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ABSTRACT
This paper demonstrates that a three-quarter view became a typical mode of representing the face of Guru Nanak through his depiction in paintings of the Janam-sakhis, hagiographic accounts of Guru Nanak, from the eighteenth to the early nineteenth centuries. In the B-40 set, completed in 1733, Guru Nanak was already painted in three-quarter view, which enabled audiences to distinguish him from other figures. The images of him in the set were likely used to those of the Guler set and the Unbound set, which depicted the late eighteenth century. This is because Panjabi painters of the time shared similar preliminary sketches across workshops.
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Correction Statement
This article has been republished with minor changes. These changes do not impact the academic content of the article.