Landskyrkan

The site is thought to have held a place of worship since medieval times, and written sources mention building work here as early as 1293, though it is uncertain whether this refers to the present stone church. Surviving furnishings support a medieval origin: a thirteenth-century font (now held by the Swedish History Museum in Stockholm) and communion silver dating from the fourteenth century, still reportedly in use, suggest continuity of worship on this spot over many centuries.

The building was substantially remodelled in the 1760s, when it was widened, and again in 1824, when a full-width, straight-ended chancel and sacristy were added to the east. A tower with a lantern was built to the west in 1831, giving the church the Empire-style character it retains today. Nave and chancel share a mansard roof of red clay tile, while the tower's rounded, square-topped cupola and lantern are clad in weathered copper.

Inside, the atmosphere is one of light, airy neoclassicism, with a restrained symmetry typical of the early nineteenth century. The barrel-vaulted wooden ceiling is painted with clouds and figures against a sky, the work of the Borås painter Nils Åvall in 1765, later extended when the church was enlarged. The altar wall, framed with pilasters around an apse-like recess, has held a copy of Thorvaldsen's statue of Christ since a 1903 renovation.

Several fittings tell their own stories. The pulpit, made in 1847 for Vinberg's old church, was bought by this congregation in 1903 to replace an earlier altar-pulpit, and its neoclassical form suits the rest of the interior well. The wooden font in use today dates from 1928, painted white and gold, distinct from the medieval font now in Stockholm. An eighteenth-century memorial plaque (epitaph) hangs on one of the side walls, and the organ case on the west gallery dates from 1877, by Salomon Molander, though the instrument behind it has since been rebuilt more than once.

A sacristy was added east of the chancel in 1942, and in 1982 the interior was given its present unified colour scheme of white, grey and gold, with further changes made to the tower at that time. More recent structural work, including replacement of the floor structure beneath the nave and chancel in 2014, reflects the church's ongoing use and maintenance.