The room is colonnaded and spacious with cusped arches. The entry within the ‘palace’ can be made through two flights of stairs on both ends. The arcade is four-sided with pointed arches. It is also known as the Summer Palace. Small jalis are present on the windows.
Four-armed male deity seated in lalitasana on a cushion. It is stylistically similar to the multiple Ganesha images recovered from the Harshatmata Temple.
Six-armed female deity holding a trident, sword in her right; shield, munda in her left hand, rest is not clear. The leg is pressing on his hump, pressing the demon down. The decapitated head is shown fallen down. The lion chomps at the bull/demon's hip. It is stylistically similar to the multiple Durga Mahishasuramardini images recovered from the Harshatmata temple.
Musicians, dancers, and harp players are present on the central section of the lintel. The right section has a depiction of Kubera with a female attendant serving wine; the left section has a seated Durga in a padmasana position on a lotus with eight hands holding a bow, kamandala (pitcher), sword, shield, and rosary. Other details are unclear. There are two addorsed lions present beneath the lotus. There are also two attendants present.
Picture Courtesy: Hawa Mahal Museum
The panel is divided into two sections, displaying the matrikas, each identifiable by their vahanas (mounts) in the following order: Maheshvari, Vaishnavi, Vinadhara Shiva, Varahi, and Kaumari. The section on the left features Aindri (or Indrani) and Chamunda. Shiva, positioned in the centre, holds a veena in his lower two hands and a trident and snake in his upper two hands.
Picture Courtesy: Albert Hall Museum, Jaipur
It is a trishakha (three vertical bands or branches) lintel having a nagashakha (serpent branch), inner patravalli (foliage pattern), and a mithunashakha (amorous couple branch) at the top, with the central figure of Shiva-Parvati in alingana (embrace), interspersed by kirtimukhas (face of glory). Two standing mithuna (amorous couple) figures are present at the end of the lintel.
Picture Courtesy: National Museum, New Delhi
An eight-armed Goddess stands on a lotus and naravahana (human corpse). Her form appears emaciated with sagging breasts and a sunken stomach. She has her mouth open and is pointing her little finger towards it with her left hand. She holds a trident in her right hand and a khappar (skull bowl) and naramunda (severed head) spear in the left hand. The remaining hands are broken. To her right, a lion-headed female (perhaps Narasimhi) and gana (attendant) is depicted, while on her left, a dog is seen licking the blood off the naramunda. A beaded halo is present behind her head. The gana and the naravahana exchange looks, with the gana holding his foot.
An eight-armed deity is depicted standing in samabhanga (upright posture) on a lotus beneath which are two addorsed lions. The deity holds a shield in the upper left hand; the remaining hands are broken. A halo is present behind her head. A female attendant stands on the right. Stylistically similar to those seen at Ambika Temple in Jagat (dated 10th century CE).
Couples invoking shringara rasa (associated with romance, love, and attractiveness between lovers) are framed in panels with pillars and tiered shikhara with gavaksha (horseshoe) motifs. The central figures are wearing heavy jewellery, elaborate headgear, and garments, indicating they are a royal couple. The central male figure is seated on a raised circular seat in the lalitasana pose, firing an arrow from a bow. Standing on his left are two female figures (faces defaced), looking toward him. The female on his immediate left is holding a flower in her right hand. The female to his far left is holding a floral scroll. The female figure on his right is damaged. A bunch of mangoes hang above them. Mangoes are symbols of kama or sexual desire. Therefore, it could possibly be a depiction of Kamadeva (Hindu God of erotic love, pleasure, and desire) and the females may be apsaras (celestial nymphs) or his consort, Goddess Rati.