In the frieze (of the ceiling of the Harshnath Temple sanctum) of the drumming and dancing gods, is Indra seated on his elephant Airavata, accompanied by a warrior holding a sword and shield and an apsara. Stella Kramrisch, in her work Hindu Temples (vol-2, plate LXVIII, pg 402-403), describes the spirit of the image as follows: ‘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 II which mentions that the Lord Harsha (Shiva) is worshipped on the hill by a joyous divine host, Indra.
This majestic image of Surya, now in the Akbari Fort and Museum in Ajmer, must have once been placed inside the sanctum of a lost Surya shrine. Coupled with multiple other Surya images at the shrine (Surya, Chhaya, etc.), it suggests the maturity of the Surya tradition at the hill, present there at least from the 8th century CE, much before the emergence of the Harshadeva-Shiva as the royal shrine at the hill. He is holding two fully bloomed-lotuses in either hand. He is flanked on either side by his companions, Danda and Pingala, positioned immediately near his legs, with the pair of the horse-faced Ashvin brothers at the back. On the above register is an elegant pair of bow holders about to unleash the arrow. Surya is wearing the kirita-mukuta, and the radiant halo in the form of a fully bloomed lotus appropriately suits the radiant glow of the Sun God. Surya is wearing the kirita-mukuta, and the radiant halo in the form of a fully bloomed lotus appropriately suits the radiant glow of the Sun God.
Image courtesy: Akbari Fort and Museum, Ajmer
The panel depicting Shiva in his dancing form, Natesha, might have once been placed at the ceiling of a lost Shaiva temple on Harsha Hill. It is now housed in the Government Museum, Sikar. In the depiction, Natesha is surrounded by various dancers and musicians. He gracefully holds a damru in his right hand and likely a trident in his left hand, which is significantly damaged. The tightly cloistered figures of dancers and musicians in action and angular postures not only provide visual centrality to the figure of the dancing Natesha but also enhances the rhythmicity of the scene. On his immediate left is a musician holding a pakjavaja drum. Positioned centrally, the instrument fills the squarish space between Natesha and a dancer on the sides and between the face of the drummer and dwarf at the bottom. Even though Natesha is not commonly depicted as an independent sculpture in Rajasthan temples, he often occupies prominent architectural spaces, such as above the doorway of the main temple at Baroli, as well as at Neelkanth and the later Chauhan Temple at Adhai-din-ka-jhonpra. In the depiction, Natesha is surrounded by various dancers and musicians. He gracefully holds a damru in his right hand and likely a trident in his left hand, which is significantly damaged. The tightly cloistered figures of dancers and musicians in action and angular postures not only provide visual centrality to the figure of the dancing Natesha but also enhances the rhythmicity of the scene. On his immediate left is a musician holding a pakjavaja drum. Positioned centrally, the instrument fills the squarish space between Natesha and a dancer on the sides and between the face of the drummer and dwarf at the bottom.
Image courtesy: The Government Museum, Sikar
Several pillars dating back to the 10th century CE were reused in various late medieval and modern structures within the compound of the Harsha Bhairon shrine. Additionally, several sculptures were affixed on the walls of the compound.
A figure of the dikpala Agni is positioned at one of the karna (corner projection) of the Harshnath Temple. It is on the karna of the southeastern corner, accompanied by his vahana, a ram. On either side of him, surasundaris occupy places at the pratirathas and salilantara-recesses.
The beam, intricately carved with human figures, likely adorned the varandika of the temple, the adjoining portions between the temple walls and the spire. The protruding offsets typically portray mithuna figures within the niches, while the recess between the two offsets is exquisitely carved with images of apsaras or women engaged in different actions. The male figures are often depicted wielding weapons and in the company of female companions.
The four-faced linga, known as the Pancha-mukhi Mahadev, situated in the sanctum of the Harshnath Temple, is actively worshipped at the site. It features three benevolent faces, while the one facing northward is fierce. One face is considered to be at the top of the linga. They collectively represent the Sadashiva form of Shiva. Although the idol is contemporary with the main shrine, there is some disagreement regarding whether it was the original image in the shrine or a later replacement. Ambika Dhaka (2001:377) highlights a strong possibility of it being a later replacement based on two points.
1) According to texts, the fierce face should be facing southward, but here it is oriented towards the north.
2) There is a difference in the circumference of the linga in situ, which is smaller, and the socket, which is larger.