In Persian literature, Ferdowsi's Shahnameh is a prime example that pays attention to the role and status of women. In most narratives, women are present alongside men in wars, governance, and other affairs. Throughout Iran art history, the Shahnameh has been illustrated by many painters. After the lithography introduction to Iran during the Qajar era, many illustrators produced lithographic versions of the Shahnameh, resulting in Shahnamehs with unique and beautiful images. In the images of the studied lithographic Shahnamehs, The level of women's presence is an issue worth considering. The main goal of this research is to identify and examine the status and level of women's presence in the lithographic Shahnamehs’ illustrations during the Qajar era (published in Iran in 1888, 1896, 1928, 1973, and 1943).This research is based on the following question: Which of the stories in the Shahnameh that feature women has received the most attention from illustrators? This research employs a descriptive-analytical method based on archival research (lithographic collections of the Astan Quds Razavi Central Library and the National Library). The analyzed images depict women with altered identities, conforming to the social and cultural norms of the Qajar era (such as patriarchal perspective). The remarkable roles and distinctive feminine characteristics such as allure, beauty, decision-making power and authority, are largely overlooked. Considering the cultural constraints of the time, artists have focused on representing female characters in only five stories (the union of Zal and Rudabeh, Siavash passing through fire, Esfandiyar’s sisters, Bahram-e Gur and Azadeh, and Barbad playing for Khosrow Parviz), conforming to the prevailing social norms.