“Abay tirmədə” (1945)

Baqi Urmançe

“Cambılda qunaqta” (1946)

Baqi Urmançe

🇺🇿 A sculptor Çıñğız Әxmәrov, who was born in a Tatar family and moved to Uzbekistan at an early age, was one of those who invited Urmançe to the Tashkent Institute of Arts in 1952. In Uzbekistan, Urmançe created beautiful paintings, portraits, landscapes, and sculptures such as "Grape Harvesting" (1951), "Banu" (1952), and "Portrait of Old Mirab" (1952)

“Tirmədəge balalar” (1949)

Baqi Urmançe

“Yözem cıyu” (1951)

Baqi Urmançe

The Kazan period in Urmançe’s life marked a significant step forward in the art and culture of Tatarstan. He melded the essence of Tatar folk art and miniatures into his work, bringing a fresh perspective to the canvas. And in the late 1970s, he reached the pinnacle of his craft with works like “Tatarstan” (1976, 1985) and “Hay Market” (1975), the cycle of paintings "Memories" (1978-1979) that includes "At the Foot of the Ural Mountains" and "Bathing Horses".

“Ağa Bazar, Bolğar səhəreneñ
bistəse” (1970)

Baqi Urmançe

“Peçən bazarı” (1975)

Baqi Urmançe

“Tatarstan triptixı” (1976)

Baqi Urmançe

Urmançe's skill in the field of calligraphy is reflected in his paintings on paper (1989). Having grown up in a mullah's family, where his environment fostered his interest in Arabic calligraphy, the artist greatly respected the centuries-old tradition of the Tatar people. He ignored Soviet ideology and revived this art, giving impetus to the development of the work of other artists.
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Based on the Tatarica article

“Allah cəmilen yöxibbel cəmal” (1989)

Baqi Urmançe

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