The Church of the Ascension is a characteristic monument for this region, reflecting the transition from Baroque to Classicism. The building is elongated along the main axis: a slender three-light and five-domed main square is connected to a low, wider square refectory, with slightly rounded eastern corners. A later-built three-tiered bell tower adjoins the refectory. Its quadrangular dome with lucarnes is topped with a cupola and spire on a high light drum. The verticality of the volumes is emphasized by the facade decor. The corners of the square are highlighted by pilasters on wide plinths, and the windows, arranged along three axes, are framed with flat casings with narrow ears in the second light and applied panels under the upper square openings. The decor of the refectory and apse facades includes Baroque window casings with arched lintels, finished with sandriks, as well as pilasters: single ones in the refectory's intercolumniations and triple ones on the apse. The bell tower's squares, decreasing upwards, are pierced with high arches, and the two lower ones are adorned with two-column porticos with triangular pediments. The main space of the temple is high and bright, covered with a vaulted ceiling with a central light drum. This space is connected by wide arched openings to the refectory and altar. The apse is illuminated by three windows and covered with a five-section vault, while the refectory has a transverse box vault with two sections. A staircase to the bell is located in the wall of the northern support of the bell tower.

The glue painting, created in the first third of the 19th century, has survived fragmentarily in the square, altar, and on the vault of the refectory. This is an expressive example of the Palekh-Shuya school with Baroque compositions and grisaille decor, where features of Classicism and iconographic style in the depiction of saints are noticeable. The color palette is soft, with ochre-brown shades and splashes of blue and dark red. The light drum is surrounded by a wide painted ornamental frame, from which grisaille stripes descend along the edges of the vault. The eastern section depicts 'Heavenly Jerusalem', the western, 'Ascension', while the southern and northern sections feature rare images of evangelists for this place. On the southern and northern walls, figures of apostles are depicted in three tiers, and between the upper and lower rows of windows are placed Gospel and Old Testament scenes. A large part of the western wall is occupied by the composition 'Expulsion of the Merchants from the Temple', which depicts the interior of the Jerusalem temple, combining Baroque architectural painting and iconographic techniques. The altar paintings are traditional: in the conch, separated by a grisaille belt, is depicted 'Crowning of the Mother of God', on the walls, the church fathers, executed in an iconographic manner; between the windows are 'The Sacrifice of Abraham' and 'The Eternal Sacrifice'. Unusual is the painting of the refectory vault, dedicated to the Gospel Beatitudes. In the center is an octagonal composition 'Blessed are the Pure in Heart', surrounded by a thin frame, from which four rays with grisaille ornament spread diagonally across the vault. Each section is divided by a column, allowing for two compositions to be placed within them. The painting of the refectory is done in a light palette, where greenish shades successfully combine with blue grisaille.