ASafavid oil painting of an African soldier inSafavid Iran. Created inIsfahan in the last quarter of the 17th century, the figure was most likely a slave soldier in Safavid Iran'smusketeer corps
DuringQajar rule, many wealthy households imported Black African women and children to perform domestic work alongside Eastern European Circassian slaves. This was largely drawn from theZanj, who wereBantu-speaking peoples that lived alongsideSoutheast Africa.[7] In an area roughly comprising modern-dayTanzania,Mozambique andMalawi.[8] Under British pressure,Mohammad Shah Qajar issued afirman suppressing slave trade in 1848.[9]
Khosronejad, Pedram (2018), "Unveiling the Veiled: Royal Consorts, Slaves and Prostitutes in Qajar Photographs.",Exhibition Catalogue: 44 pp"Unveiling the Veiled"
Khosronejad, Pedram (2016), "Photography of African Slavery in Iran.",The Guardian: Interview of Dr. Louise Siddons, Associate Professor of Art History (Department of Art, Oklahoma State University) with Dr. Pedram Khosronejad"Photography of African Slavery in Iran"
Korn, Agnes; Nourzaei, Maryam (2019). "Notes on the speech of the Afro-Baloch of the southern coast of Iran".Journal of the Royal Asiatic Society.29 (4):623–657.doi:10.1017/S1356186319000300.
Lee, Anthony A. (2012), "Enslaved African Women in Nineteenth-Century Iran: The Life of Fezzeh Khanom of Shiraz.",Iranian Studies,45 (3):417–437,doi:10.1080/00210862.2011.637769,S2CID162036760
Mirzai, B. A. (2002), "African presence in Iran: Identity and its reconstruction in the 19th and 20th centuries",Revue française d'histoire d'outre-mer,89:336–337
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