The present church replaced a medieval limestone predecessor, thought to date from the early 1200s, which had been damaged by a lightning strike in 1785. Parishioners decided in 1799 to build anew just north of the old church, engaging master builder Erik Fredberg, with plans adjusted by the architect Jacob Wulff. The new building was already in use from 1802, though only fully completed by 1807, apparently modelled on Gammalkil church.
The rectangular nave, with its rounded chancel to the east and west tower, is rendered in pale plaster with round-arched windows and doorways. The tower carries a curved copper-clad spire topped by a white-painted timber lantern, complete with a clock. Inside, the original decorative scheme survives remarkably intact: wooden barrel vaulting, wide original floorboards, and a colour palette of pearl grey, white and gold typical of the late Gustavian period.
The furnishings were created by leading regional craftsmen of the day. Pehr Hörberg painted the altarpiece of Christ in Gethsemane in 1802, though it was reportedly "improved" by a Linköping photographer in 1871. The pulpit is attributed to Carl Fredrik Beurling. Around the churchyard stand older school buildings and a former parish house, together forming a small historic settlement centre.
The church's pipe organ, completed in 1815–1816, is regarded as one of the finest instruments of its kind in Sweden. It was the last organ built by the noted Linköping organ builder Pehr Schiörlin, finished after his death by his son Jonas Fredric with help from apprentice Carl Rylander. Its striking classical facade, with numerous turrets and pipe fields, was designed by Jonas Fredric, with carved ornamentation by Anders Malmström. The organ has been altered and restored several times since, notably in the 1980s when specialists sought to return it closer to its original tonal character.
A small round burial chapel stands southwest of the churchyard, built in 1951 and funded by a local charitable society. Decorated with painted pilasters, a night-blue ceiling of pale clouds, and a modest timber altar, it complements the church's carefully preserved historic setting.