Siberian Baroque is a distinctive architectural style prevalent in 18th-century Siberia, characterized as a provincial variant of Russian Baroque. By 1803, records show 115 stone churches in Siberia, with the majority built in this style. It draws influences from Ukrainian Baroque and, notably, incorporates unique Lamaist motifs in some instances, reflecting the diverse cultural landscape of the region. Most surviving examples are found in Irkutsk, Tobolsk, and Tomsk, though the Feast of the Cross Church in Irkutsk is exceptional for preserving its original interior. Architecturally, Siberian Baroque churches are typically astylar, with the refectory and belfries joined on the western side. Their decorative elements often feature smaller-dimensioned paintings, a technique A. Yu. Kaptikov termed the "Baroque advanced form," alongside exotic foreign and Eastern motifs like arrow-shaped and "flaming" cornices, stupa-like forms, and dharmacakras.
The historical development of stone architecture in Siberia began in the 17th century, primarily in Tobolsk and Abalak, showing older Russian uzorochye elements. The earliest significant stone building, Tyumen's Annunciation church (1700–04), exhibited Naryshkin Baroque influences. Subsequently, the Trinity Monastery in Tyumen prominently featured Ukrainian Baroque, likely due to the Ukrainian origin of Siberian hierarchs, with later churches adopting vertical-vaulted architecture. Early Tobolsk monuments also showed similarities to Uralian churches such as the Dormition of the Mother of God monastery in Dalmatovo. Eastern Siberia saw its first stone structures emerge in the early 18th century, including the Dormition of the Mother of God monastery in Nerchinsk (1712) and the Transfiguration of the Saviour in Posolskoye (1718), alongside several churches in Irkutsk, Yeniseysk, and Yakutsk.
The most celebrated example of Siberian Baroque is the Feast of the Cross Church in Irkutsk (1747–1758), recognized for its "originality in cultural-semantic and ethno-stylistic stratifications." Its distinctive Buddhist decor attracted scholarly interest even before the Russian Revolution. Art historian Igor Grabar viewed it as a late provincial culmination of Moscow's uzorochye, blending elements of Moscow and Ukraine with a unique "peculiar odour of the neighbouring East." The term "Siberian Baroque" itself was coined by Irkutsk local historian D. A. Boldyrev-Kazarin in 1924, who also noted the possible involvement of Buryat artisans and the incorporation of Mongolian, Chinese, Khanty, Tatar, and Bukharian influences in church designs across Siberia.
Research into Siberian Baroque continued through the Soviet era, exploring the interplay between Eastern, Ukrainian, and Siberian architectural traditions. Scholars identified "Buryat decor" in some Irkutsk churches, suggesting construction by architects from Northern Russian cities like Totma and Veliky Ustyug. T. S. Proskuryakova proposed a division into two subregional types: Western Siberian (covering Tobolsk, Tyumen, and the Trans-Ural region) and Eastern Siberian (focused on Irkutsk). H. Yu. Kaptikov further classified 18th-century Siberian architecture as one of several distinct provincial schools within Russian Baroque, alongside those of Totma-Ustyug, Vyatsk, and the Urals, highlighting its unique regional character within the broader Russian architectural landscape.