The Church of the Assumption of the Blessed Virgin Mary is a pillarless three-domed temple built in the style of ancient Russian architecture of the mid-17th century with elements of Suzdal architecture. Its three domes were likely inspired by the churches of Suzdal from the 16th century. The arcature-columned belt at the upper part of the walls resonates with monuments of the Upper Volga. The spatial composition of the brick building, covered with plaster and whitewashed, includes a large two-light square of the temple with a four-pitched iron roof topped with three light drums, and adjoining volumes, including a strongly protruding semicircular altar apse. Originally, there were likely two apses: the refectory and the northern chapel.

In the second half of the 19th century, the building underwent significant reconstruction. A southern chapel was added, and the internal walls of the refectory in both chapels were dismantled. To create a traditional five-domed structure, two decorative domes were added over the western part of the square. Most openings were bricked up, and the eastern window of the apse was expanded into a wide entrance. The decorative embellishments are concentrated at the upper part of the facades. The walls of the square are topped with a cornice and a frieze made of a string course and a baluster belt, which incorporates framed pentagonal niches. An arcature belt runs around the perimeter of the walls, except for the corner pilasters. The windows are arched, without trim, with deep external slopes. The northern and southern entrances are framed with portals with keel-shaped finishes. Inside, the square is covered with an original system of vaults: in the eastern part, two supporting arches support the box and half-box vaults with light openings for the central and side drums, while in the western part, there is a half-shelf vault. Fragments of glue painting have been preserved on the vault and in the upper part of the walls. This is an interesting example of mid-19th century painting, where the grisaille decor is done in the classical style, and the depiction of saints shows a noticeable influence of ancient Russian painting from the 17th century. The color scheme of the painting exquisitely combines intense bright and pale light tones.

On a pink background in the western part of the vault, the "New Testament Trinity" is depicted surrounded by archangels in red-purple, ochre, pale blue, and blue-pink garments. The grisaille ornament on the arches of the vault is executed in greenish and brown tones. On the southern wall, saints are depicted, on the western wall, scenes from the life of Nicholas, and on the northern wall, the "Adoration of the Magi" and the "Transfiguration."