The temple, now in a state of ruin consists of a mulaprasada of tri-anga specification, joined by a rangamandapa. It lacks the piṭha but starts from a single plinth course. The vedibandha is damaged in some places but otherwise had a kumbha with an intricate udgama motif and a small central box carrying a figure. The jangha, which is almost destroyed, once had dikpalas at the karṇas as evidenced by remains in the northeastern corner. The surasundaris likely adorned the pratirathas and the salilantara-recesses. Inside the sanctum is a shivalinga in active worship, likely contemporary with the main shrine. The temple lacks any super-structure which may have collapsed over the centuries. Stylistically the architecture of the Harshnath Temple falls in the Maha-Maru style but incorporates elements of the Maru-Gurjara style, particularly evident base mouldings and other temple features.
Inside the sanctum of the temple are beautiful sculptures of nayikas on the wall. Most of them are inscribed with epithets in the 10th-century kutila script. The two-armed damsel carries a chamara fly whisk.
This 18th-century temple is raised on a high platform and located at the entrance of the temple complex, next to the Harshnath Temple. The temple is still active in worship.
Inside the sanctum of the temple are beautiful sculptures of nayikas on the wall, while at the centre of the principal/back wall is placed a colossal image of Parvati in penance or the pancagni tapa. Interestingly, their names are scribed in the kuṭila script of the 10th century CE. The inscribed epithet calls her Vikata, a possible explanation for this unusual name would be Gauri treading the Vikata-marga by performing penance. This epithet also appears in the Harsha stone inscription of VS 1030. Shiva, who occupies a central place in the sanctum in the form of linga placed on yoni, is coupled with the representation of Shakti on the surrounding walls inside the sanctum. A four-armed Parvati is depicted performing the penance of the pancagni-tapa, visually represented with fires on either side. She stands erect on an iguana, earning the label Godhasana Gauri. Flanking her are two standing and two sitting female attendants on either side.
Close to the Harshnath temple complex lies the Bhairon shrine, with a semi-iconic rock, locally known as the Harsha Bhairon. He is believed to be a manifestation of the folk hero, Harsha, who decided to settle at the hill to worship Shiva and was blessed by the latter to be worshipped at the hill as Bhairon. Several 10th-century CE sculptures are fixed on the walls of this complex. Today, the Bhairon shrine is the epicentre of pilgrimage to Harsha Hill and is regarded as the family deity of several local castes.