty itself. Thalayai Kuniyum Thamaraiye belongs to that second kind. The moment its first notes emerge, the world slows down — not into silence, but into listening.

“Reethigowai is not just a scale; it lives quietly in my heart, unfolding with every note of Ilaiyaraaja.”

Reethigowai is my most loved raga. Even if one woke me from sleep and asked me to identify it, I would recognise it instantly. I have no formal training in music. What little I know of ragas, I’ve learnt by listening — and more than anyone else, by listening to Ilaiyaraaja. His music is a kind of university for the ear.

“Every listen reveals a new whisper — a faint counterpoint, a paused note, a subtle glide — that the raga offers only to those who truly listen.”

This song, in Reethigowai, taught me that even surrender can have a melody.


1. The Raga — Reethigowai, the Language of Grace

Reethigowai (or Reetigowla) has always felt to me like a quiet morning raga — the kind that doesn’t need to announce its arrival. It just appears, like dawn seeping into the sky.

Technically, it is derived from Kharaharapriya (22nd Melakarta), with a vakra arohanam (S R₂ G₂ M₁ P N₂ S) and avarohanam (S N₂ D₂ P M₁ G₂ R₂ S). What gives it its charm, to my ear, is the smooth glides (gamakas) on the gandharam and nishadam, and the subtle oscillations on the madhyamam.

Ilaiyaraaja handles Reethigowai not as a classical showcase, but as a living language. His phrases feel like spoken emotion — natural, unhurried, deeply human.


2. The Voices — The Master and the Scholar

The song brings together two worlds:

  • S. P. Balasubrahmanyam, the eternal voice of warmth and expression.

  • Dr. S. Rajeswari, Carnatic musician and former Principal of the Tamil Nadu Government Music College, who sang only this one song in her cinematic career — and left behind something immortal.

“SPB’s warmth, Dr. Rajeswari’s poise, and Ilaiyaraaja’s invisible hand together create a truth beyond words.”


 
"Dr. S. Rajeswari receiving award from then CM MGR" (Source: Narthaki Interview )

For a song so steeped in classical serenity, Ilaiyaraaja chose a scholar — someone who could bring the purity of Reethigowai as it is taught, not merely sung.

Dr. Rajeswari’s voice has a clarity that reminds one of a veena string — poised and perfectly pitched. SPB’s voice, with its velvety phrasing, flows beside hers like water around a rock. Together, they form a musical dialogue — tradition and tenderness walking hand in hand.


3. The Composition — A River in Sound

The film, Oru Odai Nadhiyagirathu (1983), translates to “A Stream Becomes a River” — and how apt that title is for this song. The music flows like a quiet river, gathering depth as it moves.

The Opening
Soft strings — violins in whisper, deep cellos breathing beneath — and hints of flute or nagaswaram-like timbre create a sunrise effect. Even a gentle double bass undercurrent gives the melody gravity.

The Pallavi

“Thalayai kuniyum thamaraiye” — SPB sings it as though offering it to the listener. The glide from ni to dha, the pauses, and the phrasing are subtle yet expressive.

Dr. Rajeswari enters with precision, her voice pure, unembellished, almost veena-like, adding a meditative calm.

Interludes & Charanam
The orchestration alternates between Indian and Western instruments — nagaswaram, strings, subtle percussion, and double bass. Rhythms are delicate, likely in slow Adi tala, holding the melody without forcing it. Each interlude allows the raga to breathe.

SPB and Rajeswari alternate — his voice exploring, hers centering. The melody seems to bow in itself — a musical gesture of reverence.

The Ending
The song closes in soft resignation. Orchestral layers withdraw gracefully. Silence, finally, becomes part of the music.


4. Orchestration — The Art of Saying Little

Ilaiyaraaja’s restraint is masterful. Even with strings, cellos, double bass, subtle percussion, flute, and Indian winds, he never overwhelms. Each layer serves the raga and the emotion:

  • Strings: violins, cellos — flowing like gentle waves

  • Indian wind instruments: nagaswaram, shehnai-like tones — infuse classical character

  • Percussion: soft, minimal, almost imperceptible

  • Harmony layers: subtle pads and drones supporting, never dominating

The orchestra breathes, never performs.


🎼 Technical Notes (From My Listening)

  • Raga: Reethigowai (Reetigowla), derived from Kharaharapriya (22nd Melakarta)

    • Arohanam (ascending): S R₂ G₂ M₁ P N₂ S

    • Avarohanam (descending): S N₂ D₂ P M₁ G₂ R₂ S

    • Distinctive gamakas on gandharam and nishadam; smooth madhyamam transitions

  • Vocalists:

    • S. P. Balasubrahmanyam — expressive, velvety phrasing, playful glides

    • Dr. S. Rajeswari — precise, veena-like tone, calm, disciplined

  • Instrumentation:
    Strings: Violins, Cellos, Double Bass — flowing waves supporting melody
    Indian winds: Nagaswaram-like tones, subtle shehnai inflections
    Percussion: Minimal, slow Adi tala, likely soft mridangam or tabla touches
    Others: Subtle keyboard pads, harmonic drones, gentle flute interjections

  • Orchestration Style: Sparse and restrained; each note deliberate

  • Musical Phrasing: Alternating vocals create a dialogue of exploration (SPB) and centering (Rajeswari); pauses, slides, and bowing gestures reflect humility and introspection

  • Emotion: Slow tempo, reflective, devotional; music itself bows, like the lotus in the song


5. What I Heard, Not What I Knew

“I may not read swaras, but I feel them; I may not count talas, but I live them — that is the language of Reethigowai.”

Every listen reveals something new — a faint counterpoint, a paused note, a subtle modulation. That is the power of Ilaiyaraaja — he teaches the ear through emotion.


6. Dr. S. Rajeswari — The Voice of a Single Bloom

It feels poetic that Dr. Rajeswari, who taught music all her life, left behind only this cinematic song — and that too, one as introspective as this. Her voice is disciplined, precise, and humble, perfectly reflecting the spirit of Reethigowai.


7. The Emotion — The Philosophy of Bowing

This song is about acceptance — the graceful act of bowing, not out of weakness, but wisdom. Reethigowai’s gentle curves give voice to this emotion.

“This song bows like the lotus — graceful surrender expressed through melody, rhythm, and silence.”


8. The Lotus and the River

Between Chinna Kannan Azhaikiraan and Thalayai Kuniyum Thamaraiye, one hears Ilaiyaraaja’s evolution — from youthful exuberance to mature introspection. The stream became the river.

“Between the stream of Chinna Kannan Azhaikiraan and the river of Thalayai Kuniyum Thamaraiye, Ilaiyaraaja taught me to listen with the heart.”


Epilogue — When the Song Ends, the Listening Begins

When the last note fades, I find myself quieter inside. Not sad, not happy — just calm. Reethigowai has done its work. Its gentle curves, its bows and dips, its very essence — speak instinctively to my heart.

“Dr. Rajeswari lent purity. SPB lent soul. Ilaiyaraaja lent eternity.”

And the listener — like me, like you — can only bow.


🎵 Listen here: 



#Ilaiyaraaja #Reethigowai #OruOdaiNadhiyagirathu #SPBalasubrahmanyam #DrSRajeswari #CarnaticMusic #TamilFilmMusic #IndianClassical #MusicAnalysis #TimelessMusic #ListeningWithHeart



Copyright

© Dhinakar Rajaram, 2025. All rights reserved.

This article — including text, analysis, illustrations, reflections, and formatting — is an original work of the author. It may not be reproduced, republished, or redistributed — in whole or in part — without explicit written consent. Readers and enthusiasts are welcome to quote brief excerpts for academic, journalistic, or non-commercial purposes with proper attribution.

The photograph of Dr. S. Rajeswari receiving an award from then CM MGR is sourced from Narthaki Interview  and is used here solely for illustrative and educational purposes, with full credit to the original source.