Hashnath Temple is situated on the Harsha Mountain in the Sikar district of Rajasthan. It is a tenth-century Shiva temple which was built by a Shaiva ascetic, Brahman Allata, during the reign of Chahamanas. The east-facing temple has a Garbhagriha (Main Sanctum), antarala (vestibule), and mandapa (pillared hall) with parshvamandapas (side halls/lateral projections) and a mukhamandapa (Front hall). A monumental figure of Nandi is placed on a platform which once formed a separate mandapa. The base of two heavy pillars at the entrance suggests that there was a Torana (gateway) carved at the entrance. There were few other temples in the complex which are now in a dilapidated condition, and some completely collapsed, leaving the intact platforms and broken parts scattered in the complex.
The temple ruins have revealed a long inscription which throws light on the preceding deity, the time of the temple construction, and details of the patron, ruling dynasty, and the history of the region. According to the inscription, the temple is dedicated to Shiva, named Harsha Deva, and the temple was completed in 973 CE.
At the centre of the Garbhagriha, a stone Chaturmukha Linga is placed, and the walls of the Garbhagriha depict tall, youthful female figures. At the centre of the West Wall, a female deity is shown standing. The temple is carved profusely with the figures of gods and goddesses, dikpalas (guardian deities), and beautiful Apsaras (divine nymphs).

The structural parts, such as the ceilings and pillars of the Harshanath temple, are ornately carved with vivid imagery. The ceiling not only shows the flawless swaying of the beautiful dancers and play of musicians but also provides the narrative of valour through the scenes of aggressive combat and confrontation.

One of the friezes from the ceiling of the Garbhagriha depicts seventeen soldiers fighting the duel
in groups. These soldiers are carrying different weapons, such as spears, swords, and shields. They are
shown in various attacking and defending positions from different angles to display their toned body and
flexibility with extreme leg stretch.

The central position is acquired by a group of three male figures. The protagonist and antagonist are
shown facing each other. The protagonist on the proper is in attacking mode, aided by another
soldier carrying sword and shield. The protagonist is inserting the spear in the back of the antagonist, who is shown defending and counterattacking. On the right side of this group, two more duels are carved in a similar manner in which one soldier is attacking and the opponent soldier is defending. To show the face-off between the two, one of the soldiers is depicted frontally and another is shown from behind. On the proper left side of the frieze, a group fight is carved in which the soldiers are attacking with swords and shields. All these figures are wearing translucent dhotis and their upper bare bodies are adorned with
the beaded necklace and armlets.

A similar depiction of chivalry can be seen in the broken fragments of the ceiling found near the temple. These sculptural reliefs of combating male figures are shown sometimes with the group of musicians and dancers. It is noteworthy that the rhythm and harmony created by the figures of dancers, musicians, and singers are continued by the weapon bearers as well. To match the flawless movement, hand gestures and postures of the dancers and soldiers are depicted with wide, stretched legs and arm movements so that harmony can be preserved.

Such a beautiful depiction of balance and harmony can be seen in one of the frieze presently placed in the complex. It depicts two groups of soldiers, flanking singers and musicians. On the proper right, two
soldiers are shown confronting each other, holding swords and shields. On the proper left of the frieze,
the duel shows a soldier attacking his opponent with a spear and his opponent is shown defending with
a shield and sword.
Another broken fragment of the ceiling depicts intense group action next to the singers. The central
two figures are attacking each other with their swords, and are helped by their teammate. The figure on the proper right is shown inserting the spear in the body of the main opponent figure, who is backed by an
archer. The archer, carrying the quiver in his bag, is shown from behind, aiming the arrow at his enemy.
It can be concluded that the act of valour and chivalry is visually narrated in a pleasant and harmonious
manner at Harshanath temple. The carvings depict violence and aggression but with a rare and
unexpected delicacy that the scene does not create a gruesome, chaotic narrative but a flawless movement of the soldiers, which throws light on the high artistic skills of that period.