HARSHNATH : The height of excellence

Dr. M. K. Sharma "Sumahendra"

Sculptural art in temples with innovative architectural dimentions establishing immortal aesthetic values is the essence of Indian religion and culture intermingled with the daily life of the devotees and the eternal beauty of their surroundings. Rajasthan has rich tradition of temples. Establishing this fact, the earliest example of the first quarter of 5th century is still standing erect at Darah near Kota known as Bhim Chauri. Though north western part of Rajasthan, popularly known as Shekhawati area is a desert having scattered spots of Aravali hill range, some important and exceptional examples of temple art are available in the area dated as early as 8th -10th century A.D.

Religion is the back-bone of every way of life providing inspiration to particular group of human beings for expression in many medias. Hinduism believes in worshipping their deity visualized in concrete form. Buddhism has set land marks in sculptural art exploring new dimentions and materials. Christianity attained realistic perfection in stone carving. Inspite of their belief in Bible, they are not against idol worship as compared to Muslims. Jains have a set form of their deity but work and think freely when other areas of their worship places are required to be adorned with decorative or humanistic approach. For Hindus, Jains and Buddhists, temple is the culmination of their thoughts. These forms of structure are the gem of Indian architecture. These religions deal with the sculptural form differently, taking the best and ideal form realism. One can feel nearness to reality with an essence of rhythm of life, poured into the figures, designs and overall structure to look divine rather than mundane. That is why each image has a meaning visualised and carved out by the artist and designer carrying an aspect, fact, mode and mood of the Divine presence before the divotee.

Shekhwati area is particularly known for Havelies. Murals and frescos of magnificent Havelies and Chhatries- cenotaphs, merchant class Marvaries, vallant Rajputs and forts and palaces have outstanding contribution in the world of Indian temple architectural and sculptural heritage connected to it. Early medieval period monuments of gracious temples and fine carvings are studded on this land of Shekhawati, establishing its due importance in Indian art of terracotta, stone sculptures and bronze.

Nandi in front of Harshnath Temple Ruins

Sikar, presently a town and an important Thikana of Jaipur state until the period of independence, is important due to its archaeological sites dated as early as 8th century A.D. Though these sites had faced considerable loss due to unaesthetic renovation. Nature is equally responsible for damage due to log span of time. But we can still see the grandeur in the left over pieces, preserved or lying uncared on the site. Notable site amongst them is The Devi temple at Salahdipura dam near Khandela village. Another site is Jinamata temple which commands high prestige in the area visited by thousands of divotees daily. It is situated in a narrow passage of mountains with antiquity covered by vermilleion colour as temple is still worshipped regularly. The temple of Sakraimata is a shrine of Shakti and Ardhanarishwar at Khandela seems to have been raised to ground due to fanatical megalomania of Aurangzeb and his forces. Though such struggles for power were common in Hindus, like the war between Rastrakuta and Pratiharas in 789 A.D. Rastrakuta ruler Dhruva who marched upto Marwar and forced Pratihara ruler Vatsaraja to take refuge there. But these wars did not disturb temple activities like their construction of both the temples at Sakrai and Khandela during the period of 8th -9th century A.D.

I was curious to visit Harshnath knowing its archaeological and artistic importance through books and stray articles. Somehow, educational tour of Rajasthan school of Art was organized which was enthusiastically participated by students and teachers. Not knowing the difficulties we were to face in reaching the main site, we departed with zeal and enthusiasm and diverted from Sikar town to the left side road covering a distance of about 12 k.m to the base of main mountain Harshgiri over which the important sculptural heritage is located. Unfortunately the buses even after our hard pressure could not be taken in the mountain track for more than three-four kilometers and finally had to be haulted. About 100 boys and girls, with teaching staff were feeling depressed looking to the height of the mountain and longevity of valley vanishing in sky with no trace of desired site. 

Whether to go back or walk on foot for an unknown distance, some courageous participants decided to proceed further on foot and everybody followed them marching towards the destination under the pleasant sun of winter and succeeded in reaching the site after about 8 to 10 k.m walk climbing by road or cross country which was a romantic experience for the youngsters, provoking even seniors to follow their track. Fortunately the road was good and weather we reached the destination and saw the monument which was a heap of slabs and artifacts encircled by scattered carvings in light brown sand stone with a patina of time giving depth to fine carving to every piece, signifying the monumental grandeur even when lying on earth. One can imagine the glorious post structure overlooking the entire horizon to its north, west and south side. Nearby, newly constructed temple by Shiv Singh of Sikar Thikana has stupendously high Sikhara in front-left side of the main Shrine.

It is said to see the ruins lying in a haphazard way to make one circular heap which cannot help reconstruct in mind the contours of the structure once a magnificent temples of Shiva and Shakti. These ruins were discovered by Dr. G.E. Rankin and Sargent E. Dean on Dec 3, 1834. The heap of ruins were assembled to reconstruct the present structure in situ. Assemblage of the sanctum from derbies of the same shrine is proved by a panel of court scene of Indra which is wrongly put upside down in ceiling. Yet another example of reconstruction is that the image of Vikata originally enshrined in the subsidiary shrine which is alluded to in the inscription of V.S. 1030. Loose sculptures scattered here and there around the shrine were shifted to Sikar museum by A.W.T. Webb, an officer incharge at Sikar.

Mount Harsha is situated about 12 k.m. to the south east of Sikar which is 3000 ft. above the sea level. Once a magnificent Siva temple which was the family deity of Chauhan rulers is now ruined completely. Some inscriptions found on the site, throw light on the history of the region as well as of the temple. One inscription containing 48 yerses written in 40 lines was composed by Dhiranga, the son of Karnik Thiruka. It is dated V.S. 1030 A.D. 973 which was the period of Vigraharaja II. It mentions the empire of this Chauhan monarch as Ananta Desha where Mt. Harsha exists. 

Its description is corroborated by the inscriptions of V.S. 1030. The inscription includes the name of Shaiva ascetic follower of Pashupat sect, the famous Bhavarakta, also known as Allata got this magnificent temple built. At present only a giant Nandi carved in white marble facing the sanctum can be seen in front of the ruins of the main temple. Stone blocks of the spacious hall Mandapa and arched doorway Torandwar are scattered around the main heap of ruins, overlooking the horizon from the top of the hillock with a newly constructed Shiva temple to its north, adorned with original sculptures of the main temple in the walls below the plinth, looking as decorative panels, unmatched to the new construction. The date of the construction of the temple inscribed is the 13th day of the bright half of Ashadha V.S. 1031/AD/956. This inscription also includes the name of the chief architect who supervised the construction of this magnificent temple of Lord Shiva. He was Chandshiva, son of Virabhadra commanding respect like Vishwakarma in those times. 

Situated at a height comparable to Mt. Abu, this dwelling of God Harsha has the same status as that of Kailash due to the “grazing the clouds on high” and “its lofty peaks kissing the path of heaven”. The inscription mentioned above is known as Thanwala and it narrates the history of structural developments stating that the initial start was made by Guvaka and was completed during the reign of his successor Simharaj I. The final consecration ceremony was performed by Sandipita who made extensions to the temple and laid out paths around it. 

After the death of Bhavarkta of Allata in A.D. 970, his desciple Bhavadyota, took up the job and got completed an excellent well, Satkupo a beautiful garden Vatika Divya  and a cistern for cattle Goprapa built in stone. Rulers and family members of Chauhan dynesty and their officers made donations and endowments to these villages for the purpose of bathing and worshipping God, for oblations, incense, lamps and for the celebrations of procession on festive days. The Shrine of Shiva is named Harsh and this is explained by the inscription of V.S.1013 that on this mount Tripurantaka Shiva expressed joy or Harsha, through dance. So the entire mountain named as Harshagiri and the shrine Harshnath. Sculptures of this temple reflect Shiva celebrating his victory over Tripura with gods who expelled Indra and his accomplices from heaven. Joy and happiness expressed through dance and music is the main theme of the sculptures.

This temple is established as a grand construction and marvel of design. The grandeur is enhanced all the more as it is situated on the top of the mountain. It consists a sanctum Garbhagarh, vestibule Antarala, Hall Mandap and porch Pravesh. These were the common features in every temple during those days which continue till today with some difference. Sanctum was adorned with a lofty spire Shikhara the pieces of which are scattered here and there around the main heap of the once grand structural monument. It was termed as palace Sandhar Prasad due to circumbulatory path Pradakshina path laid out by Sandipita. Four faced Shiva, Linga Chaturmukha Shivalinga in the sanctum was worshiped in the main temple. Other usual features like ornamented pillars, fine window screen, flying figures Gandharavas playing on various musical instruments, accompanied by celestial damsels of different types maintain their originality in carving and creation. Guardians of the quarters Digpol and gods and goddesses, sculpture friezes, depicting religious and secular themes are the example of intricate details and master carvings expressing the finest human sentiments with utmost delicacy. Sculptors who carved out such a monumental structure, took liberty of rollicking humor and phases of transitory human life. While carving such sentiments they turned this hard sandstone to a wax like finish. Their skill was unique in the depth of the carving, overruling the limitations of the medium. 

There had been a constant rivalry between Shaivas and Vaishnavas, overlooking the fact that both were the part of Hindus trinity Trideva without whom Hinduism is not complete. The interesting part is that this site includes both Shaiva and Vaishnava iconographies, and also deities like Brahma. Though the temple is dedicated to Shiva, figures of Brahma & Vishnu are also carved on doorway lintel of the sanctum consisting two horizontal rows. The upper row has sculptures of Brahma and Savitri in the central niche. The lower panel has beautiful carvings of niched figures of standing Brahma, Vishnu and Shiva completing the of trinity. Vishnu is visualised as a four handed god, juxtaposed as the crest-figure Lalat Bimba in the centre of a Shaiva edifices. Presence of such image holds interest and is worthy of note. Some erotic figures are carved in the central band of door jamb which consists of seven vertical bands Sapta Shakha. These amorous couples and erotic friezes depict most tender human sentiments. The hall Mandapa is supported by pillars provided with Kakshasana balustrade. 

Though very few fine and intact pieces are available to be seen in situ in the temple, the bull Nandi holds interest of the visitors due to its colossal size and white colour against all brownish gray surroundings. It is sitting all alone undistributed by any artistic or architectural fragments. Its posture is different from the routine gesture seen in contemporary Shiva temples. Fortunately it is an intact piece with very easy gesture of sitting and is an example of fine carving and modeling. Main sanctum enshrine seventeen colossal figure. Amongst them, one central figure is four handed Gauri on iguana Gosadhana Parvati. She is adorned with Jatamukata holding lotuses in two hands performing Panchagni Tapa. The images of Ganesha and Lakulisa are carved on lotuses. This image is inscribed as Vikata.

Panel of Sapta Matrika is equally important from this sanctum. Sapta Matrika of Agni is a very early concept mentioned in Vedic period (Rigveda 1. 141, 2) They are said to regulate the preparation of Somerasa. This Vedic idea which is formulated in Purans name the Matrikas as Bramhani, Maheshwari, Kumari, Vaishnavi, Varahi, Aindri and Chamunda. This concept took shape in Kusana Period.

We can find the details of this ruined temple in verse twelve of Harsha inscription which mentions the image of five Pandavas namely Yudhisthir, Arjun, Bhima, Nakula and Sahadeo along with Vikata. Dr. D.R. Bhandarkar identified the central figure as Draupadi or Hidimba the ogress. Other inscribed images are those of Vajainti, Vasundhara, Salila, Chandraprabha, Nabhil and Mandani etc. This creates confusion as the central figure is named as Vikata. Other are female figures leading to link up these forms to sixty four Yoginis. Vikata in mentioned in the literary texts as one of the sixty four Yoginis. However if the concept of Bhandarkar is accepted, it will establish this temple to have a pride possession of Vikata and five Pandavas in the whole realm of Indian temple architecture and sculpture tradition. This solitary evidence will put Harshnath hill and its temple very high in its contemporary structures. 

Harshnath Hill Top with Fine Carvings Lying on Ground

Another exclusive example is the image of Ganeshi or Vainayaki, the Shakti of Lord Ganesh, studded into the wall. No parallel example of this form or image is known in the heritage of Rajasthan sculpture. Four handed Ganesh is carved on the pillar of the hall of the main temple. Curious aspect of this image is that its sweet ball Modak is on his head instead of his hand. This concept is unusual and interesting. Lingodbhva murty a solitary example found at Harshnath is not common in north India. This concept is popular in south India. Lingodbhva murty of Harshnath represents Brahma flying up with swan and Vishnu on the right side diving down blowing conch shell attempting to fathom the linga. Lastly, at the bottom, both are standing on either side of the column in the gesture of paying respect to linga of lord Shiva which emerged between two contestants- Brahma and Vishnu. They are bewildered at the sudden appearance of this column.

Eight Hansas and flying Gandharavas at the top of the column indicate heavenly region. They are the scions of Kashyapa and brothers of Gods. This representation is in accordance with the Puranic story which is the initial part of the theme. A panel of Dance of Gods in Indra’s heaven is studded in ceiling. These icons are remarkable in carving, imagery and gesture. Figure of Yama with Sri-Vatsa mark is also uncommon in the history of sculpture. Dancing Shiva representing Pratyalidha Karana of dance in the principal niche of the temple. Panel of a female dancer surrounded by male and female musicians playing different instruments is preserved in Cleveland Museum. Indra offering joyful salutation to God Shiva, again a unique subject puts Harshnath on high plinth. A panel depicting dancers and musicians around Shiva and Parvati seated on bull is now the pride possession of Kansas Art Gallery. 

So with many unusual imagination and concepts, put this glorious temple on a high pedestal amongst 10th century heritage temples of Rajasthan in particular and India in general. Sculptures of this site have traveled a long way forming part of rich collections of Americans museums like William Rockhill Nelson Gallery of Art, Kansas city, Cleveland Museum of Art, Philadelphia Museum and the like. Dancing Shiva along with nine male and female dancers is again a unique example of unusual concept. Eighteen armed Mahishasurmardini, and Vainayaki presently placed in Bhairuji Temple also have unique imagery in sculptural tradition of Rajasthan. Matrikas, Lakulisa and dancing Shiva holds interest. Many Apsaras in different rejoicing mood placed in the sanctum represent the extremes of beauty. These named Apsaras delineated in different dancing gestures are comparable to best feminine forms chiselled in Indian sculptural forms. Nabhila represented as blowing the conch, Salila dancing and holding her veil, Mandini holding a garland are so freshly and charming that they set standard of feminine beauty, pure and pious.

Reference: This article was published in Kalavritt - "Magazine of Art" in issue # 45. The article is recomposed by Digant Sharma, grandson of Dr. M.K Sharma 'Sumahendra' for post in "Kalavritt News" blog.

Hard copy of this issue is also available.