Mogata kyrka

A church stood on this site from at least the early 1200s. Excavations carried out during restoration work in 1961 uncovered the foundations of the medieval long house and chancel beneath the present floor, showing the earlier building had a straight-ended chancel, a feature shared with several other medieval churches in eastern Östergötland. Towards the end of the Middle Ages the chancel was enlarged and vaulted, and decorated with wall paintings dedicated, according to a recorded inscription, to God and to Saint Olaf, the Norwegian royal saint widely venerated in the region. The paintings, later described in some detail by antiquarian visitors before they were lost, are said to have depicted the Trinity, the Last Judgement, the four evangelists and church fathers, various saints, and Old Testament scenes; sources suggest they may have resembled surviving 1435 paintings at Risinge, though this cannot be verified.

Only the medieval font survives from the earlier church's furnishings. That building served the parish until 1842, by which time its interior had been altered repeatedly, including new pews and pulpit in the 1600s and an enlarged tower raised around 1704–1705. A significant benefactor of the old church was General Jacob Burensköld (1655–1738), a wealthy landowner and former cavalry commander under Charles XII, who gave an altarpiece, a wine jug, a chandelier and a richly worked chasuble reportedly taken as war booty in Poland.

The present building, completed in 1844, was constructed to designs realised by builder Jonas Jonsson of Linköping, incorporating half of the older medieval tower. It is a straightforward neoclassical structure with a rectangular nave, a straight east end and rendered white walls beneath a slate roof — a late and accomplished example of the plain, light-filled classicist style that had dominated Swedish church building since the late 1700s, shortly before the Gothic Revival took hold elsewhere in the diocese. Inside, the chancel is emphasised by a semicircular arrangement of four columns behind the altar, echoed by a matching curved gallery front at the west end, a design also found in the church at Lofta.

Furnishings from the older church were retained or restored during 20th-century renovations. The medieval font, of Gotland limestone from around 1300, still stands in the chancel. The 1716 altarpiece, showing Christ enthroned on clouds flanked by figures of the evangelists, hangs on the west wall beneath the gallery, and bears the coats of arms of Burensköld and his wife. Other notable paintings include a depiction of the Descent from the Cross attributed to the Norrköping painter Måns Griis, and a two-part composition of the Madonna and Child with the prophet Isaiah, possibly by a Dutch painter of the later 1600s, given by local donors in 1692. A stained-glass window by the artist Bo Beskow, who lived for many years in the parish's old rectory, was installed in the sacristy during the 1961–1963 restoration.

The church's silver plate was stolen in 1820, so most surviving pieces date from the 19th century. Several older chandeliers survive, including one of a 17th-century type and others donated by members of the Burensköld family. The present organ, built by Åkerman & Lund, retains an older façade dating from the mid-19th century, incorporating carved figures believed to be the work of the Norrköping sculptor Niclas Österbom, whose work also appears in Linköping Cathedral and in Västervik.