The church is located in the center of the village on a gentle bend of the main street, from where the descent to the pond begins. It is the first stone church built in this area. Its architecture retains elements of early Baroque, characteristic of regional features, late classicism, and stylization of the early 20th century. Differences in construction periods are leveled by the similarity of facade solutions based on simplicity and a clear rhythm of vertical divisions.

In 1754, Bishop Luka of Kazan permitted the construction of a stone church to replace the old wooden one. The new church retained the name of the main altar and was to have a second warm chapel in honor of Zacharias and Elizabeth. A year later, the spiritual consistory approved the parishioners' request to collect donations for the church's construction by issuing a special book. The preparation for construction was complicated and prolonged, and in 1761, Priest S. Grigoriev and the elected V. Chermnykh again sought permission to collect funds.

The church was built in 1764 with the blessing of Archbishop Benjamin of Kazan, and the warm Peter and Paul chapel was consecrated at that time. The main altar of the Nativity of Christ was consecrated on June 5, 1769. The refectory was rebuilt in 1813, and in 1841 it was expanded to the west. The bell tower was likely erected in the 1830s or 1840s. In 1850, the cold church was expanded by adding a chapel in honor of the icon of the Mother of God, Joy of All Who Sorrow. The last reconstruction of the church took place in the early 20th century: the western part of the refectory was rebuilt, and the southern chapel of Peter and Paul was consecrated anew in June 1915. There is no information about the time of consecration of the northern chapel in honor of St. Nicholas the Wonderworker.

The silhouette of the church is accentuated to the west: the four-tiered bell tower, standing away from the axis of the church, is significantly taller than it. The upper tier of the square base with a convex roof and a light octagon rises above the pentagonal altar, side compartments, and rectangular refectory. The iron frame of the octagon's completion with a convex roof and a small dome has been preserved. An elongated covered passage connects the bell tower with the warm church. The facades of the passage and compartments were previously adorned with small porticos.

The square space of the base connects through wide openings with the apse and compartments, covered with cylindrical vaults. The eastern walls of the former refectory with niches for altar chapels have been preserved. The two-column space of the refectory has a complex system of vaults supported by eastern pilasters. The central part is covered by a transverse vault, combined with the altars and passage. The western part has cylindrical vaults. The corridor's ceiling is wooden, plastered with profiled beams. The church's bell tower has a cross-shaped plan with porticos and risalits. The long passage between the bell tower and the refectory makes the facade elongated, measuring 77.8 m, with a width of 23.0 m for the cold church.

The facades of the base are divided by fluted pilasters into three parts. The middle panels are highlighted by half-arches with windows in the tympana. Openings with arched lintels are framed by simple casings. The walls are topped with triglyphs and a cornice. The compartments support the structure of the facades. Their walls are covered with rustication, transitioning to archivolts, while the upper part is decorated with ring-shaped panels.

The facades of the lower tier of the bell tower are executed in strict Doric style. The risalits are decorated with porticos on pilasters. Arches are highlighted by archivolts and keystones. The frieze features large triglyphs with guttae. The central axes of the porticos are emphasized by round windows. The second tier of the bell tower is square, with the upper tiers being octagonal with arched openings. The bell tower is crowned with a dome-shaped roof with lucarnes and a spire.

The facades of the light octagon and the bell tower reflect the method of wall repair common in the late 19th century. During the weathering of bricks, the facades were sheathed with iron and painted with lime, creating the illusion of perfect wall condition. Such repairs sometimes led to complete sheathing of the walls.