Venugopala Swamy Temple

Pick any four 4-inch tiles — National Parks you've been to, a Smokies set, the four seasons of one place. $ for a set of , cork-backed, ready to live on the table.

The original temple at Kannambadi submerged when the Krishna Raja Sagara dam impounded the Kaveri in 1932. Between roughly 2008 and 2011 the Khoday Foundation funded its reconstruction on higher ground above the reservoir, numbering and reassembling every stone.

It was built in the late Hoysala period, around the 12th century, in the village of Kannambadi. The Hoysalas ruled large parts of present-day Karnataka and were the great temple-builders of the southern Deccan in the 11th to 14th centuries.

Krishna as Venugopala — the flute-playing cowherd. The image stands in tribhanga, the three-bend pose, with the flute raised to his lips. The iconography is among the most beloved Krishna forms in South Indian devotional art.

Soapstone construction with extraordinarily deep figurative carving, star-shaped sanctum plans, and horizontal narrative friezes around the outer walls. The style flourished in southern Karnataka from the 11th through 14th centuries and is now under UNESCO consideration.

The dam, built between 1911 and 1931 under the engineer M. Visvesvaraya, created the reservoir that drowned Kannambadi. The temple's rescue and rebuilding decades later is one of the better-known relocation projects in Indian heritage practice.

From Mysuru, drive about 30 km north past Srirangapatna and the KRS dam; the temple sits on the reservoir bank. From Bengaluru it is roughly three hours by road via Mandya.

It travels well to families with ties to the Kaveri country and to those who remember the Kannambadi story. The Small or a single Medium reads as a domestic shrine reminder rather than a tourist memento. A handwritten studio note travels with it.

The painterly stained-glass treatment sits in Jewel-tone Maximalist rooms, in South Asian Traditional homes with carved wood and brass, and in warm Eclectic spaces where one strong devotional piece does the anchoring.

Yes. Colour-forward painterly devotional pieces are gaining ground over photographic prints, particularly in younger South Asian households. Krishna in Venugopala form sits at the centre of that current. This piece reads in that conversation.

A single Large reads cleanly above a standard sofa. For longer walls, the 4-tile Mural carries the temple silhouette across more space; the 9-tile Mural is the room-defining choice for an open living area.

Yes, in the Dura Satin or Matte finish. The colour is slowly infused into the ceramic surface under high heat and pressure, so steam and splash do not affect it. The Glossy finish is for dry display walls.

Microfibre cloth with plain water. No abrasives, no ammonia-based cleaners. For Dura Satin and Matte in working rooms, an occasional wipe is enough; the surface does not stain.

Yes. Every WenderVista piece is created in-house under Reid Wender's eye and produced in our Knoxville studio. We do not licence the art and we do not sell it through third parties.