Two separate devakostha niches are present. The larger one houses Ganesha, while the smaller one houses Parvati. Ganesha is depicted dancing and four-armed holding a goad, a vessel of sweets, etc. Parvati is standing erect in sambhanga with a jata-mukuta. She is depicted with six arms, holding a trident, akshayamala, spear, etc. These devakoshthas are affixed on a late structure on Harsha Hill.
It seems that the beam, richly carved with human figures, was probably placed on the varandika of the temple, the adjoining portions between the temple walls and the spire. The protruding offsets typically feature mithuna figures inside the niches, while the recess between the two offsets is beautifully carved with images of apsaras or women engaged in various activities. The male figures are often depicted with weapons and in the company of female companions. This fragment is one of the loose architectural fragments on Harsha Hill.
Inside one of the late medieval structures on Harsha Hill, the idol is in active worship. It is excessively smeared with paint and silver, making it challenging to determine its dating or identification.
There are many loose architectural fragments scattered within the Harshnath Temple Complex. In this fragment, musicians are depicted singing or playing a variety of musical instruments. At the centre is a male with long hair and a beard, playing the drum.
It appears that the beam, adorned with intricately carved human figures, was probably placed on the varandika of the temple, the adjoining portions between the temple walls and the spire. The protruding offsets typically feature mithuna figures inside the niches, while the recess between the two offsets is beautifully carved with images of apsaras or women engaged in different actions. The male figures are usually shown with weapons and accompanied by female companions. This fragment is one of the loose architectural fragments on Harsha Hill.
The dikpala or directional deity Kubera is depicted on the niche of the right-hand side, while the adjoining figure on the left is of Ishana. Vyala is depicted on the subsidiary offset of the temple wall. The image of a directional deity that once adorned the temple wall is now affixed on a late medieval structure on Harsha Hill.
The pillars in the mandapa of the Harshnath temple lack homogeneity and may have been a later replacement. One of these pillars is adorned with intricate carvings of apsaras and female deities like Parvati, as seen in this image, within the niches of the pillar. Beneath these pillar niches are panels depicting musicians, dancers, celestial beings, deities like Ganesha and ascetics. The four-armed Goddess, likely Parvati, seems to be standing on a vahana resembling an iguana. Two attributes certainly identifiable are a mala and a flower. The panel below depicts two figures engaged in a discussion, over a text.
Independent sculpture of yogini affixed on the Bhairon compound near the entry of the main shrine in the basement. This is one of the many images of yoginis found at the site hinting at a lost yogini temple compound. Contextualizing this image with several other relevant images suggests a maturity of Shakti and tantric traditions at the site. Her arms are lost, and she sits in the lalitasana posture.
The pillars in the mandapa of the Harshnath Temple lack homogeneity and may have been replaced at a later date. This pillar does not feature any images of goddesses in the niches. Instead, it displays a panel of musicians and dancers.