The Shahnama of Firdausi and Rustam's seven labors, which is considered a manifestation of the ideal object effort to pass through various stages and Proof of personal abilities and spiritual and moral excellence of a young hero, is the most familiar manifestation of the epic rival of the mythical battle of good and evil in Iranian culture and history. The apparition of the Witch in the fourth stage and the representative of the evil behind the guise of deceptive beauty, aiming to entice Rustam and vanquish him, is one of the most intriguing stages. The study of this juxtaposition in the illustrated Shahnama of the injuid style during the Shiraz (first period) school in the eighth century shows a lot about the mindset of artists and the circumstances that determine how this demonic symbol manifests. This study aims to address the issue of what changes the kind of appearance the Witch has experienced in terms of ugliness and the painter's attention to the said anti-heroic character's descriptive text has undergone. Despite the short time between the two copies' production, there appear to have been changed in the representation of the Witch illustration, as well as the artist's lack of attention to the Shahnama's descriptive text for demonstrating this demonic symbol. The historical-comparative statement, whose information and claims are documents and electronic library resources, is the foundation of this theoretical research approach.