This sculpture is arguably the oldest at the shrine, dated by Ambika Dhaka to the 8th century CE The sculpture thus significantly precedes the Harshnath Temple, which was built in the second half of the 10th century. The Harshnath stone inscription records the devotion towards Lord Harsha by an early founding figure of the Chauhan line, Guvaka-I, a local chieftain and feudatory of the powerful imperial Pratihara dynasty, who lived roughly during the first quarter of the ninth century CE. The Shaiva association with the hill may have preceded the time of Guvaka, but what can be said with certainty is the much older association of the hill with Surya. The figure exhibits standard iconographic features of the Sun God, such as fully bloomed lotuses in two hands, a long tunic, boots and retinue figures in pairs like his companions - Danda and Pingala, his wives and his sons, Ashvins.
A white stone image of Nandi, Shiva’s bull, placed over the Nandimandapa facing the Harshnath Temple. The image could be a later replacement of the original image. The Verse-12 of the Harshnath stone inscription records ‘Resembling (in height) the peak of Meru, it is pleasant on account of an excellent arched doorway (torana-dvara), and well-carved bull (Nandi), and is full of manifold objects of enjoyment’. The mentioned image of Nandi, whether original or a later replacement, presents a visual correspondence to the epigraphical description of the temple complex.
Shafts of a pair of columns that once surmounted a torana or doorways at the entrance of the temple complex. Verse-12 of the Harshnath stone inscription records ‘Resembling (in height) the peak of Meru, it is pleasant on account of an excellent torana-dvara (arched doorway), and well-carved Nandi, and is full of manifold objects of enjoyment.’ The mentioned shafts formed the arched entrance described in the verse.
Architectural fragments affixed on a late medieval structure on Harsha Hill. Loose fragments include remains of a superstructure, a panel depicting dancing figures, etc.
This 18th-century CE temple is raised on a high platform and located at the entrance of the temple complex, next to the ancient Harshnath Temple. The temple is a living temple.
The plaque reads ‘The temple of Shiva Harshnath, the family deity of Chahamana rulers, situated on the Harsha-giri depicts the Maha-Maru style. According to an inscription dated V.S. 1030 (CE973), it was built by a Shaiva ascetic Bhavarakta, alias Allata, in CE 956 during the reign of Vigraharaja I of the Chahamana dynasty. Chand Shiva was the chief architect. The temple complex consists of garbhagriha, antarala, rangamandapa with kakshasana and porch with a separate Nandi mandapa. Originally, the temple was adorned with a spire. Though now in a ruined condition, it was noteworthy for its architectural landmark and high-quality sculptures of Brahmanical divinities and decorative panels of kirtimukha motifs, dancers and musicians, warriors, etc. Adjoining the main temple is another temple of the late medieval period also dedicated to Shiva, which is built on a very high platform. Besides a Bhairav shrine is also at some distance in the complex.’
This is a fascinating and rare image of Narasimha depicted in a dancing stance. He stands on one foot placed over what appears to be a prostrating figure, possibly a woman. With one hand raised in the air, he forms a lap above which the slain demon king is placed. He has eight arms and is accompanied by a dwarf warrior whose dynamic movement complements the dynamic posture of Narasimha. Such an iconographic depiction of Narasimha is rare and the identity of the dwarf warrior and the prostrating figure over which he stands remain enigmatic.
The Gokarneshwara or Bisaldeo Temple in a courtyard built on the Banas river. It is located near the Bisalpur dam. The plan of temple consists of a garbhagriha (sanctum sanctorum), an antarala (vestibule or antechamber), a mahamandapa (pillared hall) with lateral transepts and an ardhamandapa. It is a nirandhara prasada i.e., without the pradakshina path or circumambulatory path. The sanctum is pancharatha (consisting of five projections on each side) in plan and the walls of the sanctum are plain.