Was born in 1959 in Namangan, Uzbekistan. In 1978. graduated from the Republican Art College named after P. Benkov, and in 1984. - Tashkent State Institute of Arts named after M. Uygur.
In 1985-1989. studied at the Creative Workshop of the USSR Academy of Arts in Tashkent. Lives and works in Tashkent. Since 1990 - a member of the creative association of the Academy of Arts of Uzbekistan. In 1997 he was elected an academician - Full member of the Academy of Arts of Uzbekistan. In 2005 he was awarded the honorary title "People's Artist of Uzbekistan" and in 2011 Akmal Nur became a laureate of the State Prize of Uzbekistan. Since March 2012, he has been appointed Chairman of the Academy of Arts of Uzbekistan.
The works are in Uzbekistan - in the city of Tashkent: in the State Museum of Arts of Uzbekistan, the Directorate of Exhibitions of the Academy of Arts of Uzbekistan, the National Bank of the Republic of Uzbekistan, Investbank of Uzbekistan; Samarkand State Historical and Architectural Museum-Reserve named after A. Ikramov, Urgench Art Gallery; abroad - at the Museum of Modern Art (Yugoslavia), Davidson Gallery in Seattle (USA), Art Heritage Gallery and Lalit Kala Academy in Delhi (India), Credit Suisse Bank collection (Switzerland), as well as private collections in Holland, Germany, Belgium, Australia, USA, Israel, Canada, Morocco, India, Turkey, Switzerland. Over the years, he managed to do a lot - the artist's entry into art was quite fast. After completing his studies at the art faculty of the Institute of Arts in Tashkent in 1984, by the end of the 1980s, he occupied a leading place in the new generation of painters in Uzbekistan. Over the past decade, several major solo exhibitions of the artist have taken place, including those abroad. The originality of plastic solutions, the non-standardness of the figurative language made it possible to single out Akmal Nur from the group of painters who were even close in tonality. In 1997 A. Hyp became the youngest academician - Full member of the Academy of Arts of Uzbekistan. Such dynamics presupposes the type of a very temperamental and somewhat odious nugget artist. Meanwhile, A. Nur is far from shocking actions, he is more characterized by a calm and thoughtful manner. He is not a rebel, not an apologist for academic or, on the contrary, modernist currents, not an avant-garde and not a supporter of alternative creativity, although elements of all these phenomena can be found to one degree or another in his works.
The initial stage of the artist's work falls on 1988-89. At this time, he creates landscapes using the grisaille technique ("Last Snow", "Saplings") or pictures of protocol-fixing meaning with not very successful attempts at philosophical analysis ("The Old City is my cradle", "Old Age", "At the Threshold") ...
Almost at the same time, A. Nur creates another series of paintings in which professionalism and the ability to formulate serious figurative, emotional and plastic tasks are felt. The stylistics of this painting was associated both with the state of the artist's emotional and psychological breakdown and the impact of the social climate of those memorable perestroika years. The gloomy, swampy-gray coloring of the paintings "Cemetery", "Teshik-tash", "Guardians of the Soul" evokes a feeling of hopelessness bordering on post-shock syndrome. Self-deprecating social criticism and inner emotional depression sound expressively in the painting "The Sacrifice" with the image of a ram bound for slaughter. The stage of creative searches, full of social dystopia and internal psychological breakdown, is completed by the painting "The Carrying Bull", completed in 1990. But in her style, new approaches are clearly tangible - tragedy and apocalyptic motives no longer suppress the artist's aspirations to develop pictorial and plastic tasks.
On the whole, the theme of love in its universal meaning becomes the leading one in the artist's work. The names of the works are symptomatic - "Love Apple", "Love Garden", "Love River" (1995), "Love Island" (1998). The artist uses various symbolic and allegorical images in them - the moon, the horns of a bull, a fish, a boat. However, the common plastic and semantic dominant of these paintings is the apple motif - either in the form of a huge cut-off half, inside which the lovers sit, or in the form of fruits flying from the sky. The sacred meaning of the motive eventually fades into the background, the image of an apple turns into a well-found and skillfully varied plastic technique. The evolution in the works of this period is obvious - the painting "The Island of Love", written in 1998, differs markedly from the paintings of 1995 by the lightness and virtuoso grace of the figurative solution.
Close in sophistication of the decorative style to this cycle is a series of paintings by the artist made in 1998 - "A Girl Playing a Tambourine", "Contact", "Rishtan Still Life", "Muse". On the whole, these paintings define a new direction in the work of A. Nur - the desire to formalize pictorial tasks, the search for more laconic and abstract plastic formulas.
In the early 1990s, at exhibitions and in the press, the artist's works on an unusual and closed at that time Muslim theme - "Angel", "Prayer", "The Way to Mecca", etc. were widely discussed. They do not intrude into the essence of Muslim theosophy or apocryphal revelations. The author's task is more modest - focusing on pictorial and plastic tasks, touching upon the previously forbidden topic and its philosophical and ethical aspects (the idea of obedience to fate and its predetermination, the search for purity and life meaning in the highest transcendental spheres, etc.). This series gave impetus to the development of interesting color-plastic problems, but did not receive its further development.
It was important that the artist turned to the traditional images of puppeteers - maskharaboz ("Puppets", "Sleeping puppeteer", etc. -1995). This theme is a kind of refrain of his entire philosophy of life. “Everything and everything is controlled by someone. I wanted to convey this idea in my works, ”says
A.Hyp. The artist tried to express the philosophical idea of the universal conditioning of phenomena in its social context, but the pictorial and plastic effect prevailed in this small series of paintings. As a result, the socio-philosophical analysis acquired the meaning of a picturesque and colorful pantomime, where the plasticity of movement simultaneously expresses both the figurative meaning and the author's idea.
A. Nur translates into the language of pictorial and plastic allegories the rich texture of stones in the transparent rivers of the Khumsan foothills, which he studied as a result of long observations. Close and prolonged contemplation led to the emergence of such plastic techniques-images as crumbling granules of stones, against which the silhouettes of animals, birds, images of mysterious fish, etc. are visible. The spectrum of moods and pictorial tasks in each of the paintings has its own characteristics. In this cycle, the idea of transformation is considered in two ways: both in the semantic field of the picture, and as a strictly plastic task.
The style of his latest series of paintings, in the plastic of which the aesthetics of white space occupies a special place, is distinguished by elegance and oriental grace. The artist was seized by a kind of spiritual state, as he himself says: "The desire to paint white with white." In this series, mention should be made of his paintings "White Poems", "Malika", "Melody", "Bukhara Bride", made in 1998, the search for aesthetics of the "white style" of which the artist began in the mid-1990s. This is well felt in the plasticity of such paintings as "The Bukhara Bride" (1995) and "Flight of Thought" (1996). In this cycle, the artist tries to synthesize the traditions of Eastern philosophy, based on the polysemy of symbols and their transcendental meaning, and the principles of postmodern aesthetics with its commitment to monochrome and abstracted pictorial and plastic solutions.
The multidirectional stylistic decisions in the works of A. Nur does not deny the integrity of his artistic worldview, but only confirms the idea of the dynamism of his searches, the master's focus on philosophical reflection and plastic expressiveness.