In the Sanctuary of Art by Yahya Haqqi

In the Sanctuary of Art by Yahya Haqqi

A Critical Vision of Music, Visual Arts, and Architecture

The Author and His Work
Yahya Haqqi (1905–1992) stands as one of the great pillars of modern Arabic literature and criticism. Known both for his narrative brilliance (as in The Lamp of Umm Hashim) and his penetrating critical insight, Haqqi combined storytelling with cultural commentary.

His book In the Sanctuary of Art (1977) distills his reflections on the arts across 33 essays, divided into three sections: music (17 essays), visual arts (12 essays), and architecture (4 essays).

It is a journey of thought that reveals Haqqi’s deep attachment to Eastern artistic identity, paired with his call for disciplined renewal. For him, the arts refine taste just as religion refines morality.

Part I: Music and Song

Haqqi examines the problems of Egyptian and Arab music through several key themes:

The Loss of Musical Identity

He criticizes the blending of Eastern and Western instruments in the traditional takht ensemble, which he felt diluted the music’s authentic voice.
He points to the wearying repetition in melodies and songs that stifles creativity and produces monotony.

Opera: The Miracle of the Human Voice and Its Dilemma

Haqqi describes opera as founded on the “miracle of the human voice” with its varied registers (tenor, soprano, etc.), but notes the difficulty of finding singers who combine vocal talent, acting skill, and physical presence.
He laments the modern overreliance on stage effects—lavish sets and lighting—as a substitute for vocal excellence.

Critique of the Artistic Scene

He attacks the careless composition of music, such as patriotic songs written “over the telephone” without real collaboration between composer and poet.
He rejects the spectacle-driven approach to performance—like Umm Kulthum being accompanied by twenty violinists—which he saw as quantity over quality.

Proposed Remedies

He urges the adoption of the Turkish model of preservation, citing concerts by Munir Nur al-Din that present music in historical stages—classical, contemporary, and folk—while keeping ensembles small.
He stresses the need to preserve the Eastern spirit but present it in a refined, modern form.

Part II: Visual Arts

Haqqi then turns to the plastic arts, highlighting their role in shaping collective consciousness.

Taste and Neglect of Heritage

He warns that neglecting Cairo’s Islamic monuments has harmed the nation, even fueling social decay, since the arts cultivate sensibility and taste.
He criticizes the trend among educated Egyptian youth to buy paintings that reflect neither Egyptian identity nor Pharaonic or Arab heritage.

Mahmoud Mokhtar: A Model of Authentic Art

Haqqi devotes an entire essay to the sculptor Mahmoud Mokhtar, urging readers to visit his museum on Gezira Island and contemplate works such as:
- The Khamsin Wind: stone transformed into “transparent silk,” expressing the endurance of the laboring poor.
- Return from the Countryside and Guardian of the Fields: sculptures that embody the spirit of the Egyptian people.

Art Exhibitions: Between Hype and Simplicity

He mocks the tendency to “inflate a seed into a dome” in exhibition culture, where publicity and artist biographies overshadow the art itself.
For Haqqi, true beauty lies in simplicity, balance, and suggestion—not literal imitation of nature.

Part III: Architecture and the Identity of Place

Though shorter (just four essays), this section presents weighty reflections:

Islamic Architectural Heritage

Haqqi criticizes the neglect of Islamic architecture in Cairo, seeing it as an integral part of cultural memory that must be preserved.
He links the deterioration of architecture with the erosion of cultural identity, calling for contemporary design inspired by heritage.

A Western Perspective

The book includes a translated essay by Tom Braden, offering Western insights on architecture. By including it, Haqqi sought to enrich local debate with global perspectives.

Haqqi’s Critical Method

Haqqi’s approach to criticism is distinguished by several key traits:

Criticism as a Humanistic Mission

He rejects imported theoretical jargon and focuses instead on the essence and purpose of the artwork.
He encourages artists to trust themselves and innovate, insisting: “The artist must bring us something new and original.”

Imitation vs. Innovation

He concedes that imitation is necessary for beginners—like crawling before walking—but insists it must eventually give way to originality.
He condemns superficial experiments, such as imitating the Islamic adhan with a violin, calling them a shortcut that trivializes tradition.

Language: Eloquence with Purpose

Haqqi’s prose combines elegance with vitality, pulsing with rhythm and emotion—qualities that characterize his fiction as well.
He advises young writers to study classical Arabic literature to grasp the resonance and connotations of words, which he saw as the raw material of creativity.

Place of the Work in Haqqi’s Oeuvre

A Bridge Between Heritage and Modernity: This book extends Haqqi’s lifelong project of freeing Arabic prose from ornate, archaic styles (like that of al-Muwaylihi) and didactic sermonizing (as in al-Manfaluti), in favor of simplicity and authentic expression rooted in tradition.
An Enduring Legacy: Decades later, the book remains a key reference for understanding shifts in Arab artistic life, particularly ongoing challenges of identity and commercialization.
Testimony of His Disciples: Novelist Bahaa Taher described Haqqi as “a crystal-clear voice, with words flowing like continuous music,” while Nader Andraos called him “the model of a writer who knows history and understands the present.”

Art as a Temple for the Spirit

In the Sanctuary of Art encapsulates Yahya Haqqi’s vision of art as both a sanctuary of beauty and a force for social renewal. Through sharp yet empathetic critique, he revealed:

The need to reconcile authenticity with modernity.
The role of the arts in combating “intellectual stagnation” and elevating public taste.
The responsibility of the artist to express society’s struggles without compromising on quality.

The book stands as lasting testimony to Haqqi’s genius as a truly “universal” intellectual—one who united creativity with criticism, and built bridges between the heritage of his nation and the horizons of the modern age.

For the original summary in Arabic