Identity signs in Shahnameh illustrations for children

Different styles of illustrations can be found in rewriting illustrated of the Shahnameh. These styles cover a wide range from realistic to abstract. They have used visual cues to reinforce or sometimes weaken linguistic concepts. One of the functions of visual cues in narrations is to characterize or identify the heroes. In this paper, the aforementioned ontological symptoms are classified and analyzed according to Peirce's semiotic system. The Pierce trilogy (Icon, Index, Symbol) shows the amount of distance between the signifier and the signify. Iconic symbols have the highest degree of similarity to signifier, and symbolic signs have the least.The index marks are in the middle. Through this study, we understand the importance of imagery as an enlightening factor in enhancing children's cognitive understanding. We also find that these signs, while being motifs for recognizing the characters in the story, also reflect social and cultural characteristics, and the illustrators have not always based the child's audience on cultural imagery and his or her pre-learned experiences of image perception. Rather, they have taken into account the general preference and individual style. Of the three styles examined (realistic, abstract, and miniature), realistic style has the most, and miniature style has the least iconic signs and indexical to identify the characters in the story. Symbolic signs are seen in almost the same proportion in all three styles. In terms of the relationship between text and image, there is generally an increasing relationship.