GPS/POI: 61.8342,6.8056
GPS/UTM: 69290E, 6882926N
Avreisested:

Olden gamle kyrkje

  • BYGGÅR: 1759
  • FYLKE: Sogn og Fjordane
  • KOMMUNE: Stryn
  • BISPEDØMME: Bjørgvin
  • FELLESRÅD: Stryn kyrkjelege fellesråd
  • SITTEPLASSER: 250
  • BYGNINGSGRUPPE: Fortidsminne
  • FASILITETER:
    Tilgjengelig med rullestol 

KONTAKTINFORMASJON

  • Svein Frithjof Rønne
  • E-post: svein.ronne@stryn.kommune.no
  • John Selmer Skiftesvik
  • Tlf: 91327882
  • E-post: john.skiftesvik@enivest.net

EKSTERNE LENKER



Olden gamle kyrkje ligg i Olden sokn i Nordfjord prosti. Ho er bygd i tre og blei oppført i 1759. Kyrkja har korsplan og 250 sitjeplassar. Kyrkja har listestatus automatisk listeført (1650-1850).
Arkitekt: ukjent.

I 1746 vart den gamle stavkyrkja i Olden reven og ei ny langkyrkje vart bygd. Men 11 år seinare vart denne kyrkja øydelagt av sterk vind. For å være på den sikre sida vart den noverande kyrkja bygd som ei tett krosskyrkje der alle armane er like lange. Over midtpunktet av korsplanen vart det sett ein liten takryttar. Kyrkja er lafta og utvendig kledd med liggande kvitmåla panel.

Kyrkjeinteriøret er trekvitt, og det einaste inventaret som er måla er preikestol, alterring og altertavle. Koret er avskilt frå skipet med eit korskilje av dreidde spilar, og kyrkjebenkane har lukka dørar med individuell dekor. Mange av benkene er eldre enn kyrkja, den eldste er datert 1662. På sørsida har benkene fått hattekrekser, som er knaggar laga av greiner. Mennene, som etter skikken satt på sørsida i kyrkja, hengde hattane her. Den tønneforma preikestolen i empirestil er laga på første del av 1800-talet.

Altertavla er antakelig laga av kunstnaren Vallentin Wedel i 1772. Ein er usikker på kor gammal alterringen er, men den opphavlige alterringen var firkanta. I koret finst fleire presteportrett, og på korskiljet heng våpenskjold og portrett av Sewerin Seehusen og hustru. Ein spansk barokk madonnaskulptur i stein vart på 1940-talet gjeve av kunstmålar William Henry Singers kone.

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.