status and activism of religion. That, doubtless,
was a key factor behind the stunning 36.6 percent
increase in religious groups in the Soviet Union
(from 12,438 in 1985 to 16,990 in 1990); in the
RSFSR, the rate of growth was only slightly
slower—32.6 percent (from 3,003 in 1985 to 3,983
in 1990). The expansion of organized religion
hardly abated after the fall of the Soviet Union in
1991: In the Russian Federation, the number of reg-
istered religious organizations rose fivefold (to
20,200 on December 31, 2000).
That growth has been somewhat troubling for
the Russian Orthodox Church. Although a major-
ity of the citizens in the Russian Federation profess
some vague allegiance to Orthodoxy, observants
are relatively few (4.5%), and still fewer attend ser-
vices on a regular basis. Still more alarming has
been the exponential growth of non-Orthodox re-
ligious groups, especially Christian evangelical and
Pentecostal movements. In an effort to contain cult
movements, the law on religious organizations
(October 1997) posed barriers to the registration of
new religious groups, that is, those that had
emerged within the last fifteen years, chiefly from
foreign missions. Nevertheless, by the closing dead-
line for registration on December 31, 2000, Rus-
sian Orthodoxy claimed only a slight majority
(10,913) of the 20,200 religious organizations in
the Russian Federation; the rest consisted of Mus-
lim (3,048), Evangelicals (1,323), Baptists (975),
Evangelical Christians (612), Seventh-Day Adven-
tists (563), Jehovah’s Witnesses (330), Old Believ-
ers (278), Catholics (258), Lutherans (213), Jews
(197), and various smaller groups.
See also: CATHOLICISM; HAGIOGRAPHY; ISLAM; JEWS;
MONASTICISM; ORTHODOXY; PAGANISM; PROTES-
TANTISM; RUSSIAN ORTHODOX CHURCH; SAINTS
BIBLIOGRAPHY
Anderson, John. (1994). Religion, State, and Politics in the
Soviet Union and Successor States. New York: St. Mar-
tin’s Press.
Corley, Felix. (1996). Religion in the Soviet Union: An
Archival Reader. New York: New York University
Press.
Geraci, Robert P., and Khodarkovsky, Michael. (2001). Of
Religion and Empire: Missions, Conversion, and Toler-
ance in Tsarist Russia. Ithaca, NY: Cornell University
Press.
Hosking, Geoffrey A. (1991). Church, Nation, and State
in Russia and Ukraine. New York: St. Martin’s Press.
Lewis, David C. (1999). After Atheism: Religion and Eth-
nicity in Russia and Central Asia. New York: St. Mar-
tin’s Press.
G
REGORY
L. F
REEZE
RENOVATIONISM See LIVING CHURCH MOVEMENT.
REPIN, ILYA YEFIMOVICH
(1844–1930), Russia’s most celebrated realist painter.
The future master of realism, whose genius
with the canvas put him on par with the literary
and musical luminaries of Russia’s nineteenth cen-
tury, Ilya Yefimovich Repin arose from truly in-
auspicious surroundings. His father, a peasant, was
a military colonist in the Ukrainian (then, “Little
Russia”) town of Chuguev. His talent manifested
itself early, and at age twenty, he entered St. Pe-
tersburg’s Academy of Arts. His first major piece,
The Raising of Jarius’s Daughter, won him the gold
medal in academic competition, and with it, a
scholarship to study in France and Italy. Although
the Impressionists at that time were beginning their
critical reappraisal of representation, Repin re-
mained a realist, although his use of light shows
that he did not escape the influence of the new style.
Upon his return to Russia, he developed a nation-
alist strain in his paintings that reflected the polit-
ical mood of his era. In this work, he connected the
realism of style with that of politics, bringing his
viewers’ attentions to the arduous circumstances
under which so many of their fellow citizens la-
bored, reflected in his first major work beyond the
Academy, Barge Haulers on the Volga.
Although Repin was never specifically a polit-
ical activist, he was nonetheless involved with other
artists in challenging the conservative, autocratic
status quo. For example, he joined with other
painters who, calling themselves the peredvizhniki,
or “itinerants,” revolted against the system of pa-
tronage in the arts and circulated their works
throughout the provinces, bringing art to the emer-
gent middle classes. Moreover, they chose compo-
sitions that depicted their surroundings, as opposed
to the staid classicism of mythology; Repin shifted
from Jarius’s Daughter to Russian legends, exem-
plified by several versions of Sadko, a popular fig-
ure from medieval, merchant Novgorod. More
impressive, though, were those among his works
that evoked the reality of all aspects of contempo-
RENOVATIONISM
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ENCYCLOPEDIA OF RUSSIAN HISTORY