Орнес ағаш шіркеуі: Норвегияның мұрасы

Church building in Luster, Sogn og Fjordane, Norway

Urnes Stave Church (Urnes stavkyrkje) is a 12th century stave church at Ornes, along the Lustrafjorden in the municipality of Luster in Vestland county, Norway. The church sits on the eastern side of the fjord, directly across the fjord from the village of Solvorn and about east of the village of Hafslo. It is among the oldest stave churches in Norway, with parts of the lumber construction dating from the latter half of the 11th century. The church was built in a long church basilica plan inspired by medieval Christian churches, with cylindrical columns and semi circular arches inside. The decoration on capitals of the columns and outside of the church embodies the visual evidence of the Viking culture’s transformation, assimilation, and adoption of Christianity. The north portal of the church is defined as the Urnes style, which contains decorations derived from Norwegian mythology dating back to the 12th century. It has been owned by Fortidsminneforeningen (Society for the Preservation of Norwegian Ancient Monuments) since 1881. In 1979, the Urnes Stave Church was listed as a World Heritage Site by UNESCO.

Stave churches in Norway can be dated back to 10th–11th century. Stave churches are wooden buildings covered with wall planks; the frame of the overall structure is constructed with timber balks and the wall planks are fitted into the frames where convenient. The word "Stave" (Stav) means sturdy wood columns that are the corner posts and columns which uphold the overall architectural structure. The Stave Style can be defined as using the upright wall planks. In the 17th century the nave of the church, which is a raised central room surrounded by an aisle, was extended southwards. Other elements were also added to the church, including a baptismal font (1640), a wooden canopy above the altar (1665) and a pulpit (1693–1695). The altarpiece, which depicts Christ on the cross with the Virgin Mary and John the Baptist, dates from 1699. Windows were added to the church in the 18th century.

The decorations on the outside of the Urnes Stave Church, including wood carvings and sculpted decor, serve as visual evidence of the Viking culture's transformation, assimilation, and adoption of Christianity. Strap work panels were taken from the previous 11th century Urnes Church and then incorporated into the new structure, keeping elements of Viking tradition alive. The carved decoration of the North Portal, depicting interlaced animals, in this Urnes style context is one of the last examples of Viking animal ornamentation. The interior of the church is more richly decorated than the exterior. The structure is partly held up by a series of 12th century wooden columns. At the top of the columns, the capitals are decorated with carvings of human, animal, and vegetal motifs. Some of these capitals contain simple abstracted figures while some contain the traditional interlacing design of the Viking tradition. The Urnes Stave Church is also home to numerous medieval liturgical objects for public worship. In a Christian sense, the portals are the symbolic embodiment in the mortal world of the chaos and struggle with evil in daily life. Here, the struggle between the serpent with the great beast, as shown in the portal at Urnes, represents the onset of Ragnarok. It is possible that the decoration of the earlier church featured some scenes from Norse mythology, a likely reason for its premature reconstruction in the 12th century. In this context, the animal may be interpreted as Níðhöggr eating the roots of Yggdrasil. "The intertwined snakes and dragons represent the end of the world according to the Norse legend of Ragnarök". The Urnes style doorway with carved whorls of writhing snakes and vines, in a welter of elongated animals and plants reduced to vines. The most important point of the huge tangle is to present the intertwinedness itself of all living things, animal or vegetable. On the right hand side, about one third of the way from the bottom a serpent is even emitting a fleur de lis from its mouth. The visual characteristic is often referred to by art historians as the Urnes style. Interventions to the church building for religious and practical needs have been carried over the centuries. These interventions are still clearly visible; they have provided authentic testimony to social life and religious practices in Norway. Now, Urnes Stave Church is one of the most popular tourist sites in Norway.