Hajoms kyrka

The oldest stone church on this site was probably built in the earlier Middle Ages, and parts of the present nave's south wall may date from that period. The building was substantially reworked in the 18th century, when the north and east walls, along with the chancel, were demolished and rebuilt, giving the church its current three-sided chancel and a wider interior. In 1837 the nave was extended westwards by about five metres, with a new entrance portal added at that time.

A major renovation in 1928–1929, directed by the architect Axel Forssén, shaped much of what visitors see today. A new sacristy replaced an 1882 predecessor, plasterwork was repaired, and the whole interior was repainted with the aim of restoring the church's 18th-century character. It was during this campaign that conservator Carl Otto Svensson uncovered the long-hidden ceiling paintings beneath later overpainting.

Those ceiling paintings are among the church's most memorable features. First painted in 1685 by the Varberg artist Olof Andersson, they were overpainted in 1774–1775 by another Varberg painter, Henrik Andersson Wibeck, whose work followed the style of his stepfather Ditlof Ross. The scheme depicts the Trinity above the chancel, the Last Judgement and a comparatively restrained depiction of Hell in the nave, and a sequence of six scenes from the life of Christ along the ceiling's sides. Further overpainting followed in 1836–1837 and 1894, before Wibeck's work was finally revealed again in 1928.

Among the furnishings, the pulpit and gallery front were also painted by Wibeck in 1774–1775, decorated with the four Evangelists, though five panels at the centre of the gallery are thought to be later work by someone imitating his style. The font, carved from sandstone in the later 12th century, is considerably older than the rest of the interior; its bowl carries six scenes, including episodes from the legend of Saint Stephen and depictions of Saint Christopher and the Presentation of Christ in the Temple. Its original base, lost for a time, was rediscovered built into the churchyard wall in 1965, reuniting the font after a long separation.

In the churchyard stands a free-standing wooden bell tower dating from 1683, an octagonal, cone-shaped structure topped with a weathercock. It houses two bells: a smaller one cast in 1704 by Petter Böök of Gothenburg, and a larger, uninscribed bell of a late-medieval type acquired only in 1875. A whitewashed lychgate in the south churchyard wall was rebuilt in 1928–1929, replacing an earlier one demolished in 1864.