The Church of the Intercession of the Blessed Virgin Mary, the central building of the complex, is located in its southern part. The brick walls are covered with whitewash. The columned porticos at the main and northern side entrances date back to the second half of the 19th century. The temple is a pillarless five-domed structure with a refectory and bell tower, continuing the architectural traditions of the 17th century. It is a decorative and expressive monument in the Naryshkin Baroque style, which became a model for many religious buildings in the former Shuya district. The composition of volumes is oriented along the main axis. The proportions of the church are slender, and the abundance of carefully crafted details makes it one of the best works of local craftsmen. The high two-light square is topped pyramidal, above its attic tier with decorative kokoshniks rises a reduced low square with cut corners, also decorated with kokoshniks and serving as the base for the five domes: the bulbous domes with scaly covering, the middle one being larger and taller than the side ones, are raised on high cylindrical drums with kokoshniks at the base. The large altar, almost equal in width to the square, is divided into three slightly expressed rounded sections with columns at the joints. The refectory is also equal to the square in width. The high tent-like bell tower, an octagonal pillar on a square base, has tents on the sides of the covered porch. The corners of the main square and the refectory are highlighted by bundles of columns. On the main axes of the side facades of the square are large perspective portals with rich assembled profiles of melons and beads. Large arched windows on their sides are framed with casings with concave keel-shaped frames, and the second-light windows are placed along two axes and have comb-shaped arches. A wide assembled cornice of cities, a ledge, and a saw is supported at the base of four large kokoshniks of the attic. The drums are encircled by arcature-columnar belts. The faces of the square and the bell tower are treated with strips, at the corners are pilasters. At the base of the tent on the northern side, above the keel-shaped finishes of the ringing arches, there is a clock mechanism extension. A late porch with a pediment portico adjoins the western facade, where six columns, arranged in pairs, frame the entrance to the church and the tents. The main room of the church is covered with a transverse barrel vault, the apse is conch-shaped, and the refectory has a semi-barrel vault with arches above the windows. The first tier of the bell tower has a cross vault; the rooms of the tents are box-shaped. The glue painting in the square and refectory is a characteristic example of painting from the first half of the 19th century, where baroque compositions and classicist grisaille decor are combined. Techniques of icon painting and conditional modeling of volumes are widely used in the execution of individual figures. The original color scheme was distinguished by the richness of the color palette, consisting mainly of bright, light, and airy tones.