The temple is located in the center of the village and was built in the 18th century with funds from P. A. Bykov. It occupies a trapezoidal plot, surrounded by a 19th-century fence with corner towers and gates. All buildings are made of brick and covered with whitewash. The architecture of the temple in the style of early Baroque is combined with the bell tower, designed in the spirit of Suzdal architecture of the 17th-18th centuries. The main volume of the temple, with a large octagon on a square base, is topped with a domed roof and an onion-shaped cupola on a two-tiered base, featuring a blind octagon and a smooth cylindrical neck. The semicircular altar is slightly narrowed, and the walls of the square end with gentle triangular pediments. The southeast corner of the refectory, which extends southward, is rounded, marking the location of the side altar. The arches of the bell tower's ringing tier are embedded in the base of the steep tent roof with a curved shelf. The lower row of openings is made in the form of round recesses, which is uncharacteristic for the tradition. The corners of the square and the bell tower are decorated with pilasters, while the facets of the octagon are adorned with rusticated pilasters. The windows with arched lintels are framed with architraves with ears and curved sandriks. The main volume is covered with a blind vaulted ceiling, while the refectory has a barrel vault. The glue painting of the 18th-19th centuries on the vault of the square and in the altar was renewed in the 19th century. In the late 19th century, the walls of the square and the refectory were repainted with oil paints, and in the 20th century, the painting was refreshed with changes in style and color. The original painting of the vault was characterized by clarity and balance of compositions typical of classicism, rarely found in the region's wall painting. The barrel vaults depict a Passion cycle with rare scenes for that time. In the center of the vault is depicted the "New Testament Trinity." More traditional for the 18th-19th centuries are the Baroque compositions of the altar, such as "The Descent from the Cross" on the eastern wall and "Those Cherubim" in the conch. The oil painting on Gospel themes on the walls of the main volume is executed in a late academic manner. The main iconostasis of the 19th century is an expressive work in the spirit of classicism. Icons imitating ancient Russian painting of the 17th century also date back to this time. In the second half of the 19th century, the royal gates and some details of the carving were replaced. The high three-tiered structure with a protruding central part and lowered sides has a solemn appearance and pronounced verticality. In the lower tier, columns on either side of the royal gates support an entablature, above which is a conch with rosettes and coffers. In the middle tier, between two-column porticoes connected by an arch, three icons of the Deesis are placed, and above them is a small oval "Last Supper" in a rich carved frame. In the center of the upper tier, two columns support a small pediment. The iconostasis is topped with a sculptural Crucifixion with figures of the Virgin and John. The icons in the two upper tiers are arranged in a peculiar way: in the side sections, they are raised or lowered relative to the central ones. The carvings of the frames, friezes, and capitals show echoes of Baroque. The carving on the royal gates and the bases of the columns is done in an eclectic manner. The one-tier iconostasis of the 19th century in the southern chapel of the refectory leans towards Baroque. Its icons in the central part are divided by smooth Corinthian columns on protruding bases, and the "spans" are completed with semicircular archivolts framing small festive icons in the shape of trifoliums. Above the slightly arched royal gates is a carved image of the Holy Spirit in the form of a dove and a tall figured arch. The northern side of the iconostasis is completed in the center with a keel-shaped arch. The iconostasis is adorned with plastic Baroque carving. The chandelier and other church utensils have been preserved. The fence is modestly decorated, its forms oriented towards classicism. Large horizontal panels on the spans of the low wall alternate with pilasters ending in stout towers. The central arch of the three-span gate is wider and higher than the side ones, flanked by paired columns supporting the entablature. The figurative finishes above each opening are topped with crosses.