
evacuated in 1941 to relatives in the town of
Yuryevets, near his birthplace. In 1951 Tarkovsky
entered the Institute for Oriental Studies but soon
abandoned his academic life. In 1953 he joined a
geological expedition to Siberia. On returning, he
enrolled the following year at the All-Union State
Institute of Cinematography, where he studied un-
der the supervision of the renowned Soviet direc-
tor Mikhail Romm. Fellow students included Andrei
Konchalovsky, who also later achieved interna-
tional fame as a director, and Vadim Yusev, who
worked as director of photography on several of
Tarkovsky’s early films.
In 1957 Tarkovsky married classmate Irma
Rausch. In 1960 he graduated from film school
with honors. For his diploma work, he wrote and
directed a fifty-minute feature film called The Steam-
roller and the Violin, which treats several themes—
childhood, innocence and loss, male friendship, and
the redemptive power of art—which later become
central to his work. In 1961 Tarkovsky started
work on a Mosfilm commission, released the fol-
lowing year under the title Ivan’s Childhood. This
film, which explores the relationship between a
young boy and two adult soldiers experiencing the
physical and psychological dislocations of war, im-
mediately won international acclaim. Tarkovsky’s
next film, Andrei Rublev, is considered by many to
be his masterpiece. This long, complex account of
the life of the early fifteenth-century Russian icon
painter took five years to complete (1961–1966)
and, because of its unconventional treatment of na-
tional history, its vivid depiction of medieval cru-
elties, and its central concern with the relationship
between spirituality and artistic creation, encoun-
tered the hostility of the Soviet authorities, who
delayed its release by another three years. During
this period, Tarkovsky left his first wife and, in
1970, married the actress Larisa Pavlovna (Yegork-
ina), who worked in many of his later films.
During the next decade, Tarkovsky directed
three more films in the Soviet Union, each intel-
lectually challenging and stylistically innovative:
Solaris (1972), a profound reflection, in a science-
fiction setting, on human relationships, mortality,
and the nature of existence; Mirror (1975), a kalei-
doscope of autobiographical episodes exploring
themes of childhood, maternal love and marriage,
time, memory, and loss, which provoked official
disapproval for its subjective nature but won wide-
spread critical acclaim; and Stalker (1979), a grim
allegory of the human quest for moral salvation.
Tarkovsky’s next film, Nostalghia (1983) was a
joint Soviet-Italian production. Following its com-
pletion, the director decided to remain in Western
Europe. He finished his final film, Sacrifice (1986),
while already suffering from lung cancer. He died
in Paris at the end of the year. In the late 1980s
Mikhail Gorbachev’s new cultural policy inaugu-
rated a posthumous celebration of Tarkovsky’s
work in the Soviet Union. Since 1991 his reputa-
tion, both in Russia and internationally, as one of
cinema’s great artists has not diminished.
See also: MOTION PICTURES; RUBLEV, ANDREI
BIBLIOGRAPHY
Green, Peter. (1993). Andrei Tarkovsky: The Winding Quest.
Basingstoke, UK: Macmillan.
Johnson, Vida T., and Graham Petrie. (1994). The Films
of Andrei Tarkovsky: A Visual Fugue. Bloomington: In-
diana University Press.
Tarkovsky, Andrey. (1986). Sculpting in Time: Reflections
on the Cinema. London: The Bodley Head.
Turovskaya, Maya. (1989). Tarkovsky: Cinema as Poetry.
London: Faber.
N
ICK
B
ARON
TASHKENT
Tashkent is the capital city of the Republic of
Uzbekistan, a country located in the region of Cen-
tral Asia between the Amu Darya and Syr Darya
rivers. The city itself is located on the Zarafshan
River, just to the west of the Ferghana Valley. The
history of Tashkent goes back more than 2,500
years, to a time when there was evidence of habi-
tation in the region. The name itself means “city
of stone,” perhaps indicative of the stones used in
its construction. It grew to be a significant stop on
the great silk road in the eleventh and twelfth cen-
turies, yet remained in the shadows of the more
important city of Samarkand, which is approxi-
mately 300 kilometers (185 miles) to the south.
The city’s fall to Russian forces in 1865 sig-
naled the beginning of Imperial Russian rule over
the region. It was designated as the capital city of
the Turkestan Governor-Generalship and was the
Russian capital of Central Asia. Indeed, as the city
grew in the late nineteenth and early twentieth cen-
turies, distinct districts were formed, for both in-
digenous peoples and for the European colonizers.
Tashkent was the scene of some of the bitterest
TASHKENT
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ENCYCLOPEDIA OF RUSSIAN HISTORY