Since the 1980s, a burgeoning interest in slavery and its attendant racial prejudices has emerged among art historians. Race has become a central focus in contemporary art and cultural discourse. The institution of slavery in Iran possesses a history extending to pre-Islamic eras, encompassing a diverse spectrum of enslaved individuals, including female captives or concubines. This research delves into the visual representation of concubines within the realm of Timurid miniature painting, examining the intricate relationship between their social standing and their portrayal. Employing a descriptive-analytical method and drawing upon library resources, the study categorizes concubines as delineated in Persian literature before scrutinizing their depictions in Timurid art. The findings illuminate a hierarchical structure among concubines during the Timurid period, with nine distinct social strata identified. However, the research reveals a selective focus on miniature painting, with only those concubines prominently featured in literary narratives receiving visual representation. The visual treatment of concubines varies significantly based on their social rank. Those of elevated status, characterized by luxury and artistic association, are frequently depicted in collective groupings at the periphery of compositions. Conversely, concubines occupying positions of affection or servitude are often isolated and positioned closer to the image's center. This study concludes that Timurid miniature painting, deeply intertwined with literary traditions, prioritizes the visualization of concubines holding narrative significance. The spatial arrangement of these figures in the composition visually reflects their social hierarchy. By examining the representation of concubines in Timurid miniature paintings, this research contributes to a broader understanding of the intersection of gender, race, and power within the art historical canon. It highlights the potential of art historical analysis to illuminate social structures and ideologies embedded within visual culture.