This research paper presents an analytical and explanatory study of Allama Iqbal's Masnavi Bandagi Nama in relation to the fine arts of Pakistan. Bandagi Nama, included as a part of Zabur-e-Ajam, is a profound poetic discourse highlighting the spiritual and intellectual decline of subjugated nations and their arts under slavery. Iqbal critically examines music, painting, sculpture, and architecture in the context of enslaved societies, arguing that art divorced from selfhood (khudi) becomes mere entertainment and loses its transformative power. This paper explores Iqbal’s philosophical critique of arts produced under colonial and feudal suppression, and compares it with the current state of fine arts in Pakistan, where art is often detached from national identity and becomes an imitation of Western trends. The study concludes that Iqbal envisaged an art that reflects inner vitality, self-realisation, and cultural sovereignty. Therefore, understanding Bandagi Nama's critique is essential for reconstructing a national artistic vision aligned with Iqbal’s thought.