GPS/POI: 62.2560,7.2370
GPS/UTM: 97514E, 6926886N
Avreisested:

Norddal kyrkje

  • BYGGÅR: 1784
  • FYLKE: Møre og Romsdal
  • KOMMUNE: Norddal
  • BISPEDØMME: Møre
  • FELLESRÅD: Storfjorden kyrkjelege fellesråd
  • SITTEPLASSER: 300
  • BYGNINGSGRUPPE: Soknekirke
  • FASILITETER:

KONTAKTINFORMASJON

  • Magne Eivind Glomnes kyrkjeverje.norddal@kirkeserver.no
  • E-post: kyrkjeverje.norddal@kirkeserver.no


Norddal kyrkje ligg i Norddal sokn i Austre Sunnmøre prosti. Ho er bygd i tre og blei oppført i 1784. Kyrkja har åttekantplan og 300 sitjeplassar. Kyrkja har listestatus automatisk listeført (1650-1850).
Arkitekt: Ole Larsen Døving.

Norddal kyrkje vart innvigt i 1784. Det seiast at ho vart teikna etter skisser laga av bonden Ole Larsen Døving, som saman med medhjelparane sine hadde reist til Trøndelag for å studere kyrkjebygg.

Norddal kyrkje har åttekanta grunnplan med våpenhus i to etasjar i den eine enden, og eit like høgt kor i den andre enden. Åttekantkyrkjer slo mest an i Trøndelag, der ti åttekantkyrkjer vart bygd i Nidaros bispedømme på 1700-talet. Men tilbygga på kvar side av kyrkja gjer at ho opplevast meir som ei langkyrkje enn ei sentralkyrkje. Midt på taket er det eit laukforma tårn. Deler av ei stavkyrkje som stod her tidlegare, er brukt på nytt i våpenhuset, der noko av middelalderens draperidekor framleis er synleg.

Kyrkjerommet er stort og bredt, med flat himling. Langs midtgangen er det kraftige stolpar som er måla i marmorimitasjon. Desse stolpane held tak og tårn oppe. Altertavla er laga i Lübeck på 1500-talet. I midtpartiet er det ei kalvariegruppe, det vil seie den korsfesta Kristus med Maria og Johannes ved foten av krossen. På kvar fløy er det ein helgen. Altertavla fekk barokk ramme i 1670, dekorert med små englar og utskjeringar i såkalla bruskbarokk. Preikestolen frå 1600-talet er fint dekorert med intarsia og vridde stolpar. Domenico Erdmann leda restaureringsarbeidet i 1900, då interiøret vart tilbakeført til 1700-tals preg.

Kjelder:
Sørmoen, Oddbjørn: Kirker i Norge 2, Oslo 2001


1700s

This was the Baroque period in Norway, also known as the century of beauty. The 18th century was marked firstly by Pietism and later by the Age of Enlightenment. These movements influenced church buildings in various ways.

Pietism emphasised the personal conversion that was brought about by preaching, while the Age of Enlightenment was marked by rationalist ideas about learning for all and educating the "common people". In both cases, it was important for the word to be heard, and the pulpit was given a prominent position.

People started living longer in the 18th century and the population increased considerably. More than 300 new churches were built during the century, mostly as replacements for stave churches that were in poor condition or simply too small. Around 1725, the number of churches built before and after the Reformation was about the same. During the 1720s, the king sold off many churches to finance his wars, which meant that many churches that had originally been built by the local community fell into private hands.

The mining industry financed many splendid Baroque churches, such as Røros Church (1740) and Kongsberg Church (1761). In some places, these provided a model for the smaller, local churches. Confirmation and compulsory church attendance were introduced, necessitating space for as many as possible for services. The interiors were often opulent and marked by the reformed ideals of the time, with the pulpit directly above the altar so that as many as possible could see the priest and hear his message. These churches reflected a hierarchical and rigid society in which everyone knew his place, as determined by social rank, distinction or financial power.

Many of the larger urban churches were designed by foreign architects according to foreign ideals. The same applied to woodcarvers and painters. These impulses were soon picked up and further interpreted by local artists. This can certainly be seen in the popular acanthus, which was adopted in the form of folk art called rose painting.

More than half of the 130 churches that remain from the 18th century are cruciform timber churches.