“Art is a Sacred Lie”: An Analysis of Allama Iqbal’s View on Art

 “Art is a Sacred Lie”: An  Analysis of Allama Iqbal’s View on Art

By: Sayer Shabir Wani
M.A. Arabic Student, Jamia Millia Islamia

Abstract

This paper explores Allama Muhammad Iqbal’s statement, “Art is a sacred lie,” found in his English notebook The Stray Reflections (1910), through a philosophical and literary lens. The phrase expresses Iqbal’s complex view of art as both imaginative and truthful, symbolic yet moral, creative yet sacred. The paper examines how Iqbal’s philosophy of art differs from Western notions of aesthetics and how he connects artistic imagination with divine creativity, ethical responsibility, and spiritual awakening. By analyzing his poetry, prose, and philosophical writings, this study demonstrates that Iqbal regarded art not as imitation but as revelation—a means to express the invisible truth through visible symbols.

Introduction

Allama Muhammad Iqbal (1877–1938) remains one of the most influential Muslim philosophers and poets of the twentieth century. His works in Urdu, Persian, and English shaped not only modern Muslim thought but also redefined the relationship between art, morality, and spirituality. In his reflective writings, particularly The Stray Reflections, Iqbal describes art as “a sacred lie.” This brief but profound statement reveals his belief that art’s power lies not in imitating the physical world but in expressing the inner truth of existence through imagination.

At first, the phrase “sacred lie” seems paradoxical. The word “lie” suggests falsity or illusion, while “sacred” implies holiness and truth. Yet, in Iqbal’s philosophical system, this paradox is resolved by the concept of Khudi (Self) and his idea of creative imagination. For Iqbal, the imagination is not deception but a divine gift that transforms reality into meaningful form. Art, therefore, is a “lie” because it does not reproduce literal truth, but it is “sacred” because it conveys higher spiritual truth. This study explores this dual nature of art in Iqbal’s thought and its implications for moral and aesthetic philosophy.

The Background of Iqbal’s Aesthetic Thought

Iqbal’s philosophy of art developed within a broad intellectual and cultural context. He was deeply influenced by both Islamic mysticism and Western philosophy. From Islam, he inherited the concept of Tawhid (unity of existence), which implies that all beauty and truth ultimately originate from God. From Western thinkers such as Goethe, Nietzsche, and Bergson, he drew ideas about creativity, evolution, and individuality.

In his poetic and philosophical writings, Iqbal sought to reconcile these two worlds — the spiritual vision of Islam and the creative freedom of modern thought. For him, the artist was not merely an observer but a participant in creation. The true artist, like a prophet, interprets the world anew and reveals hidden meanings through imagination. Thus, Iqbal elevated the role of art to a sacred vocation — a means of discovering divine truth through beauty.

The Meaning of “Sacred Lie” in The Stray Reflections

The Stray Reflections is a collection of short notes written by Iqbal in English in 1910. In one of these reflections, he writes: “Art is a sacred lie.” To understand this, we must recognize that Iqbal viewed art as a symbolic expression of truth, not a literal one.

For Iqbal, the artist deals with images, metaphors, and emotions — all of which are forms of “lies” in the literal sense because they do not correspond directly to physical reality. Yet, these lies reveal inner truth by appealing to the heart and soul rather than to reason alone. Art, therefore, is “sacred” because it reflects the divine attribute of creativity. The artist, by transforming the world through imagination, acts as a co-creator with God, giving form to meaning.

This approach echoes the mystical idea that reality cannot be grasped intellectually but can be experienced emotionally and imaginatively. The artist’s vision, though metaphorical, is sacred because it guides humanity toward understanding the infinite.

Art, Imagination, and Reality

Iqbal’s understanding of imagination (takhayyul) is central to his aesthetics. He considered imagination to be the bridge between the seen and the unseen, the real and the ideal. According to Iqbal, the universe itself is not a finished product but an ongoing creative act of God. Similarly, human imagination participates in this process of creation by giving new meaning to existence.

He writes in The Reconstruction of Religious Thought in Islam that “the ultimate reality is spiritual, and its life consists in its creative activity.” The artist, through imagination, mirrors this divine creativity. Hence, art becomes an act of creation rather than imitation.

In this sense, the “lie” of art is not deception but transformation. It reshapes reality into a more beautiful and meaningful form. Iqbal’s poetry often demonstrates this idea. For example, in the verse:

“Khudi ko kar buland itna ke har taqdeer se pehle,
Khuda bande se khud pooche, bata teri raza kya hai.”

The image of man rising above destiny is not literally true but symbolizes the spiritual potential of the human soul. This is the essence of Iqbal’s “sacred lie”—the imaginative truth that transcends material facts.

Comparison with Western Theories of Art

In Western aesthetics, the question of truth in art has been central since Plato, who regarded art as mimesis (imitation). Plato believed that art imitates the material world, which itself is an imitation of the ideal forms; thus, art is twice removed from truth. He therefore distrusted poets and artists as deceivers.

Iqbal completely rejects this view. To him, art is not an imitation but a creative revelation. He aligns more closely with modern thinkers such as Nietzsche, who saw art as a life-affirming force, and Bergson, who viewed creativity as the essence of life. For Iqbal, the artist does not copy creation but participates in it.

He also shared Goethe’s idea that artistic imagination reveals divine truth in symbolic form. Goethe’s influence is visible in Iqbal’s Payam-e-Mashriq, which celebrates the creative spirit of man as a reflection of God’s own creativity. Thus, Iqbal transforms the Platonic suspicion of art into a sacred affirmation of its spiritual power.

The Artist 

Iqbal viewed the artist as a co-worker with God in the act of creation. Just as God created the world through His will (Kun fayakun – “Be, and it is”), the artist creates through imagination and expression. This creative power is, in Iqbal’s view, an aspect of Khudi—the self that strives for perfection.

In his Persian poetry, especially in Asrar-e-Khudi, Iqbal explains that the development of the self is achieved through creative action. The artist, by shaping beauty and meaning out of chaos, strengthens his own self and fulfills his divine purpose.

Hence, art is not an escape from reality but a means of transforming it. It is sacred because it continues the divine process of creation. The “lie” of art is simply the form it takes to express what cannot be expressed in plain words or logic.

Moral and Social Dimensions of Art

One of the most distinctive aspects of Iqbal’s thought is his insistence on the moral responsibility of art. He opposed the Western slogan “art for art’s sake,” which promotes beauty without purpose. For Iqbal, art must serve life, not stand apart from it. He writes that “true art is that which awakens and strengthens the human soul.”

Iqbal criticized poets who used their art only for entertainment or personal fame. He believed that art should inspire action, courage, and faith. In his famous poem “Tulu-e-Islam,” he calls upon artists and thinkers to revive the spirit of the Muslim world. He writes:

“Agarche but hain jamā’at ki asteenon mein,
Mujhe hai hukm-e-azan, la ilaha illallah.”

Here, art becomes an act of moral awakening—a sacred duty. Thus, the sacredness of the “lie” in art depends on its intention and effect. When imagination serves truth and moral purpose, it becomes holy; when it serves vanity or falsehood, it loses its sanctity.

Art, Revelation, and Prophethood

Iqbal often compared artistic inspiration to revelation (wahy). Both emerge from the depths of human consciousness and convey truth in symbolic form. However, he maintained a clear distinction between prophetic and artistic inspiration.

The prophet’s vision is universal and binding; it creates law and moral order. The artist’s vision, on the other hand, is individual and emotional. Yet both share the same origin—the divine spark within the human heart. In The Reconstruction of Religious Thought in Islam, Iqbal explains that the imaginative faculty is the channel through which spiritual reality manifests itself.

Thus, when an artist creates, he participates in the same cosmic act of revelation. His expression may take the form of metaphor or “lie,” but its essence remains sacred because it reveals divine truth through beauty.

Art and the Muslim Revival

Iqbal’s view of art was not only philosophical but also historical and political. He believed that Muslim decline was due in part to the loss of creative imagination. He saw art as a powerful tool for spiritual and cultural revival.

In his poetic works, he used imagination to reconstruct the Islamic vision of life. His poetry does not merely describe the past but reinterprets it for the present. For example, in Bang-e-Dara, he revives the spirit of selfhood, courage, and unity among Muslims through powerful symbols such as the eagle (shaheen) and the desert (sahara).

These images are not literal; they are sacred lies that reveal inner truths. The shaheen symbolizes spiritual freedom and ambition, while the sahara represents struggle and faith. By using symbolic art, Iqbal aimed to awaken the sleeping soul of the Muslim community.

Truth and Beauty in Iqbal’s Aesthetics

Iqbal’s philosophy unites truth and beauty within a single framework. For him, beauty is not mere ornament but the radiance of truth. He writes in his Persian verse:

“Jamāl o jalal se khāli nahīn hai zindagī,
Kuch aur bāt hai, husn kī bandagī.”

Beauty (jamal) and grandeur (jalal) are both aspects of divine reality. True art must reflect both—beauty to inspire love and grandeur to inspire awe. Art that lacks moral strength becomes shallow; art that lacks beauty becomes lifeless.

Thus, the sacredness of art lies in its harmony between truth and beauty. The “lie” of art is its outer form, while its sacredness lies in its inner truth. Through this synthesis, Iqbal provides a unique moral aesthetic that transcends both religious dogma and artistic nihilism.

The statement “Art is a sacred lie” encapsulates Iqbal’s entire philosophy of art. It expresses his belief that the ultimate purpose of art is not to mirror reality but to reveal its hidden essence. The artist’s imagination transforms falsehood into truth, illusion into insight.

Iqbal’s philosophy offers a balanced vision that combines creative freedom with ethical responsibility. It stands between two extremes: the ascetic denial of art in religious tradition and the amoral indulgence of art in modern secularism. In Iqbal’s vision, the artist is a moral visionary who gives shape to truth through imagination.

The sacredness of art lies in its function as revelation. Just as religion reveals divine truth through scripture, art reveals it through symbols, rhythm, and emotion. The “lie” of art, therefore, becomes the veil through which truth is seen—not to deceive, but to illuminate.

Conclusion

Allama Iqbal’s statement “Art is a sacred lie” represents one of the most profound aesthetic insights in modern Muslim philosophy. For him, art is sacred because it participates in divine creativity, and it is a lie only in the sense that it uses imagination rather than literal description.

In Iqbal’s thought, the artist is not a passive imitator but an active creator. He gives new meaning to existence through imagination, beauty, and moral purpose. Art becomes a sacred act when it awakens the soul, strengthens faith, and connects humanity to God.

Thus, in Iqbal’s philosophy, the “lie” of art is not falsehood but symbol, not illusion but revelation. It is sacred because it speaks the language of truth in the form of beauty. Through this philosophy, Iqbal transformed the understanding of art from mere decoration to divine participation — a medium through which man rediscovers his spiritual destiny.

References

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