Baqi Urmançe ([bʌˈqɯɪ urmanˈɕe]; Janalif: Baqi Urmance; Tatar Cyrillic: Урманче Бакый (Габделбакый) Идрис улы; Russian: Урманче́ Баки́ (Габделбакы́й) Идри́сович, Urmanche Baki (Gabdelbaky) Idrisovich; 23 February 1897 – 6 August 1990) was a Tatar painter, sculptor and graphic artist, and a pedagogue.

[1] He was born on February 23, 1897, in Kül Çerkene, a village in the modern Buinsky District of Tatarstan as Ğäbdelbaqí Urmançiev.

However, Urmançe failed to pass the entrance examinations for the Kazan Artist school, so in 1914 he began to work as a loader in the Urals and afterward in Siberia.

After a short mobilization into the Red Army, he was detached to the Moscow VKhUTEMAS in 1920, where he studied on two faculties.

The graphic products exposed by him were noticed and appreciated by the art-viewing public of the Soviet capital.

In 1940 the artist carried out a list of an outside surface of a drum of a dome of pavilion of the Bashkir ASSR.

Urmançe has managed to find the expressive decision, in which basis the idea of a round dance laid.

From the next twelve years Baqi Urmançe lived in Central Asian cities: Samarqand, Toshkent, Almaty and Balkhash.

[1] Paintings: Near the separator (1928), triptych Tatarstan (1976, 1985), Saltıq Meadow (1979); sculpture: Grief (1966), Spring Melodies (1968), Tulpar (1968); portraits of Tatar cultural workers, memorial complex of Ğabdulla Tuqay in village of Qırlay (1976), graphic illustration on poetry of Därdämänd häm Tuqay (1954–1968); the first manual of artistic education in the Tatar language (Moscow, 1924), several articles on art.