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.
The pillars in the mandapa of the Harshnath temple lack homogeneity and may have been a later replacement. One of these pillars is adorned with intricate carvings of apsaras and female deities like Parvati, as seen in this image, within the niches of the pillar. Beneath these pillar niches are panels depicting musicians, dancers, celestial beings, deities like Ganesha and ascetics. The four-armed Goddess, likely Parvati, seems to be standing on a vahana resembling an iguana. Two attributes certainly identifiable are a mala and a flower. The panel below depicts two figures engaged in a discussion, over a text.
Independent sculpture of yogini affixed on the Bhairon compound near the entry of the main shrine in the basement. This is one of the many images of yoginis found at the site hinting at a lost yogini temple compound. Contextualizing this image with several other relevant images suggests a maturity of Shakti and tantric traditions at the site. Her arms are lost, and she sits in the lalitasana posture.
The pillars in the mandapa of the Harshnath Temple lack homogeneity and may have been replaced at a later date. This pillar does not feature any images of goddesses in the niches. Instead, it displays a panel of musicians and dancers.
Idol obtained from Harsha Hill, now housed in the Government Museum, Sikar. This is one of the many images of yoginis found at the site hinting at a lost yogini temple compound. Contextualizing this image with several other relevant images suggests a maturity of Shakti and tantric traditions at the site. The two-armed yogini is seated in the lalitasana posture. She holds a mala in her right hand and a cup in her left hand. Her head is lost. The yogini is holding a cup in her left hand, often associated in tantric traditions with the cup containing the symbolic nectar of spiritual bliss attained after the completion of tantric sadhana. The two-armed yogini is seated in the lalitasana posture. She holds a mala in her right hand and a cup in her left hand. Her head is lost.
Image courtesy: Government Museum, Sikar
Idol obtained from Harsha Hill, now housed in the Government Museum, Sikar. The four-armed seated figure, likely of Shaiva affiliation, occupies a central place in the architectural fragment. He holds a trident and likely a staff in his upper two hands, while the lower hands hold a citron in the left hand and an unclear object in the right. While the figure lacks an ithyphallic representation, it could still be interpreted as Lakulisha. Flanking this central figure in the subset niches on either side are two apsaras.
Image courtesy: Government Museum, Sikar
The memorial stone, in the Government Museum Sikar, bears an unpublished epigraph recording the death of an individual named Mahipal. A niche carved on the top of the panel depicts a Shaiva ascetic on one side of a shivalinga and a devotee, likely perhaps Mahipal, standing on the other side. Though its precise provenance is unknown, this artifact sheds important information about the Shaiva landscape of the city of Sikar in the 12th century CE.
Image courtesy: The Government Museum, Sikar