The lintel over the door jambs of the sanctum of the Harshnath Temple depicts the trio of Brahma, Vishnu, and Mahesha, with Vishnu occupying the central position. Art historian Ambika Dhaka is of the view that this lintel might have been a later replacement of the original lintel featuring an image of Lakulisha at the centre. Above the lintel, there are architectural fragments confirming a later-day renovation made from reused architectural pieces.
These pillars, which were once part of the mandapa of a temple, have been affixed on this late medieval structure. The purna-kalasha is beautifully carved.
One notable architectural fragment affixed on the structure is a row of elephants (seen below the closed window), which must have once been part of the temple’s base moulding.
On the main offset, there is a carved image of a directional deity inside the niche, such as Vayu. In the recess, there is a vyala figure and a lion rider. It is affixed on a late structure.
Broken fragment of a navagraha panel, now housed in the Government Museum, Sikar, depicting (from right to left) a female figure, Ketu, Rahu and two other planetary gods depicted akin to rishis.
Image courtesy: Government Museum, Sikar
These pillars, popularly called Govardhan pillars, are quite common in several regions of Rajasthan, particularly the more arid regions of Thar and Maru. Although they may not always feature the image of Govardhan-Krishna in all cases. The top of the pillar is shaped like a temple and the niches on three sides have images of Ganesha, Vishnu and Shiva, while what appears to be the principal face has two niches. The lower one has two male figures standing erect with closed hands and the upper one has two such figures worshipping the Shivalinga. Govardhan pillars are commonly, though not always, erected to commemorate the deceased, and this also seems to be the case with our pillar as well.
This is one of the many images of yoginis found at the site, hinting at a lost yogini temple compound. The placid expressions of this two-armed yogini seated in the lalitasana posture suggest her benevolent nature. Contextualizing this image with several other relevant images suggests a maturity of Shakti and tantric traditions at the site.
A surasundari on the antarala holding a flute. At the bottom is a dwarf holding a drum. In the adjoining recess, there is another image of a surasundari.