One of the most interesting wooden churches in the region, its typology traces back to examples from the 17th century, and the decor is executed in the traditions of late classicism. The dominant feature of the volumetric composition is a two-light square base, which previously had a four-pitched roof with a scale-like dome on a faceted drum covered with metal. To the east, a narrower and lower rectangular altar with a three-pitched roof adjoins the square base, while to the west, there is a small refectory of the same height with a sloped southern wall, giving it a trapezoidal shape. A closed gallery-porch, partially retaining single-pitched roofs, surrounds the building on three sides and partially covers the walls of the square base. The gallery rests on powerful cantilevered projections of the log structure at the western corners of the square base. On the northern side, a low wooden vestibule with a gabled roof remains at the entrance to the gallery.

The facades of all parts of the building, clad in imitation of narrow horizontal rustication, are topped with profiled cornices with smooth friezes. Rectangular windows with metal cubical grilles are framed in narrow simple moldings. On the side facades of the square base, the windows on the second tier are symmetrically arranged, while the lower window, which is more elongated, is shifted to the east. Side entrances to the church are closed by the gallery. The altar windows match the size of the upper windows of the square base. The walls of the gallery are pierced with evenly spaced windows, five on each side, with the central openings on the side facades, located above the vestibules, being wide three-part ones. The facades of the vestibules are adorned with triangular pediments with profiled slopes and a horizontal cornice, while the rectangular entrance is paired with a narrow horizontal window with fractional glazing. The square base of the church was previously topped with an eight-column wooden vault, while the altar and refectory, connected to the church, had flat ceilings. The flat ceilings in the gallery have been preserved.

The walls inside the church are plastered. The oil paintings, executed in 1868 in a late academic style, were well preserved until the 1980s. In the altar, in arched frames, are depicted the Moscow saints and holy princes. At the top of the vault was an image of the blessing Christ surrounded by cherubim, and on the main panels of the vault, "The Resurrection of Christ" in the iconography of "The Rising from the Tomb," "The Crucifixion" with the bystanders, "The Laying in the Tomb," and "The Agony in the Garden," while on the diagonal panels, images of the evangelists in oval frames with dense ribbon-leaf ornamentation. A profiled cornice separated the upper trapezoidal part of the walls with multi-figure compositions, decorated with lush ornamentation featuring rocaille. The scenes on the lower part of the walls are dedicated to the life of St. Nicholas the Wonderworker: on the southern side, to the right of the entrance, there was a large composition depicting his baptism, and on the northern side, symmetrically, the transfer of his relics. In the refectory on the side walls were compositions "The Sermon on the Mount" and "Christ and the Samaritan Woman," while on the western wall, the Pharisee and the Tax Collector. To this day, the frescoes in the altar and partially the compositions on the southern wall of the church have been preserved.