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.

中文翻译：

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Janam-sakhi绘画中的锡克教早期图像：B-40，古勒和无约束装置的比较

摘要本文表明，从18世纪到19世纪初，通过四分之三的视图，他对古纳纳克（Guru Nanak）的占卜记录Janam-sakhis的绘画表现出了古纳纳克（Guru Nanak）面孔的典型模式。在1733年完成的B-40套装中，古纳·纳纳克（Guru Nanak）已经用四分之三的视角绘画，这使观众能够将他与其他人物区分开。他在该场景中的图像很可能习惯了描绘十八世纪末期的Guler场景和Unbound场景中的图像。这是因为当时的Panjabi画家在各个工作室之间共享了相似的初步草图。