The beam, intricately carved with human figures, likely adorned the varandika of the temple, the adjoining portions between the temple walls and the spire. The protruding offsets typically portray mithuna figures within the niches, while the recess between the two offsets is exquisitely carved with images of apsaras or women engaged in different actions. The male figures are often depicted wielding weapons and in the company of female companions.
The four-faced linga, known as the Pancha-mukhi Mahadev, situated in the sanctum of the Harshnath Temple, is actively worshipped at the site. It features three benevolent faces, while the one facing northward is fierce. One face is considered to be at the top of the linga. They collectively represent the Sadashiva form of Shiva. Although the idol is contemporary with the main shrine, there is some disagreement regarding whether it was the original image in the shrine or a later replacement. Ambika Dhaka (2001:377) highlights a strong possibility of it being a later replacement based on two points.
1) According to texts, the fierce face should be facing southward, but here it is oriented towards the north.
2) There is a difference in the circumference of the linga in situ, which is smaller, and the socket, which is larger.
Two separate devakostha niches are present. The larger one houses Ganesha, while the smaller one houses Parvati. Ganesha is depicted dancing and four-armed holding a goad, a vessel of sweets, etc. Parvati is standing erect in sambhanga with a jata-mukuta. She is depicted with six arms, holding a trident, akshayamala, spear, etc. These devakoshthas are affixed on a late structure on Harsha Hill.
It seems that the beam, richly carved with human figures, was probably 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 various activities. The male figures are often depicted with weapons and in the company of female companions. This fragment is one of the loose architectural fragments on Harsha Hill.
Inside one of the late medieval structures on Harsha Hill, the idol is in active worship. It is excessively smeared with paint and silver, making it challenging to determine its dating or identification.
There are many loose architectural fragments scattered within the Harshnath Temple Complex. In this fragment, musicians are depicted singing or playing a variety of musical instruments. At the centre is a male with long hair and a beard, playing the drum.
It appears that the beam, adorned with intricately carved human figures, was probably 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. The male figures are usually shown with weapons and accompanied by female companions. This fragment is one of the loose architectural fragments on Harsha Hill.
The dikpala or directional deity Kubera is depicted on the niche of the right-hand side, while the adjoining figure on the left is of Ishana. Vyala is depicted on the subsidiary offset of the temple wall. The image of a directional deity that once adorned the temple wall is now affixed on a late medieval structure on Harsha Hill.