Around a dozen of sub-shrines were built on Harsha Hill in the 10th and 11th centuries CE. These were dedicated to various Brahmanical deities, as indicated by the architectural fragments. Unlike a Panchayatan temple or a planned temple complex, the irregular placement and size-proportions of these sub-shrines suggest a random and unplanned construction process over an extended period of time.
The doorway of the garbhagriha consists of five panchashakha (jambs) of the Harshnath Temple. Pairs of dvarapala (door guardian) and river goddesses (Ganga-Yamuna) occupy their standard positions at the bottom of the jamb. Mithuna figures are carved on either side in their typical positions. In the foreground are elaborately carved pillars with purna-ghatas, which, according to Art historian Ambika Dhaka, maybe a later replacement.
A four-armed figure of a seated Lakshmi with lotuses in her upper two hands, while her lower left hand holds a pot and the lower right is in the varada mudra. She is referred to as Goddess Leeliya on the museum label. She is accompanied by female attendants holding flowers on either side. The sculpture is housed in the Government Museum, Sikar.
Image courtesy: Government Museum, Sikar
This Shaiva figure was possibly part of a devakostha or sculptural niche placed on the walls of a now-lost Shaiva shrine. It is now housed in the Government Museum, Sikar. The four-armed seated figure holds a trident and a staff in the upper two hands, while the lower two hands are considerably damaged. The figure is ithyphallic, symbolizing the Urdhvareta aspect of Shiva, indicating mastery over the vital energies through ascetic vigour. It is plausible that this image represents Lakulisha, the preceptor of the Pashupata tradition. The Harshnath Temple’s history clearly indicates that the temple was under the control of and likely erected by ascetics of the Lakulisha-Pashupata tradition. Therefore, the depiction of Lakulisha on the temple walls comes as no surprise.
Image courtesy: The Government Museum, Sikar
It seems that the beam, richly carved with human figures, was likely placed on the varandika of the temple, the adjoining portions between the temple walls and the spire. The protruding offsets typically feature mithuna figures inside the niches, while the recess between the two offsets is beautifully carved with images of apsaras or women engaged in different actions such as carrying children, weapons, etc. The male figures are often portrayed with weapons and accompanied by female companions. This fragment is one of the loose architectural fragments on Harsha Hill.
The lintel of the doorway of the sanctum. At the lalata is a figure of Lakulisha. The frame is richly carved with musicians and dancers. The current lintel on the doorframe of the Harshnath temple is likely a later replacement. This lintel, depicting Lakulisha, may have belonged to the Harshnath Temple.
On the northeast corner of the Harshnath Temple wall, dikpala Ishana is depicted with his vahana, a bull. A dwarf figure feeding the bull from a vessel is an interesting feature of the image. A dwarf figure feeding the bull from a vessel is an interesting feature of the image.
Outside the entrance of the Harsha Bhairon shrine on Harsha Hill, this image of Durga-Mahishasuramardini is in active worship. It is smeared with black paint and clothed, which obscures the details of the image. It is one of the many images contemporaneous to the Harsha shrine, affixed in the enclosure of the Bhairon shrine.