Karasjok Old Church
Karasjok Old Church Karasjok parish in Inner Finnmark deanery. It is built of wood and was built in 1807. The church has cross plan and 140 seats. The church has protected status automatically listed (1650-1850).
Architect: Daniel Stroch.
Karasjok church was built in 1807 by master builder Daniel Storch. It has cross-shaped ground plan, in which the four arms originally was approximately the same length. In 1858, they built the sacristy. The ridge turret above the crossing crossroads had domed cap until 1902, but was then replaced with a steeple. The church had previously tarred walls and small windows, but has now painted white horizontal paneling and tall windows.
The interior has undergone several changes. In 1858, when the tall windows were put in, we nave new ceiling. They closed pews with doors were replaced by open benches in 1905, and these are still here. Pulpit and chancel screen is preserved originally. The pulpit is hexagonal with carved geometric shapes and finely carved pillar. The church, in spite of the changes, preserved its early 1800s feel. This impression was reinforced in the 1960s, when the bare wall logs in the main room was leaning forward.
Over the choir screen is Christian VII’s monogram flanked by two reindeer. Inside the choir above the altar is an altar piece, which was provided by the Tromsø dean Florup Rasmussen in 1831. The design, which is Christ’s thorn coronation, is a mirror copy of a painting by the English court painter Van Dyck from the 1600s. Framework from 1808 is decorated with plant ornaments.
Sørmoen, Oddbjørn: Churches in Norway 2, Oslo 2001.
Gjennom 1800-tallet ble både kirkelige strukturer, administrasjon og de tekniske forutsetninger for kirkebyggene endret. Århundret startet med en forsiktig kirkebygging, preget av klassisistiske forbilder, og ble avsluttet med den høyeste kirkebyggeaktivitet siden middelalderen, inspirert særlig av gotikkens katedraler.
Bedre produksjons- og håndverksteknikker gjorde at kirkebyggene fikk en lettere form og ble rikere detaljert. Fortsatt var det lafteteknikken som dominerte, men tømmeret ble mer bearbeidet, og kirkene fikk ofte panel både utvendig og innvendig. Av kirker som fortsatt står fra perioden, er nærmere 40 % langkirker, mens åttekantkirker og korskirker utgjør om lag 30 % hver.
Fram til 1850 var det få endringer i soknestrukturen, og de fleste nye kirker ble derfor bygd som erstatning for eldre. Oppgangstider og fortsatt befolkningsvekst omkring midten av 1800-tallet forsterket et allerede kraftig etterslep i kirkebyggingen. Selv mange av 1600- og 1700-tallets kirker var nå blitt for små. En ny kirkelov i 1851 krevde at kirkene skulle romme 3/10 av menigheten. Dette, sammen med opprettelsen av nye sokn, førte til den en eksplosjonsartet byggaktivitet. I siste halvdel av 1800-tallet ble det bygd 623 nye kirker og revet 390 gamle.
For å løse denne formidable oppgaven, ble noen av landets fremste arkitekter, som Linstow, Nebelong, Grosch, Nordan og Schirmer, engasjert som statlige rådgivere. Kirkedepartementet ga ut samlinger med mønstertegninger som de lokale kirkebyggerne kunne bruke eller tilpasse etter behov. På den måten bidro kirkebyggingen til å spre internasjonale arkitektoniske impulser. Den gotiske stil ble valgt som det udiskutable, sakrale forbilde, men man hentet ofte detaljelementer fra tidens populære trestil, sveitserstilen. Slik ble den nygotiske, hvite trekirken på landet selve prototypen på en norsk kirke.
Through the 1800s was both ecclesiastical structures, administrative and technical prerequisites for church buildings changed. Century started with a cautious church building, characterized by classical ideals, and ended with the highest church building activity since the Middle Ages, inspired especially by the gothic cathedrals.
Better production and craft techniques did that church buildings received a lighter form and became richer detail. Still it was notching technique that dominated, but the timber was more processed, and churches were often panel both outside and inside. Of churches still standing from the period, is nearly 40% long churches, while octagon churches and crosses churches make up about 30% each.
Until 1850 there were few changes in the parish structure, and most new churches were therefore built as replacement for the elderly. Upturns and continued population growth around the middle of the 1800s reinforced an already strong backlog in church construction. Although many of the 1600s and 1700s churches had become too small. A new church law in 1851 demanded that the churches should hold 3/10 of the congregation. This, together with the creation of new parishes, led to the an explosive construction activity. In the latter half of the 1800s were built 623 new churches and demolished 390 old.
To solve this formidable task, some of the country’s leading architects, who Linstow, Nebelong, Grosch, Nordan and Schirmer, engaged as government advisors. Church Ministry released collections of pattern drawings as the local church builders could use or adapt as needed. That way contributed church building to spread international architectural impulses. The Gothic style was chosen as the undisputed, sacral role model, but one taken often detailed elements of the currently popular wooden style, Swiss style. How was the neo-gothic, white wooden church in the countryside actual prototype of a Norwegian church.