The article examines Russian Orthodox church complexes in the United States not as isolated sacred buildings or architectural monuments, but as a specific form of paraliturgical museality operating outside institutional museums and without compromising the Eucharistic nature of the church. The study is based on a corpus of Russian diasporic church ensembles from the late nineteenth to the mid-twentieth century and employs the theoretical frameworks of new museology, the ecomuseum approach, cultural memory studies, and the cultural study of religion. Architectural and spatial structures, memorial practices, visual and digital representations, and the roles of various actors involved in the activation of museum meaning are analyzed. The main result is the conceptualization of paraliturgical museality as a distinct mode of museal existence of sacred architecture and the identification of its typological models in cathedral, parish, monastic, and memorial chapel complexes. The research demonstrates that museum functions emerge alongside liturgical life and are reinforced through ensemble-based spatial logic and digital mediation rather than institutional museification. The article concludes that the ecomuseum perspective offers a productive analytical framework for interpreting church architecture as a living museum resource and that the proposed concept may be applied to other confessional and geographical contexts.