Seen here is the eastern elevation of the Neelkanth Mahadev Temple. The central shrine is the best preserved of all shrines in the tri-kuta temple. The Latina Nagara variety of shikhara atop the central shrine of the Neelkanth Mahadev Temple has been renovated.
The ruinous Naugaza Shantinatha temple houses the colossal Jina Tirthankara Shantinatha image in its garbhagriha (sanctum sanctorum). Only the exterior plinths of this temple have survived. These are decorated with elephant friezes and geometric patterns.
The view of the interior of the mandapa (pillared hall) of Neelkanth Mahadev Temple as seen from the north western corner of the mandapa. In front of the three shrines of this temple is a shared mandapa with four pillars at the centre.
The Neelkanth Mahadev Temple is situated amidst dense vegetation, among the foothills of the Aravalli Range, inside the Sariska Tiger Reserve. The temple built in sandstone stands out in the greenery spread across the plains.
Seen here are remains of two temples from the Sariska Forest Reserve. The temple on the left is a restored single shrine that had a Latina Nagara variety shikhara (superstructure). What remains of the temple on the right is only its huge plinths with geometric patterns; above these plinths, there are remnants of pillars.
This is a view of the Neelkanth Mahadev Temple seen from its southeastern corner. Also pictured here are the southern and eastern shrines of the temple as seen from the rear. The western side of the temple is its principal entrance, and the eastern shrine has a partially preserved and conserved shrine.
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.