Upload
ivan-nikolic
View
1
Download
0
Embed Size (px)
DESCRIPTION
Stave Churches
Citation preview
Stave Churches
Hannah Murray
Honors 3120.01
March 12, 2014
Motes of dust move randomlythrough the colored shafts of air,and the grotesque skullsand tongues of wooden gargoylescarved from darker memoriesline the lintel above the door.
I walk toward the altarwhere Christ's sad face is crownedby an ancient vine whose loose thornsare blunt and rusted remainsof medieval nails. The dark bodyof wood splits along the grain,and a thin white blood flows.It forms icicles that dripin the dim light of morning sun.
There are many others kneeling with me, but they have no weight.Old Norse and Latin hymns are sung in silence,and their lowered eyes burn with faith.
The lilies are gone,and now the altar is covered by wildflowers.The first tourists of the day arriveon a small bus. I walk toward them,but they cannot see the drawn crossbowin my hands, or the paired wolveswalking by my side.
--Excerpt from "Prayer and Vision in the Stave Church at Røldal," by Ted Benttinen
Stave Churches, or stavkirker, are wooden churches built by Viking tribes when
they were first converted to Christianity in the eleventh century. When Scandinavian
tribes began to build large ships and to go ‘a-viking’ around the ninth century, their
targets were often monasteries and churches, as they were usually wealthy and poorly
defended. These raids gave the Vikings an early exposure to Christianity, and small
Viking groups that settled in Ireland, England, and France intermarried with the local
population and were some of the first Viking converts.
2
In 787, under Charlemagne’s initiative, the Anglo-Saxon St. Willibrord
established a bishopric in Bremen (in modern northwest Germany), but these early
missionary attempts into Scandinavia were largely unsuccessful. Conversion occurred by
and large as a political strategy, and it was often a caveat of peace treaties with
surrounding Christian kingdoms. Once a Viking chief accepted Christianity, his tribe did
as well – at least in name. The Treaty of Wedmore in 878 required Danish leader
Guthrum to leave southern England under the control of Alfred of Wessex and to accept
Christianity. A Viking expedition to England in 991 led by Olaf I Tryggvason resulted in
Olaf’s baptism and, upon his return to Norway, his claim to be king. Olaf began the first
successful attempts to Christianize Norway, beginning with coastal regions where
Christianity was already known. Olaf II Haraldsson continued his efforts, and around
1015 was recognized as king throughout Norway and completed the Christianization of
the region.
This does not mean, however, that the Vikings did away with their Norse
mythology and traditions. Rather, much like the conversion of Rome, existing stories and
images were incorporated into Christian practice, and this is evident in the architecture
and decoration of the churches they built. Stave churches blend Christian imagery and
Romanesque influences with the ornate decoration and symbolism traditional to the
Viking people.
The oldest surviving church is at Urnes in Sogn, Norway, and contains elements
dating to 1060. The first attempts at wooden churches were posts stuck directly in the
ground, which often rotted. The churches that survive today are the results of the second
or third attempts. By the fourteenth century, between eight hundred and twelve hundred
3
stave churches may have existed in northern Europe. Twenty-eight survive in Norway,
many still in excellent condition. Unfortunately, a Satanist movement in the 1990’s led
by heavy metal musicians wanting to reinstate Norse gods burned many of the churches,
destroying twenty-two. Historical societies and private donors contributed to the
construction of historically accurate replicas.
Stave refers to the upright beams used to construct the churches in a post-and-
lintel style, in contrast to horizontal log construction popular in Eastern Europe. Trees
were stripped of branches and left to grow for several years, resulting in a hard, sap-filled
outer layer that was resistant to rot. Once the staves were cut, they were treated with tar
and the foundation was laid on a bed of stones fitted without mortar, allowing drainage.
Bracing and high sills joined the main staves at the four corners of the church to each
other, and each vertical plank was held to the next one with tongue-and-groove joining.
The stave church style is a result of both Western European and Viking
influences. The basic structure is reminiscent of the basilica, containing a nave, chancel,
and apse, and inner columns with Romanesque capitals and round arches. The ceiling
resembles the Gothic style, based on a system of struts and buttressing for weight
distribution and bracing against wind pressure. But unlike the stone churches that were so
customary in Europe and Rome, the Vikings built their churches of wood. Multi-tiered,
steep roofs made of wooden shingles rise up toward the sky, many displaying both
crosses and dragons heads (that so commonly adorned Viking longboats) on the tips of
gables. Also unique to the stavkirker is the rich ornamentation of the carvings both inside
and out, often showing zoomorphic interlacing of serpents and other animals in violent
4
combat. Surrounding the heavily decorated entrance, or portal, to the church is a weapons
porch where Viking men left their defenses.
Columns support the interior of the church, in between which are round arches
that employ techniques found in ship making. Rather than forming the arch from a solid
piece of wood, the carpenters fished together (joined at an angle) two “knees,” or
naturally curved wood where the roots turn up to join the trunk of the tree. This technique
gives the structure elasticity in heavy wind gusts.
Paintings in the stavkirker more closely resemble European Gothic art, as the
Vikings had no painting tradition of their own from which to draw. Paintings mainly
consist of vaulting over the nave, altar frontals, and ciboria, or fixed wooden canopies
over altars. Unlike the Christian iconography depicted in every aspect of contemporary
French and English Gothic churches, all narrative painting in a stave church occurs in the
immediate vicinity of the altar; the rest of the church’s decoration is purely ornamental.
The paintings themselves contain similar subjects to – and the form of – later
Byzantine iconography, while employing the brighter colors and fluidity of French
Gothic painting. The vaulting of Torpo displays an enthroned Christ in the position of
Pantocrator, surrounded by the evangelical symbols of the four gospels. The thick lines
and bright colors call to mind a stained-glass window, as does the lack of dimensionality.
The decorated barrel vaulting of the Ål church features a crucified Christ again in bright
colors, and with a more fluid form than the Pantocrator. The artist seems to employ the
Celtic horror vacui technique, filling in space with floral patterns and geometric shapes.
Altar frontals often featured a series of miniatures depicting various scenes from Christ’s
life. Nes church’s Madonna and Child employs Gothic framework to highlight the almost
5
Japanese style in which the pair are portrayed – the flat noses and slanted eyes, and
especially the grasping and smiling of the fat Christ child, are far from the delicate
Parisian miniatures of the same time. Some of the miniatures take on aspects of Norse
mythology. The altar frontal at Røldal portrays the entrance to Hell not as gates or a pit in
the ground, but as the mouth of a giant, fire-spouting beast, likely a dragon.
Alongside the Christian imagery of the church, elements of Norse mythology and
tradition are preserved, seemingly as a second language conveying to the Vikings the
message of salvation in a manner familiar to them. Viking architects had a model for this
synthesis in the form of the Heliand, an epic Saxon poem telling the story of Christ in a
Viking setting. The chief holy place in Norse mythology is the evergreen ash Yggdrasil,
where Woden sacrificed himself by hanging. Also known as the Tree of Universal Life,
Yggdrasil is said to protect the last boy and girl, Lif and Lifthrasir, at the end of time.
Heliand draws comparisons between this tree and Christ’s cross, calling the cross “a tree
on a mountain.” G. Ronald Murphy, in his essay “Yggdrasil and the Stave Church,”
suggests that the stave church is a type of Christian Yggdrasil, the pine staves and tiered
roofs evoking a large, evergreen tree, and the appearance of both crosses and dragons on
the gables pointing to the promise of salvation and the nearness of death (the great dragon
Nidhogg gnaws at the roots of Yggdrasil and devours the corpses of those guilty of the
worst crimes).
The heavily decorated portal, with its intertwining vines and combative animals,
may be seen as the branches of Yggdrasil and the beasts that fight in the battle of
doomsday, or Ragnarok. Entrance into the church, then, is the only way to escape the
violence of the world, just as Yggdrasil is the salvation of Lif and Lifthrasir. Once inside
6
the church, the crucifix and depictions of Christ’s life near the altar are reassuring, though
these too carry hints of Norse mythology. In the Ål stavkirke, the image of Christ
carrying his cross to Calvary depicts a green tree with the branches sawn off rather than
the typical image of the cross. The altar frontal from Røldal depicts Christ’s harrowing of
Hell as the releasing of souls from the mouth of a great serpent.
In accepting Christianity and in building churches, the Vikings did not give up
their culture steeped in mythology. Rather, they made the message of Christ and salvation
a part of their story. The stavkirker, in their structure and decoration unlike any other
church style, are monuments to this translation.
7
Works Consulted
Benttinen, Ted. “Prayer and Vision in the Stave Church at Røldal.” Kenyon Review 11,
no. 2 (March 1, 1989): 122-123, http://web.a.ebscohost.com/ehost/detail?
sid=57d69afd-f61d-4033-aab7-37a7063283ad
%40sessionmgr4001&vid=3&hid=4104&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ
%3d%3d#db=aph&AN=7104302 (accessed February 1, 2014).*
Buxton, David Roden. The wooden churches of Eastern Europe: an introductory survey.
Cambridge, England: Cambridge University Press, 1981.
Hauglid, Roar and Louis Grodecki. Norway: paintings from the stave churches.
Greenwich, CT: New York Graphic Society, 1955.
Jenkins, Buck. “Norway’s Stave Churches.” The Saturday Evening Post, 1 January, 1980,
http://web.a.ebscohost.com/ehost/detail?sid=9d039a24-334a-4de4-a003-
b85e4be23bac
%40sessionmgr4002&vid=3&hid=4104&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ
%3d%3d#db=aph&AN=17935600 (accessed February 1, 2014).
Murphy, G. Ronald. “Yggorasil and the stave church.” Mythlore 31, no. 1-2 (September
22, 2012): 5-26.
Olsen, Ted. “Rising from the Ashes: Congregations rebuild after Satanist arsons.”
Christianity Today, 19 November, 1997, http://web.a.ebscohost.com/ehost/detail?
sid=f6d2deb0-29b8-4cab-ab28-6a87894e536f
%40sessionmgr4003&vid=1&hid=4104&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ
%3d%3d#db=aph&AN=232248 (accessed February 1, 2014).
8
Williams, Gareth. “Viking Religion.” BBC History, 17 February, 2011,
http://www.bbc.co.uk/history/ancient/vikings/religion_01.shtml (accessed March
15, 2014).
9