Built in a late 18th-century Siberian Baroque and early 20th-century neorussian style, the building is one of the oldest and most expressive churches in Siberia, which is under monument protection.

It is believed that the early wooden church was raised in 1586, which after several fires was reconstructed into a stable stone building in the late 17th century.

[2] However, according to the Esipov Codex, the Siberian ethnographer Nikolay Abramov and Pyotr Butsinsky from Kharkov, the mentioned church was a different one in Tyumen.

[7] According to Ivanenko, the church was located a bit to the left of a house at the Republic Street; that place is now swamped by the Tura River.

[8] At the same time on a drawing of Tyumen between 1668 and 1695 from Nicolaas Witsen's book Northern and Eastern Tartaria and on a draft of the town around 1700, found by Golovachov in Gerhard Friedrich Müller's portfolio,[5][9] the All-Merciful Church is seen in the same area near the Kremlin.

2 October] 1695, after which a decision was made to use stone as building material, but because of needs for the Northern War the plan was not completely realized.

In 1798, the winter (warm) church of the bottom floor was completed and consecrated in honor of the Mother of God icon of Tikhvin.

[11] The building of the upper church was finished only in 1819, and subsequently consecrated in honor of the Image of "The Saviour Not Made by Hands".

After the death of his wife Evdokia Tekutyeva in 1913,[14] the state architect K. P. Chakin drafted a construction plan of the side altar after the request of the buyer.

However, the building was already a cultural property, after which the eparchial consistory had to send the project to the Imperial Archeological Commission, which in November 1913 forbade reconstruction, as those will cloak very interesting artistic and architectural pieces of the northern facade and destroy beautiful platbands.

After a few years, the western facade of the initial church and the northern side altar were put together with an outbuilding of a two floors combination of parvise and narthex, built in a neorussian-like style.

One communist newspaper accused protoiereus Aleksey Tobolkin and the dean Ilya Populov of "stealing" church property.

[15][18] After the decreasing collectivization in 1932 and dekulakization, it was proposed to demolish the church, right after the Dormition of the Mother of God Cathedral, until a circular from 3 August, Nr.

17147, was sent by the Ministry of Education to the city council: The sector of science informs, that the Church of the Saviour of the city of Tyumen is under accounting and protection of the Narkompros, and therefore any damages and robbery of its outer architecture are impermissible and will be punished for violating the VZIK and SNK decrets about the protection of archaic art monuments...[19] As a result, only one separately lying belfry was destroyed, and until 1960 the building (and, before that, the Holy Trinity monastery) was used as an archive by the People's Commissariat for Internal Affairs (NKVD), the Ministry for State Security (MGB) and the Ministry of Internal Affairs (MVD),[20] and as the Central State Library (now the Tyumen Scientifical Library).

[8] Today the Church of the Saviour is an object of cultural heritage (a landmark) of federal significance (code 7210007000).

Picketings, as well as the unrecognition of the area by the court and even an open letter by members of the Council of Writers of Russia (among the authors were V. N. Ganichev and V. N. Rasputin) were the results.

[6] The church is extended by a nave, and a belfry stands above the refectory, reminding the "octades on the quartets" in its architecture.

As described by architecture historians, the "Baroque style is noticeable in the church's plastered manufacture with figurical cupola covered by a fracture, broken pediments, and tiered contrastically degressive octades with sculptural volutes".

Polished tower-like pilasters are flanking the church's quartets, which, like finials, are crowned with small cupolas.

Researchers remark that the plaster congestion of the church's facades makes it one of the most decorative in Tyumen;[6][11] according to S. P. Zavarikhina and V. A. Zhuchenko, "it implies over a unity in architecture" and "no outbuilding is needed".