Originally, there were two wooden churches on this site. The first had two altars: the Meeting of the Vladimir Icon of the Mother of God and St. Nicholas the Wonderworker. The second was dedicated to the Ascension of the Lord and was dismantled by 1628 due to its dilapidation.

In the first half of the 1650s, a stone church of the Ascension was built here. E.V. Kudryashov mentions that due to a fire and the plague epidemic of 1654, the church remained unfinished: a porch, an altar, and a bell tower were not added to the main structure. The latter was attached at the turn of the 17th-18th centuries along with the refectory and the Nicholas altar. In the first half of the 18th century, the roof covering of the church was replaced with a four-pitched roof, and the southern portal was turned into a window. In 1835, a narthex was added to the northern side of the temple.

In 1922, after the separation of the Renovationist group "Living Church" from the Russian Orthodox Church, the Ascension church passed to the Renovationists, who were supported by the authorities. However, in 1930, the church was closed. Initially, it housed a dormitory for port workers and a warehouse, and in 1932, the building was handed over to a flour mill for a canteen. At that time, the five domes of the church were destroyed, and the bell tower was ruined. In the early 1950s, the church building became a two-story residential house.

The refectory and the three-tiered tent bell tower were restored in the 1980s according to the design of architect L.S. Vasilyev.

As part of the "Federal Target Program 'Culture of Russia'" in the late 2010s, active restoration of the temple was carried out, and worship services resumed there.

Fragments of wall paintings from the early 20th century have been preserved in the interior. The most well-preserved composition, "Crucifixion with Attendants," is located on the vault of the central compartment in front of the iconostasis. Rosettes imitating architectural stucco decor have survived on the arches. The glue painting was done over whitewashing, beneath which remnants of 19th-century oil painting were found.

The artistic decoration of the temple and the iconostasis have not survived.