Medieval Chess Disregarded Racial Boundaries

A Black chess player about to win against a light-skinned cleric. Chess problem 88 in the Libro de axedrez,

March

/ 2026

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A new study reveals that medieval chess was a powerful vehicle for promoting racial harmony. While contemporary medieval art often depicted non-white individuals in extreme roles, representations of chess players presented a different reality. The “game of kings” provided a unique space where diverse people engaged as intellectual equals, subverting rigid social hierarchies.

Dr. Krisztina Ilko of Cambridge University analyzed international evidence, including manuscripts and surviving chess sets. Her study, ‘Chess and Race in the Global Middle Ages’, won the Medieval Academy of America’s Article Prize in Critical Race Studies. Her findings challenge assumptions about race relations in the medieval world, showing that intellectual prowess could transcend skin color.

A Shared Intellectual Pursuit

A striking example comes from the Libro de axedrez (Book of Games), completed in Seville in 1283 for King Alfonso X. In one scene, a Black chess player is depicted defeating a white cleric. The Black player sits comfortably, presented entirely as an equal to his opponent. This friendly exchange contrasts with other European artworks that portrayed darker-skinned people as executioners.

The manuscript features illustrations of non-white players from Africa, the Middle East, and Asia. Another scene depicts a contest between a Muslim and a Jewish player, highlighting the multicultural reality of 13th-century Iberia. “Medieval sources repeatedly state that chess is war without bloodshed, and that it represents a just world,” explains Dr. Ilko.

A Jewish chess player playing against a Muslim chess player in a medieval manuscript

Medieval manuscript depicting a Jewish chess player playing against a Muslim chess player. Chess problem 103 in the Libro de axedrez. (Patrimonio Nacional/Public Domain)

Countering Racial Hierarchies

During the Middle Ages, Europe often lagged behind Islamic science, and King Alfonso’s court actively translated Islamic knowledge. Islamic chess players were highly admired for their tactics. Out of 103 chess problems in the treatise, 88 follow the Muslim style, reflecting deep respect for Islamic achievements.

The study also examines a 14th-century altarpiece dedicated to Saint Nicholas of Myra, housed in the Museum of Mallorca. It features a scene in a Muslim court where a dark-skinned man plays chess with a lighter-skinned opponent. Dr. Ilko argues the darker-skinned ruler is portrayed with dignity, countering the value system that privileged whiteness in Christian imagery.

St Nicolas miracle chess scene in the late 14th-century altarpiece. (Krisztina Ilko/Original Content)

The Global Journey of Chess

The game’s name in Arabic (shatranj) and Middle Persian (chatrang) derives from the Sanskrit word chaturanga, referring to the four divisions of the ancient Indian army. As the game spread, the design of chess pieces evolved to reflect local cultural identities, from South Asian features to the Scandinavian Lewis chessmen.

In the Persian epic Shahnameh, illustrations depict the transmission of chess from India to Iran. Previous scholars assumed the darker-skinned Indian ambassador was depicted in baggy clothes to emphasize his defeat. However, Dr. Ilko asserts the ambassador is portrayed as a respected champion and guardian of coveted knowledge.

“Chess operated on a different plane where people could engage with each other as equals, irrespective of their skin color,” Dr. Ilko concludes. “What mattered was ‘who's smarter?’, ‘who can win?’, not ‘who's more powerful or socially superior?’”

Top image: A Black chess player about to win against a light-skinned cleric. Chess problem 88 in the Libro de axedrez, dados e tablas (Seville, 1283). Source: Real Biblioteca del Monasterio de El Escorial/ Patrimonio Nacional

By Gary Manners