The parish church stands out with its architecture, which combines late classicism forms and baroque elements. Built in 1819 with funds from parishioners, the church has altars dedicated to the Nativity of Christ and the Vladimir Mother of God. In the 19th century, a small covered porch appeared in front of the western entrance, and a brick watchman's lodge was erected to the southwest of the church. The church's territory was once surrounded by a stone fence, now lost. The brick walls of both buildings are covered with a thick layer of lime plaster and whitewashed. The church is located on the southern outskirts of the village and is prominently visible in the landscape. Its composition is symmetrical relative to the longitudinal axis. The two-light square of the church is topped with a high four-pitched roof with dormers and crowned with a shingled dome on an octagonal drum. The altar is lowered and has a rectangular shape with rounded corners. The refectory, slightly wider than the altar, also has rounded corners, and above its western part rise two tiers of the bell tower, topped with a spire. The porch in front of the western entrance is covered with two slopes. The church preserves late academic painting from the 19th century, executed in oil, with inscriptions from the turn of the 19th-20th centuries. Three compositions remain from the original painting: 'Christ Before Caiaphas,' 'The Agony in the Garden,' and the multi-figure 'Crucifixion.' At the base of the vault, a perspective cornice with modillions has been preserved. The main iconostasis of the church is pseudo-baroque, from the 19th century, three-tiered, with seven bays, featuring a central risalit. The two lower tiers are decorated with columns with composite capitals and entablatures with floral ornamentation. The upper tier is adorned with columns with twisted shafts, a pediment, and an attic. Above the pediment is an oval image of the resurrected Christ, framed by rays, and on the attic, figures of the myrrh-bearing women and an angel, forming the composition of the Resurrection. The royal gates are decorated with leafy-floral ornamentation and grape clusters. The northern choir is designed in harmony with the main iconostasis.

The set of two altar iconostases in the refectory from the 19th century belongs to eclecticism. Each of them is single-tiered, with five bays, featuring side bays that curve along the passage into the church. The iconostasis is decorated with columns with leafy-ribbon ornamentation. The cornice with a narrow frieze is supported. In the attic, semi-circular images of the Feasts are separated by figurative balusters. The opening for the royal gates has a rounded finish, above which a round icon with carving and a cross is placed in a kokoshnik. Above the other bays, round icons in carved frames are installed. A small one-story rectangular watchman's lodge from the 19th century under a gable roof is stylistically neutral. During the Soviet era, its volume was expanded to the north by more than two-thirds. In the old part, two windows with rounded lintels and small locks have been preserved.