Oxie kyrka

Did you ever hear of a church named after a pile of dirt? Oxie Kyrka takes its name from “Oxie,” meaning “the mounds” or “the mound by the estuary.” This points to the ancient origins of this place. We are standing on land occupied since the Bronze Age, marked by the two nearby Kungshögar, or King’s Mounds. Even before Christianity took root, this area held spiritual significance. Just east of Oxie Kyrka, remnants of a pagan sacrificial spring have been unearthed, whispering tales of rituals performed long ago. Oxie Kyrka itself dates back to the late 12th century. Its construction is linked to Mårten Stenmästare, the architect behind Lund Cathedral, or perhaps someone closely associated with him known as the “Oxie Master.” Originally built on royal land, the church likely served the Danish monarchy. Perhaps even more intriguing is the possibility of an older wooden church preceding this stone edifice. Excavations in 1950 revealed two stone coffin graves partly under the nave’s northern foundation, a common burial practice in the 1000s. This suggests the sacred history of this site extends even further back in time. The first Oxie Kyrka was a Romanesque structure. It consisted of a nave, a lower and narrower square choir, and a semicircular apse. Two entrances graced its sides, one for men to the south and another for women to the north. The southern entrance remains today, tucked away within the current sacristy. The sandstone and chalkstone portal offers a glimpse into the church’s earliest days. Originally, a flat wooden roof likely sheltered the interior. Over the centuries, Oxie Kyrka evolved. The 14th century saw the addition of vaults in the nave and choir, a sacristy north of the choir, and a porch added to the south side of the nave, the foundation for the unusually placed southern tower. Carl Georg Brunius further transformed Oxie Kyrka in 1848-1849. Responding to a burgeoning population, Brunius, while respecting its medieval heritage, rebuilt significant portions. He created a cruciform layout, added rounded extensions to the east (the apse), and adorned windows and doors with plastered brick frames. Stepped gables with decorative recesses and round arches emerged. Inside, cross vaults completed the new design. The church exterior we see today largely reflects Brunius’s vision. Only the roof, windows, and doors have been altered over time. In 1899, the interior underwent a complete renovation. The 17th-century furnishings, including the altar, altarpiece, pulpit, and pews, were sold. Malmö architect Alfred Arwidius designed the new Neo-Gothic interior. The oak furnishings and Victorian floor tiles exemplify this style. A biblical text from the Gospel of Matthew, painted in the choir’s archway, further enhanced the space. The interior you see today stems from this renovation. Of the medieval church, only the nave walls, the southern portal, and the sandstone baptismal font endure, silent witnesses to Oxie Kyrka’s long and layered past.