Harshnath Temple Complex: A visual walkthrough

By Anchit Jain

Nestled within the scenic landscapes of the Sikar district in Rajasthan, the sacred site of Harshnath Temple Complex (10th-18th centuries CE), perched atop the Harsha Hill, holds a storied past that intertwines local folklore, historical narratives, and architectural marvels, offering a captivating glimpse into the spiritual traditions of ancient India. Archaeological digs have revealed that the Harsha Hill used to have a complex network of shrines and sculptures that show it was an important religious hub. The temple complex has elements of both Brahmanical and Vaishnavite religions. Central to this site is the Harshnath Temple, a historical edifice dedicated to Lord Shiva, which is likely to have been constructed in the latter half of the 10th century CE. The temple houses a self-manifested linga known as Pancha-mukhi Mahadeva, representing the five aspects of Shiva. Surrounding this central shrine are remnants of other temples once dedicated to deities like Surya, Vishnu, and various Yoginis, indicating the site's diverse religious landscape. Among these relics, the Harshnath Temple stands out with its intricate architectural features, adorned with friezes depicting celestial beings and deities.

Legend has it that the genesis of the temple complex is intertwined with the poignant tale of Harsha, a wise man who, along with his beloved sister Jina, found solace in each other's company after being orphaned at a tender age. Their unbreakable bond faced a test when Harsha's marriage led to discord with his jealous wife, prompting Jina to seek refuge on the Kali-Shikhara hill in Sikar. Undeterred, Harsha established his abode nearby, later christened as Harsha-giri, where he fervently worshipped the self-manifested shivalinga known as Pancha-mukhi Mahadeva, earning the blessings of Lord Shiva as Harsha Bhairon. Today, the Harsha Hill draws thousands of devotees annually to pay homage to Harsha Bhairon, revered as the family deity of many local castes and the patron deity of Sikar. Despite its dilapidated state, the temple is a living temple.

The image gallery is a visual tour of archaeological and architectural remains scattered across the Harshnath Temple Complex.

This 18th-century CE temple, located at the entrance of the temple complex, is adjacent to the ancient Harshnath Temple. It stands on a high platform. The temple is actively in use.
This 18th-century CE temple, located at the entrance of the temple complex, is adjacent to the ancient Harshnath Temple. It stands on a high platform. The temple is actively in use.
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.
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.
The temple complex's entrance was once adorned with the shafts of a pair of columns that surmounted a torana or doors. 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 temple complex's entrance was once adorned with the shafts of a pair of columns that surmounted a torana or doors. 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.’
A white stone image of Nandi, Shiva's bull, is placed over the Nandimandapa, which faces the Harshnath Temple. The image may be a later replacement for 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’. 
A white stone image of Nandi, Shiva's bull, is placed over the Nandimandapa, which faces the Harshnath Temple. The image may be a later replacement for 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’. 
This is a fascinating and rare image of Narasimha depicted in a dancing stance. He stands on one foot, placing it over what appears to be a prostrating figure, possibly a woman. He raises one hand in the air, forming a lap above which the slain demon king rests. A dwarf warrior, whose dynamic movement complements Narasimha's dynamic posture, accompanies him with eight arms.
This is a fascinating and rare image of Narasimha depicted in a dancing stance. He stands on one foot, placing it over what appears to be a prostrating figure, possibly a woman. He raises one hand in the air, forming a lap above which the slain demon king rests. A dwarf warrior, whose dynamic movement complements Narasimha's dynamic posture, accompanies him with eight arms.
Kartikeya, with three visible faces, rests on his vahana, a peacock, which is placed on the devakostha (wall niches).
Kartikeya, with three visible faces, rests on his vahana, a peacock, which is placed on the devakostha (wall niches).
Architectural fragments affixed on a late medieval structure on Harsha Hill. Loose fragments include remains of a superstructure, a panel depicting dancing figures, etc.
Architectural fragments affixed on a late medieval structure on Harsha Hill. Loose fragments include remains of a superstructure, a panel depicting dancing figures, etc.
Late medieval structure on Harsha Hill. The structure houses several sculptures from the 10th century CE.
Late medieval structure on Harsha Hill. The structure houses several sculptures from the 10th century CE.
This sculpture is arguably the oldest at the shrine, dating back to the 8th century CE, according to Ambika Dhaka. Thus, the sculpture significantly predates the construction of the Harshnath Temple in the second half of the 10th century. 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.
This sculpture is arguably the oldest at the shrine, dating back to the 8th century CE, according to Ambika Dhaka. Thus, the sculpture significantly predates the construction of the Harshnath Temple in the second half of the 10th century. 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.
The shrine of Harsha Bhairon is now an epicentre of spiritual activities at Harsha Hill. This late medieval structure has an enclosure wall, upon which sculptures are affixed both inside and outside.
The shrine of Harsha Bhairon is now an epicentre of spiritual activities at Harsha Hill. This late medieval structure has an enclosure wall, upon which sculptures are affixed both inside and outside.
These pillars, popularly called Govardhan pillars, are quite common in several regions of Rajasthan, particularly the more arid regions of Thar and Maru. In certain instances, the image of Govardhan-Krishna may not always be present. 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.
These pillars, popularly called Govardhan pillars, are quite common in several regions of Rajasthan, particularly the more arid regions of Thar and Maru. In certain instances, the image of Govardhan-Krishna may not always be present. 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.
It is likely a figure of the dikpala Agni (the God of Fire) holding a kamandalu (pot) in his left hand. On Harsha Hill, a late medieval structure now bears the image of a directional deity that once adorned the temple wall.
It is likely a figure of the dikpala Agni (the God of Fire) holding a kamandalu (pot) in his left hand. On Harsha Hill, a late medieval structure now bears the image of a directional deity that once adorned the temple wall.
The right-hand side's niche depicts the dikpala, or directional deity, Kubera, while the adjacent figure on the left represents Ishana. The subsidiary offset of the temple wall depicts Vyala. The image of a directional deity that once adorned the temple wall is now affixed to a late mediaeval structure on Harsha Hill.
The right-hand side's niche depicts the dikpala, or directional deity, Kubera, while the adjacent figure on the left represents Ishana. The subsidiary offset of the temple wall depicts Vyala. The image of a directional deity that once adorned the temple wall is now affixed to a late mediaeval structure on Harsha Hill.
There is a very late-dated building on Harsha Hill that houses some architectural remnants from the 10th century CE.
There is a very late-dated building on Harsha Hill that houses some architectural remnants from the 10th century CE.
This late mediaeval structure has these pillars, which were once part of the mandapa of a temple, attached to it. The purna-kalasha is beautifully carved.
This late mediaeval structure has these pillars, which were once part of the mandapa of a temple, attached to it. The purna-kalasha is beautifully carved.
Fragments of a superstructure, featuring two bhumis and an amalaka, were affixed on a late mediaeval structure on Harsha Hill.
Fragments of a superstructure, featuring two bhumis and an amalaka, were affixed on a late mediaeval structure on Harsha Hill.
The 10th and 11th centuries CE saw the construction of about a dozen sub-shrines on Harsha Hill. The architectural fragments indicate the dedication of these to various Brahmanical deities. Unlike a Panchayatan temple or a planned temple complex, the irregular placement and size proportions of these sub-shrines suggest a random and unplanned construction process over an extended period of time.
The 10th and 11th centuries CE saw the construction of about a dozen sub-shrines on Harsha Hill. The architectural fragments indicate the dedication of these to various Brahmanical deities. Unlike a Panchayatan temple or a planned temple complex, the irregular placement and size proportions of these sub-shrines suggest a random and unplanned construction process over an extended period of time.
The depiction of this enigmatic deity, who appears to be Shaiva, features six heads and twelve hands. Although all hands are broken, one appears to hold an attribute in the form of a trident. The waist portion is buried in the earth. The headgear consists of a jatamukuta on the four side heads, typically associated with Shiva, and a kirita-mukuta on the front and back heads, usually associated with Vishnu.
The depiction of this enigmatic deity, who appears to be Shaiva, features six heads and twelve hands. Although all hands are broken, one appears to hold an attribute in the form of a trident. The waist portion is buried in the earth. The headgear consists of a jatamukuta on the four side heads, typically associated with Shiva, and a kirita-mukuta on the front and back heads, usually associated with Vishnu.
The depiction shows a four-armed Vishnu sitting in the lalitasana posture. He carries a mace and a chakra in his upper right and left hands, respectively, while the lower right and left hands hold a mala and possibly a citron, respectively.
The depiction shows a four-armed Vishnu sitting in the lalitasana posture. He carries a mace and a chakra in his upper right and left hands, respectively, while the lower right and left hands hold a mala and possibly a citron, respectively.
The lalitasana posture depicts a four-armed Ganesha holding an axe, lotus, bowl of sweets, among other attributes.
The lalitasana posture depicts a four-armed Ganesha holding an axe, lotus, bowl of sweets, among other attributes.
The fragment, which likely served as the background frame behind the independent image of the sanctum, is affixed to a late structure.
The fragment, which likely served as the background frame behind the independent image of the sanctum, is affixed to a late structure.
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 to a late structure.
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 to a late structure.
A niche contains a figure of Uma Maheshwar. Shiva sits in the lalitasana posture, comforting Parvati in his lap. It is affixed to a late structure.
A niche contains a figure of Uma Maheshwar. Shiva sits in the lalitasana posture, comforting Parvati in his lap. It is affixed to a late structure.
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 mature Shakti and tantric tradition at the site.
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 mature Shakti and tantric tradition at the site.
Two separate devakostha niches are present. The larger one houses Ganesha, while the smaller one houses Parvati. The depiction of Ganesha features him dancing and holding a goad, a vessel of sweets, among other items. Parvati is standing erect in sambhanga with a jata-mukuta. The depiction shows her with six arms, each holding a trident, akshayamala, spear, etc.
Two separate devakostha niches are present. The larger one houses Ganesha, while the smaller one houses Parvati. The depiction of Ganesha features him dancing and holding a goad, a vessel of sweets, among other items. Parvati is standing erect in sambhanga with a jata-mukuta. The depiction shows her with six arms, each holding a trident, akshayamala, spear, etc.
There are many loose architectural fragments scattered within the Harshnath Temple Complex. This fragment depicts musicians singing or playing a variety of musical instruments. A male with long hair and a beard is playing the drum in the center.
There are many loose architectural fragments scattered within the Harshnath Temple Complex. This fragment depicts musicians singing or playing a variety of musical instruments. A male with long hair and a beard is playing the drum in the center.
The idol is actively worshipped inside one of the late medieval structures on Harsha Hill. It is excessively smeared with paint and silver, making it challenging to determine its dating or identification.
The idol is actively worshipped inside one of the late medieval structures on Harsha Hill. It is excessively smeared with paint and silver, making it challenging to determine its dating or identification.
The fragment presents a picture of a male dwarf.
The fragment presents a picture of a male dwarf.
Outside the entrance of the Harsha Bhairon shrine on Harsha Hill, this image of Durga-Mahishasuramardini is in active worship. Black paint and clothing have obscured the image's details. It is one of the many images contemporaneous to the Harsha shrine, affixed in the enclosure of the Bhairon shrine.
Outside the entrance of the Harsha Bhairon shrine on Harsha Hill, this image of Durga-Mahishasuramardini is in active worship. Black paint and clothing have obscured the image's details. It is one of the many images contemporaneous to the Harsha shrine, affixed in the enclosure of the Bhairon shrine.
One notable architectural fragment affixed to the structure is a row of elephants (seen below the closed window), which must have once been part of the temple’s base moulding.
One notable architectural fragment affixed to the structure is a row of elephants (seen below the closed window), which must have once been part of the temple’s base moulding.
The loose architectural fragments in front of the Harshnath Temple include a pillar with a band of dancers and musicians; a four-armed image of Shiva, which was once part of a devakostha niche, featuring a snake and a trident in the two hands above; and another niche of smaller size depicting Bhairav holding a sword and a skull-headed spear.
The loose architectural fragments in front of the Harshnath Temple include a pillar with a band of dancers and musicians; a four-armed image of Shiva, which was once part of a devakostha niche, featuring a snake and a trident in the two hands above; and another niche of smaller size depicting Bhairav holding a sword and a skull-headed spear.
It appears that the beam, which was richly carved with human figures, was likely placed on the temple's varandika, the adjoining portions between the temple walls and the spire. Typically, the protruding offsets showcase mithuna figures within the niches, while the recess between the two offsets showcases exquisite carvings of apsaras or women performing various actions like carrying children or weapons.
It appears that the beam, which was richly carved with human figures, was likely placed on the temple's varandika, the adjoining portions between the temple walls and the spire. Typically, the protruding offsets showcase mithuna figures within the niches, while the recess between the two offsets showcases exquisite carvings of apsaras or women performing various actions like carrying children or weapons.
The beam, richly carved with human figures, likely sat on the temple's varandika, the adjacent areas between the temple walls and the spire. Male figures frequently carry weapons and accompany their female companions. This is one of Harsha Hill's loose architectural fragments.
The beam, richly carved with human figures, likely sat on the temple's varandika, the adjacent areas between the temple walls and the spire. Male figures frequently carry weapons and accompany their female companions. This is one of Harsha Hill's loose architectural fragments.
The intricately carved human figures adorning the beam likely rest on the varandika of the temple, which is the area between the temple walls and the spire. The male figures are usually shown with weapons and accompanied by female companions. This is one of Harsha Hill's loose architectural fragments.
The intricately carved human figures adorning the beam likely rest on the varandika of the temple, which is the area between the temple walls and the spire. The male figures are usually shown with weapons and accompanied by female companions. This is one of Harsha Hill's loose architectural fragments.
Typically, the protruding offsets house mithuna figures inside the niches, while the recess between the two offsets showcases beautifully carved images of apsaras or women engaged in various actions. Usually, female companions accompany the male figures with weapons.
Typically, the protruding offsets house mithuna figures inside the niches, while the recess between the two offsets showcases beautifully carved images of apsaras or women engaged in various actions. Usually, female companions accompany the male figures with weapons.
Typically, the protruding offsets house mithuna figures inside the niches, while the recess between the two offsets showcases beautifully carved images of apsaras or women engaged in various actions. Usually, female companions accompany the male figures with weapons.
Typically, the protruding offsets house mithuna figures inside the niches, while the recess between the two offsets showcases beautifully carved images of apsaras or women engaged in various actions. Usually, female companions accompany the male figures with weapons.
It is likely that the beam, richly carved with human figures, adorned the temple's varandika and the adjoining portions between the temple walls and the spire. Typically, the protruding offsets house mithuna figures within the niches, and the recesses between the two offsets showcase exquisite carvings of apsaras.
It is likely that the beam, richly carved with human figures, adorned the temple's varandika and the adjoining portions between the temple walls and the spire. Typically, the protruding offsets house mithuna figures within the niches, and the recesses between the two offsets showcase exquisite carvings of apsaras.
The elaborately carved temple ceiling features a panel on the right, carved with multiple male and female figures. A prominent bearded male figure is in the center, holding a drum. There is significant defacement in the central portion of the panel.
The elaborately carved temple ceiling features a panel on the right, carved with multiple male and female figures. A prominent bearded male figure is in the center, holding a drum. There is significant defacement in the central portion of the panel.
A scene of warriors in action. This is one of Harsha Hill's loose architectural fragments.
A scene of warriors in action. This is one of Harsha Hill's loose architectural fragments.
This intriguing fragment depicts a senior ascetic, likely a Shaiva ascetic, positioned in the extreme right corner, delivering a sermon to a lady. To his left, there appears to be a disciple showing reverence for his guru. Following them, there is a series of garland bearers and musicians facing the venerable guru.
This intriguing fragment depicts a senior ascetic, likely a Shaiva ascetic, positioned in the extreme right corner, delivering a sermon to a lady. To his left, there appears to be a disciple showing reverence for his guru. Following them, there is a series of garland bearers and musicians facing the venerable guru.
The sanctum's doorway features a lintel. At the lalata is a figure of Lakulisha. Richly carved musicians and dancers adorn the frame. The current lintel on the Harshnath temple's doorframe is likely a later replacement. This lintel, depicting Lakulisha, may have belonged to the Harshnath Temple.
The sanctum's doorway features a lintel. At the lalata is a figure of Lakulisha. Richly carved musicians and dancers adorn the frame. The current lintel on the Harshnath temple's doorframe is likely a later replacement. This lintel, depicting Lakulisha, may have belonged to the Harshnath Temple.
The Harshnath Temple features a figure of the dikpala Agni at one of its karna (corner projections). The figure of the dikpala Agni is situated 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 Harshnath Temple features a figure of the dikpala Agni at one of its karna (corner projections). The figure of the dikpala Agni is situated 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 southeast corner of the Harshnath Temple depicts elegant surasundaris raising their right leg with their left arm.
The southeast corner of the Harshnath Temple depicts elegant surasundaris raising their right leg with their left arm.
The garbhagriha's doorway is made up of five panchashakha (jambs) from the Harshnath Temple. Pairs of dvarapala (door guardian) and river goddesses (Ganga-Yamuna) occupy their standard positions at the bottom of the jamb. Carved on either side are Mithuna figures in their typical positions.
The garbhagriha's doorway is made up of five panchashakha (jambs) from the Harshnath Temple. Pairs of dvarapala (door guardian) and river goddesses (Ganga-Yamuna) occupy their standard positions at the bottom of the jamb. Carved on either side are Mithuna figures in their typical positions.
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 believes that this lintel may have been a later replacement for the original lintel, which featured an image of Lakulisha at its center.
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 believes that this lintel may have been a later replacement for the original lintel, which featured an image of Lakulisha at its center.
The sanctum's jangha, or wall portions, are nearly in ruins. The temple lacks the pitha but begins with a single plinth. Despite some areas of damage, the vedibandha features intricate udgama motifs on its kumbha, and a small central box holds a figure.
The sanctum's jangha, or wall portions, are nearly in ruins. The temple lacks the pitha but begins with a single plinth. Despite some areas of damage, the vedibandha features intricate udgama motifs on its kumbha, and a small central box holds a figure.
The temple, which is in ruinous condition, consists of a mulaprasada of tri-anga specification, joined by a rangamandapa. It lacks the pitha but begins with a single plinth. Despite some damage, the vedibandha features a kumbha with an intricate udgama motif and a small central box containing a figure. Remains in the northeastern corner demonstrate that the nearly entirely ruined jangha had dikpalas at the karnas.
The temple, which is in ruinous condition, consists of a mulaprasada of tri-anga specification, joined by a rangamandapa. It lacks the pitha but begins with a single plinth. Despite some damage, the vedibandha features a kumbha with an intricate udgama motif and a small central box containing a figure. Remains in the northeastern corner demonstrate that the nearly entirely ruined jangha had dikpalas at the karnas.
The Harshnath Temple features ghata-pallava pillars above the kakshasana and vedika of the mandapa and porch. The pillars display exceptional craftsmanship.
The Harshnath Temple features ghata-pallava pillars above the kakshasana and vedika of the mandapa and porch. The pillars display exceptional craftsmanship.
The ghata-pallava pillar, showcasing remarkable craftsmanship, depicts a lion and an elephant engaged in combat.
The ghata-pallava pillar, showcasing remarkable craftsmanship, depicts a lion and an elephant engaged in combat.
Inside the sanctum of the temple, beautiful sculptures of nayikas (female dancers) adorn the walls. The panchagni tapa, a colossal image of Parvati in penance, stands at the center of the principal/back wall. She stands erect on an iguana and is hence labelled as Godhasana Gauri. On either side of her, there are two standing and two sitting female attendants.
Inside the sanctum of the temple, beautiful sculptures of nayikas (female dancers) adorn the walls. The panchagni tapa, a colossal image of Parvati in penance, stands at the center of the principal/back wall. She stands erect on an iguana and is hence labelled as Godhasana Gauri. On either side of her, there are two standing and two sitting female attendants.
The Harshnath Temple actively worships the four-faced linga, known as the Pancha-mukhi Mahadev, located in its sanctum. 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 Shiva's Sadashiva form.
The Harshnath Temple actively worships the four-faced linga, known as the Pancha-mukhi Mahadev, located in its sanctum. 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 Shiva's Sadashiva form.
The trio of Ganesha, Surya, and Chandra is one of the several loose sculptures that were affixed to the later structures at the site. The three figures may have once been part of a larger panel depicting the nine heavenly bodies, or the navagraha. While the dancing Ganesha is four-armed, the images of Surya and Chandra have only two arms, broken in both cases.
The trio of Ganesha, Surya, and Chandra is one of the several loose sculptures that were affixed to the later structures at the site. The three figures may have once been part of a larger panel depicting the nine heavenly bodies, or the navagraha. While the dancing Ganesha is four-armed, the images of Surya and Chandra have only two arms, broken in both cases.
The Harshnath Temple wall depicts dikpala Ishana with his vahana, a bull, on the northeast corner. A dwarf figure feeding the bull from a vessel is an intriguing feature of the image. A dwarf figure feeding the bull from a vessel is an intriguing feature of the image.
The Harshnath Temple wall depicts dikpala Ishana with his vahana, a bull, on the northeast corner. A dwarf figure feeding the bull from a vessel is an intriguing feature of the image. A dwarf figure feeding the bull from a vessel is an intriguing feature of the image.
The eastern face of the Harshnath Temple wall depicts dikpala Indra holding a vajra in his left hand.
The eastern face of the Harshnath Temple wall depicts dikpala Indra holding a vajra in his left hand.
The northeastern corner of the antarala of the Harshnath Temple depicts a surasundari holding a veena.
The northeastern corner of the antarala of the Harshnath Temple depicts a surasundari holding a veena.
A surasundari stands on the antarala, holding a flute. At the bottom, there is a dwarf holding a drum. In the adjoining recess, there is another image of a surasundari.
A surasundari stands on the antarala, holding a flute. At the bottom, there is a dwarf holding a drum. In the adjoining recess, there is another image of a surasundari.
The Shiva Temple of the 18th century CE features a red sandstone panel with various segments separated by pillarlets, each containing various musicians and dancers.
The Shiva Temple of the 18th century CE features a red sandstone panel with various segments separated by pillarlets, each containing various musicians and dancers.
Inside of the gumbada or dome of the 18th-century CE Shiva Temple.
Inside of the gumbada or dome of the 18th-century CE Shiva Temple.
The temple is in active worship. Since the temple is located near the entrance, it serves as the initial focal point for devotional acts on the hill.
The temple is in active worship. Since the temple is located near the entrance, it serves as the initial focal point for devotional acts on the hill.
Various late mediaeval and modern structures within the compound of the Harsha Bhairon shrine reused several pillars dating back to the 10th century CE. The walls of the compound also featured several sculptures.
Various late mediaeval and modern structures within the compound of the Harsha Bhairon shrine reused several pillars dating back to the 10th century CE. The walls of the compound also featured several sculptures.
You could save on a long-term plan Get 40% off now through Aug 26th. Grammar Checker English (UK) English (US) French Spanish All The fragments on Harsha Hill depict several human figures in diverse actions, although it is unclear if they form a coherent narrative. The left extreme fragment is defaced, followed by a depiction of a female figure reclining on a couch and being served by numerous female attendants. This scene evokes the Krishna-story panels that were quite popular in various temple sites in Rajasthan in the 8th century CE, with some references probably dating even earlier. Assistant 94 / 100 Writing score View details Clarity Use active voice Following the defacement of the left extreme fragment, a depiction of a female figure reclining on a couch and receiving service from numerous female attendants appears. Get perfect grammar on the go Polish your grammar across the web with our apps and extensions. 4.3/5 rating 3.5M+ installs winner leaf Google's favorite extension of 2023 winner leaf Extension App Also available on: Play Store App App Store App For additional details, read more. Writing Tools Paraphrasing Tool Paragraph Rewriter Sentence Rewriter Summarizer QuillBot Flow Word Counter Translator Language Correction Grammar Checker Proofreader Spell Checker Punctuation Checker Essay Checker Citing and Originality Citation Generator APA Citation Generator MLA Citation Generator Plagiarism Checker AI Detector Company Team Careers Help Center Contact Us Join Us on Discord Extensions QuillBot for Chrome QuillBot for Word QuillBot for macOS Student Resources Tools & Videos Educational Courses Knowledge Base QuillBot University Paraphrasing Guide AI Writing Assistant QuillBot Blog Meaning.io Services Premium Team Plan Affiliate Request a Demo Get to Know Us QuillBot, a Learneo, Inc. business Privacy Policy Terms of Service Copyright, Community Guidelines, DSA and other Legal Resources This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply Made withcornat UIUC v15.370.2
You could save on a long-term plan Get 40% off now through Aug 26th. Grammar Checker English (UK) English (US) French Spanish All The fragments on Harsha Hill depict several human figures in diverse actions, although it is unclear if they form a coherent narrative. The left extreme fragment is defaced, followed by a depiction of a female figure reclining on a couch and being served by numerous female attendants. This scene evokes the Krishna-story panels that were quite popular in various temple sites in Rajasthan in the 8th century CE, with some references probably dating even earlier. Assistant 94 / 100 Writing score View details Clarity Use active voice Following the defacement of the left extreme fragment, a depiction of a female figure reclining on a couch and receiving service from numerous female attendants appears. Get perfect grammar on the go Polish your grammar across the web with our apps and extensions. 4.3/5 rating 3.5M+ installs winner leaf Google's favorite extension of 2023 winner leaf Extension App Also available on: Play Store App App Store App For additional details, read more. Writing Tools Paraphrasing Tool Paragraph Rewriter Sentence Rewriter Summarizer QuillBot Flow Word Counter Translator Language Correction Grammar Checker Proofreader Spell Checker Punctuation Checker Essay Checker Citing and Originality Citation Generator APA Citation Generator MLA Citation Generator Plagiarism Checker AI Detector Company Team Careers Help Center Contact Us Join Us on Discord Extensions QuillBot for Chrome QuillBot for Word QuillBot for macOS Student Resources Tools & Videos Educational Courses Knowledge Base QuillBot University Paraphrasing Guide AI Writing Assistant QuillBot Blog Meaning.io Services Premium Team Plan Affiliate Request a Demo Get to Know Us QuillBot, a Learneo, Inc. business Privacy Policy Terms of Service Copyright, Community Guidelines, DSA and other Legal Resources This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply Made withcornat UIUC v15.370.2
A life-size female figure stands erect in the sanctum of the Harshnath Temple, her hands broken, possibly in a gesture of veneration. Her identity is unknown.
A life-size female figure stands erect in the sanctum of the Harshnath Temple, her hands broken, possibly in a gesture of veneration. Her identity is unknown.
The ceiling beam in the sanctum depicts an array of warriors marching towards its right side, while the lower face of the beam is richly carved with vegetation foliage.
The ceiling beam in the sanctum depicts an array of warriors marching towards its right side, while the lower face of the beam is richly carved with vegetation foliage.
Inside the sanctum of the Harshnath Temple, beautiful sculptures of nayikas (female dancers) adorn the walls. The Kutila script of the 10th century CE inscribes epithets on most of the sculptures.
Inside the sanctum of the Harshnath Temple, beautiful sculptures of nayikas (female dancers) adorn the walls. The Kutila script of the 10th century CE inscribes epithets on most of the sculptures.
Indra is seated on his elephant Airavata in the frieze (of the ceiling of the Harshnath Temple sanctum) of the drumming and dancing gods, accompanied by a warrior holding a sword, shield, and an apsara. This image aligns with verse 7 of Vigraharaja II's Harsha stone inscription, stating that a joyous divine host, Indra, worships the Lord Harsha (Shiva) on the hill.
Indra is seated on his elephant Airavata in the frieze (of the ceiling of the Harshnath Temple sanctum) of the drumming and dancing gods, accompanied by a warrior holding a sword, shield, and an apsara. This image aligns with verse 7 of Vigraharaja II's Harsha stone inscription, stating that a joyous divine host, Indra, worships the Lord Harsha (Shiva) on the hill.
This is a depiction of Shiva in the form of lingodhbhav-murti. This is one of the most iconic and celebrated images of Lingodhbhav-murti, reputed for its delicacy of the figures, sense of movement, and visual impact. Within the incorporative landscape of Harsha Hill, including shrines dedicated to various deities, this image marks the Shaiva domination and supremacy at the complex.
This is a depiction of Shiva in the form of lingodhbhav-murti. This is one of the most iconic and celebrated images of Lingodhbhav-murti, reputed for its delicacy of the figures, sense of movement, and visual impact. Within the incorporative landscape of Harsha Hill, including shrines dedicated to various deities, this image marks the Shaiva domination and supremacy at the complex.
The label at the Government Museum in Sikar identifies the figure as the 'Killing of Asavathama elephant by Pandava prince, Bhima'. However, the identification has little support beyond speculation. Given the size of the figure and its delicate rendition, another speculation arises, suggesting it may depict Shiva as Gajantak, the killer of the demon elephant.
The label at the Government Museum in Sikar identifies the figure as the 'Killing of Asavathama elephant by Pandava prince, Bhima'. However, the identification has little support beyond speculation. Given the size of the figure and its delicate rendition, another speculation arises, suggesting it may depict Shiva as Gajantak, the killer of the demon elephant.
The Government Museum in Sikar currently houses a broken fragment of a navagraha panel, which depicts (from right to left) a female figure, Ketu, Rahu, and two other planetary gods that resemble rishis.
The Government Museum in Sikar currently houses a broken fragment of a navagraha panel, which depicts (from right to left) a female figure, Ketu, Rahu, and two other planetary gods that resemble rishis.
The statue depicts a seated Lakshmi, holding lotuses in her upper two hands, her lower left hand clutching a pot, and her lower right hand in the varada mudra. The museum label refers to her as Goddess Leeliya. On either side, female attendants holding flowers accompany her.
The statue depicts a seated Lakshmi, holding lotuses in her upper two hands, her lower left hand clutching a pot, and her lower right hand in the varada mudra. The museum label refers to her as Goddess Leeliya. On either side, female attendants holding flowers accompany her.
The 12th-century CE Sanskrit inscription was discovered in Sikar. It records the death of an individual named Mahipal.
The 12th-century CE Sanskrit inscription was discovered in Sikar. It records the death of an individual named Mahipal.
The Government Museum in Sikar now houses a four-armed Ganesha that once adorned the temple wall on Harsha Hill. The depiction shows Ganesha holding an axe and a mala in his lower two hands. The upper two hands hold a bowl of sweets and, possibly, a flower.
The Government Museum in Sikar now houses a four-armed Ganesha that once adorned the temple wall on Harsha Hill. The depiction shows Ganesha holding an axe and a mala in his lower two hands. The upper two hands hold a bowl of sweets and, possibly, a flower.
A four-armed Indra placed inside a devakostha-niche, easily identifiable by his vahana, an elephant. The Government Museum in Sikar now houses the loose architectural fragment from Harsha Hill. Despite the broken nature of the two hands on the left side, the upper right hand clasps an ankush, while the lower hand rests gracefully on his right leg.
A four-armed Indra placed inside a devakostha-niche, easily identifiable by his vahana, an elephant. The Government Museum in Sikar now houses the loose architectural fragment from Harsha Hill. Despite the broken nature of the two hands on the left side, the upper right hand clasps an ankush, while the lower hand rests gracefully on his right leg.
The two-armed yogini is seated in the lalitasana posture. She holds a mala in her right hand and a cup in her left hand. Her head is lost. The yogini is holding a cup in her left hand, often associated in tantric traditions with the cup containing the symbolic nectar of spiritual bliss attained after the completion of tantric sadhana.
The two-armed yogini is seated in the lalitasana posture. She holds a mala in her right hand and a cup in her left hand. Her head is lost. The yogini is holding a cup in her left hand, often associated in tantric traditions with the cup containing the symbolic nectar of spiritual bliss attained after the completion of tantric sadhana.
The four-armed seated figure, likely of Shaiva affiliation, occupies a central place in the architectural fragment. He holds a trident and likely a staff in his upper two hands, while the lower hands hold a citron in the left hand and an unclear object in the right. Despite the absence of a hyphalic representation, one could still interpret the figure as Lakulisha.
The four-armed seated figure, likely of Shaiva affiliation, occupies a central place in the architectural fragment. He holds a trident and likely a staff in his upper two hands, while the lower hands hold a citron in the left hand and an unclear object in the right. Despite the absence of a hyphalic representation, one could still interpret the figure as Lakulisha.
This is an inscribed mediaeval memorial stone from Sikar.
This is an inscribed mediaeval memorial stone from Sikar.
The memorial stone in the Government Museum Sikar bears an unpublished epigraph recording the death of an individual named Mahipal. The panel's top features a niche that depicts a Shaiva ascetic on one side of a shivalinga and a devotee, possibly Mahipal, on the other.
The memorial stone in the Government Museum Sikar bears an unpublished epigraph recording the death of an individual named Mahipal. The panel's top features a niche that depicts a Shaiva ascetic on one side of a shivalinga and a devotee, possibly Mahipal, on the other.
The unpublished 11th-century inscription records the pilgrimage to the hill.
The unpublished 11th-century inscription records the pilgrimage to the hill.
The four-armed goddess depicted here appears to be Goddess Bhairavi. In her right hand, she holds a staff crowned with a skull and an attribute resembling a mace. The left arm above is broken, and the lower one is placed near her vahana, a dog. The panel below depicts dancers and musicians.
The four-armed goddess depicted here appears to be Goddess Bhairavi. In her right hand, she holds a staff crowned with a skull and an attribute resembling a mace. The left arm above is broken, and the lower one is placed near her vahana, a dog. The panel below depicts dancers and musicians.
The four-armed goddess, likely Parvati, appears to be standing on a vahana that resembles an iguana. Two distinguishable features are a mala and a flower. The panel below depicts two figures engaged in a discussion over a text.
The four-armed goddess, likely Parvati, appears to be standing on a vahana that resembles an iguana. Two distinguishable features are a mala and a flower. The panel below depicts two figures engaged in a discussion over a text.
The Harshnath Temple's mandapa's pillars lack uniformity and might have undergone replacements at a later time. The niches on this pillar do not feature any images of goddesses. Instead, it displays a panel of musicians and dancers.
The Harshnath Temple's mandapa's pillars lack uniformity and might have undergone replacements at a later time. The niches on this pillar do not feature any images of goddesses. Instead, it displays a panel of musicians and dancers.
An independent sculpture of a Yogini is affixed on the Bhairon compound, near the entry of the main shrine in the basement. This is one of the numerous images of yoginis discovered at the site, suggesting the existence of a lost yogini temple compound. Contextualizing this image with several other relevant images suggests a mature Shakti and tantric tradition at the site.
An independent sculpture of a Yogini is affixed on the Bhairon compound, near the entry of the main shrine in the basement. This is one of the numerous images of yoginis discovered at the site, suggesting the existence of a lost yogini temple compound. Contextualizing this image with several other relevant images suggests a mature Shakti and tantric tradition at the site.
The porch features a medieval epigraph on a pillarlet located on the right side of the entrance.
The porch features a medieval epigraph on a pillarlet located on the right side of the entrance.
The porch features a mediaeval epigraph atop a pillarlet on the left side of the entrance.
The porch features a mediaeval epigraph atop a pillarlet on the left side of the entrance.
The walls of the Harshnath Temple's sanctum are adorned with exquisite Nayika sculptures. The Kutila script of the 10th century CE inscribes epithets on most of them.
The walls of the Harshnath Temple's sanctum are adorned with exquisite Nayika sculptures. The Kutila script of the 10th century CE inscribes epithets on most of them.
The depiction shows a four-armed Parvati holding a kamadalu and mala in her lower hands, and likely flowers in her upper two hands. On both sides, she is flanked by attendants. Below this scene is an ascetic with long matted hair, deeply adoring Shiva.
The depiction shows a four-armed Parvati holding a kamadalu and mala in her lower hands, and likely flowers in her upper two hands. On both sides, she is flanked by attendants. Below this scene is an ascetic with long matted hair, deeply adoring Shiva.
Close to the Harshnath Temple complex is the Bhairon shrine, which features a semi-iconic rock known locally as the Harsha Bhairon. He is believed to be a manifestation of the folk hero, Harsha, who decided to settle at the hill to worship Shiva. Shiva is believed to have bestowed upon him the blessing of worship as Bhairon on the hill.
Close to the Harshnath Temple complex is the Bhairon shrine, which features a semi-iconic rock known locally as the Harsha Bhairon. He is believed to be a manifestation of the folk hero, Harsha, who decided to settle at the hill to worship Shiva. Shiva is believed to have bestowed upon him the blessing of worship as Bhairon on the hill.
A now-lost Shaiva shrine may have included this Shaiva figure in a devakostha, or sculptural niche, on its walls. The Government Museum in Sikar currently houses it. The upper two hands of the four-armed seated figure hold a trident and a staff, while the lower two hands bear significant damage. The figure is ithyphallic, symbolising the Urdhvareta aspect of Shiva, indicating mastery over the vital energies through ascetic vigour.
A now-lost Shaiva shrine may have included this Shaiva figure in a devakostha, or sculptural niche, on its walls. The Government Museum in Sikar currently houses it. The upper two hands of the four-armed seated figure hold a trident and a staff, while the lower two hands bear significant damage. The figure is ithyphallic, symbolising the Urdhvareta aspect of Shiva, indicating mastery over the vital energies through ascetic vigour.
The Government Museum in Sikar now houses this elegant Shaiva figure, originally part of a devakostha or sculptural niche adorning the walls of a now-lost Shaiva shrine. The figure is depicted with four hands; the upper two hold a skull-sceptre and cobras, while the lower left-hand holds a cup, or rather a skull, with the fingers of the right hand dipping into its contents. On the left is an image of a vyala, which was once placed in the salilantara recess of the temple wall.
The Government Museum in Sikar now houses this elegant Shaiva figure, originally part of a devakostha or sculptural niche adorning the walls of a now-lost Shaiva shrine. The figure is depicted with four hands; the upper two hold a skull-sceptre and cobras, while the lower left-hand holds a cup, or rather a skull, with the fingers of the right hand dipping into its contents. On the left is an image of a vyala, which was once placed in the salilantara recess of the temple wall.
A lost Shaiva temple on Harsha Hill may have once housed the panel depicting Shiva in his dancing form, Natesha, at its ceiling. The Government Museum in Sikar now houses it. Various dancers and musicians surround Natesha in the depiction. Natesha gracefully holds a damru in his right hand and likely a significantly damaged trident in his left.
A lost Shaiva temple on Harsha Hill may have once housed the panel depicting Shiva in his dancing form, Natesha, at its ceiling. The Government Museum in Sikar now houses it. Various dancers and musicians surround Natesha in the depiction. Natesha gracefully holds a damru in his right hand and likely a significantly damaged trident in his left.
The image in question depicts Shesashayi Vishnu, or Vishnu, in a reclining position on the serpent. It was retrieved from Harsha Hill and is now housed in the Government Museum, Sikar. Lord Shesa likely served as the main cultic image inside a now-lost Vaishnava shrine. The image features representations of the nine planets, with Lakshmi tending to Vishnu at his feet. Behind him are three ayudhapurusa, personifications of his weapons.
The image in question depicts Shesashayi Vishnu, or Vishnu, in a reclining position on the serpent. It was retrieved from Harsha Hill and is now housed in the Government Museum, Sikar. Lord Shesa likely served as the main cultic image inside a now-lost Vaishnava shrine. The image features representations of the nine planets, with Lakshmi tending to Vishnu at his feet. Behind him are three ayudhapurusa, personifications of his weapons.
This important image of Vaikuntha Vishnu reveals the presence of the Pancharatna form of Vaishnavism at Harsha Hill. Pancharatna had spread to various regions of Rajasthan from the 8th century CE onwards, with its most notable manifestations in temples like the Harshatmata Temple of Abhaneri. This image signifies its influence, albeit in a limited manner, up to the region of Shekhavati.
This important image of Vaikuntha Vishnu reveals the presence of the Pancharatna form of Vaishnavism at Harsha Hill. Pancharatna had spread to various regions of Rajasthan from the 8th century CE onwards, with its most notable manifestations in temples like the Harshatmata Temple of Abhaneri. This image signifies its influence, albeit in a limited manner, up to the region of Shekhavati.
This is a rare image of Vinayaki, the feminine aspect of Vinayaka or Ganesha (consort in some traditions). The stairs built next to it have subsumed the lower portion, leaving only a partial image visible. Many of the Shaiva and Shakta images at the site feature her holding a cup in one of her hands, a characteristic associated with the tantric tradition.
This is a rare image of Vinayaki, the feminine aspect of Vinayaka or Ganesha (consort in some traditions). The stairs built next to it have subsumed the lower portion, leaving only a partial image visible. Many of the Shaiva and Shakta images at the site feature her holding a cup in one of her hands, a characteristic associated with the tantric tradition.
The sanctum of a lost Surya shrine once housed this majestic image of Surya, now in the Akbari Fort and Museum in Ajmer. 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.
The sanctum of a lost Surya shrine once housed this majestic image of Surya, now in the Akbari Fort and Museum in Ajmer. 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.