The village of Kravotyn is very ancient. In the XVI century, it became the center of the volost and more than once figured in various documents. For example, it is known that when these lands were owned by Boyar Volsky, in the village there already existed a wooden church of the "Introduction of the Most-Holy Mother of God to the Temple". Its name was preserved for many years, and the church, built again at the end of the 18th century, was dedicated to the same holiday. The construction of the Vvedenskaya church in the village of Kravotyn happened almost simultaneously with the construction of the church in the village of Verkhnie Kotitsy. Kravotynskaya was laid shortly after 1782, and by 1791 it was ready. The final decoration of the temple lasted until 1802, but even after that the detached bell tower and the roof remained for a long time wooden. The high double-lighted quadrangle of the Vvedenskaya church, overlapped by a closed vault and crowned by a traditional five-domed church, is not new in local architecture. The first thing you notice in the monument is the presence of fragments of architectural attire of the 17th century in its décor, as well as in the church, and the fact that the main volumes remained on the composition of the nearby buildings of the same time. To the high quadrangle of the temple adjoins a vast refectory with two aisles, stretched from north to south, and the southern side-chapel has two apses. Traditional features in the volume of the building and in its decoration, probably, would not have been so noticeable, were it not for pedestals under the drums decorated with decorative kokoshniks, and the drums themselves, decorated with arcades of polukolonok intercepted by beads. On the apse unexpectedly interspersed detail, as if transferred here from the XVII century, - the kyot, where once the icon was placed. Its frame resembles the shape of the bell-tower of the Zhitenny monastery. Carefully looking closely at the rest of the decoration of the church, you involuntarily come to the conclusion that, in spite of the Baroque forms, it also looks more like a decorative decoration of the 17th century.
In the church of Kravotyna until recently, there was a rare beauty iconostasis, apparently, a work of Ostashkov's wood carvers, which the city was famous for in the past. The iconostasis was made immediately after the construction was completed and afterwards it did not change much. It was adorned with canneled pilasters of the Ionic order, embroidered with garlands of roses. The sculptural composition "Annunciation" was placed on the carved royal gates, above which a strict, masculine Sabaoth was sitting in clouds and radiance. Among the patterns of the ornament, cherubim heads were interspersed everywhere, they also hovered in carved clouds over icons and decorated pilaster capitals, and above the doors to the altar and the deacon the flying angels plowed heavy canopies. Now, from all this splendor, there is almost nothing left. The unique iconostasis of Ostashkov's craftsmen was destroyed by a ruthless fashion for collecting items of church utensils, icons and sculptures. Only a small part of the iconostasis - the royal gates with the "Annunciation" stage - managed to be taken to Ostashkov, and now it is stored in the reserve of the museum of local lore.
A low bell tower, standing next to the church, was built in the late 20-ies of the XIX century. Above the square base rises a high round ring of tinkles, decorated with semicolumns, and even higher - a small tier-resonator, crowned with a spire. In its composition and scenery there is no arbitrary blending of styles. More and more strictly, more restrained. Individual details of the decoration of the facades, such as rusticated corners, a shamrock stone in the form of a shamrock above the entrance, unceremonious half-columns and naive pediments, say that local masters built it and a project for it, if it was made by an architect, has undergone significant changes in their hands.