The analysis of the representation of women's bodies in the photography of the Iran-Iraq war is a space for the intersection of power mechanisms and the semantic systems of Islamic culture. This research, with an interdisciplinary approach, examines women's bodies at the intersection of Michel Foucault's thought (discipline, normalization, biopower, and visibility) and Islamic art (Hayat-e Tayyebah, self-purification, affliction, patience, migration, sacrifice, martyrdom, and ritual mourning). By analyzing eight selected images from photographers Mehdi Monem, Alfred Jacobzadeh, Kaveh Kazemi, and Ali Faridooni in four categories: "Injured Body," "Displaced Body," "Disciplined and Normalizable Body," and "Mourning Body," the research shows that war photography not only organizes and normalizes the female body through the visual regimes of power but also, within the context of Iranian-Islamic culture, transforms her suffering and presence into a carrier of moral, collective, and sacred meanings. Women's bodies in these images are both objects of discipline and subjectification of power, and also manifestations of Zainab's patience, indirect jihad, Fatemi hijab, and the continuation of Hayat-e Tayyebah in wartime conditions. The findings indicate that the representation of women's bodies in Sacred Defense photography is a site of entanglement between the logic of power and the logic of religious meaning-making, transforming war photography into a platform for the production and reinterpretation of meaning regarding the suffering, resistance, and identity of the committed Muslim woman.