View of the mandapa (hall) of the Mandaleshwar Mahadev Temple as seen from the mukhamandapa (front porch) of the temple. The mandapa is astylar, which means that it does not have any pillars in the centre of the hall. The pilasters are arranged along the sides to support the entire structure. The pilasters and pillar types are simple, plain shafts with minimal ornamentation of foliage motifs.
The entrance of the garbhagriha (sanctum sanctorum) of the Mandaleshwar Mahadev Temple is marked by an ornate dvarashakha (door jamb). Seen here is the view of the garbhagriha entrance from the mandapa of the temple. The dvarashakha is of the trishakha (with three vertical bands) variety, profusely carved with sculptures and geometric designs. The lalatabimba (lintel) has a sculpture of Ganesha. The three shakhas (vertical bands) of the dvarashakha are a patri (foliage) shakha, a shakha of maladharas (garland bearers) and one shakha with deities and ghatpallava (pot with foliage) motif.
Seen here is the south-facing elevation of the Mandaleshwar Mahadev Temple. The temple’s plan consists of a mukhamandapa (front porch) followed by a mandapa (pillared hall), an antarala (antechamber), and a garbhagriha (sanctum sanctorum). The mandapa is semi-open, that is, having lateral wings or transepts on the south and north sides. The original shikhara (superstructure) of the temple is probably lost. Presently, the temple has a shekhari (multi-spired) variety of shikhara built in brick.
West-facing elevation of the main Mandaleshwar Mahadev Temple is seen here. The mulaprasada (main shrine) of the temple is saptaratha (consisting of seven projections). The intermediate and corner projections of the temple are slender and narrow, devoid of any sculptures. Only the central projection has a sculpture inside a niche.
The west-facing central projection on the Mandaleshwar Mahadev Temple has an icon of Natesha. The image is framed in a decorative niche which has a pediment above it. The right side of the six-handed sculpture is broken. The lower left and upper left hands of the sculpture are shown holding a khatvanga (staff with a skull).
West-facing elevation of the main Mandaleshwar Mahadev Temple is seen here. Details of the mouldings of the jangha (wall) and vedibandha (basal mouldings) of the temple. The intermediate and corner projections of the temple are slender and narrow, devoid of any sculptures. Only the central projection has a sculpture inside a niche.
In the frieze of the drumming and dancing gods are Indra, seated on his elephant Airavata; a warrior holding a sword and shield, and an Apsara. Stella Kramrisch, in her work Hindu Temples (vol-2, plate LXVIII, p. 402-403) describes the spirit of the image in the following manner: 'the movement sways and surges to either side of a standing god who holds a long lance and seems to have ushered in before Indra the warrior so that he becomes one of the dancers. Indra, enthroned in a posture of ease, the right hand raised in Abhaya-mudra, grants fearlessness; his left-hand holds the Vajra. Small shapes surround him, Matali, his mahout, and companion spirits, Marut-like.' The elephant's trunk and the warrior's legs are interlaced; the warrior's is the largest movement; across the depth of the relief, he steps forward into the line of the celestials. Their dance vibrates, to the stamping of the feet, a suave tremor free from tension.” This image resonates with verse 7 of the Harsha stone inscription of Vigraharaja which mentions that the lord Harsha (Shiva) is worshipped on the hill by the joyous divine host, Indra.
This is one of the many images of yoginis found at the site hinting towards 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 placid expressions of this two-armed yogini seated in the lalitasana pose suggest her benevolent nature.
This important image of Vaikuntha Vishnu reveals the presence of the Pancharatra form of Vaishnavism at Harsha Hill. Pancharatra had spread to various regions of Rajasthan from the eighth century CE onwards, with its most visible manifestations in temples like the Harshatmata Temple of Abhaneri. This image reveals its spread, even if in a limited manner, to the region of Shekhavati. The niches on either side depict damsels and musicians. The four faces of Vaikuntha Vishnu represent its four emanations/vyuha- Vasudeva, Sankarshana, Pradyumna and Aniruddha. The side faces are that of boar and lion, typical of Vaikuntha iconography. He is seated in the lalitasana pose.
Image courtesy: Government Museum, Sikar
This image of Durga-Mahisasuramardini in active worship 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.