Kamal al-Din Behzad, an Iranian painter, was the foremost of all painters in the 9th and 10th centuries AH (After Hijra/Islamic Calendar). He held positions in the courts of the Timurid, Safavid, and Shaybanid kings and was the most prominent of his contemporaries in terms of innovation in painting style. The painting “The Battle of the Camels,” also known as “The Conflict of the Camels,” “Two Camels Fighting with Servants,” or “The Dark and Light Side of the World,” is one of the artist’s works housed in the Golestan Palace Library. According to the inscription in the painting, the work dates back to the year 1071 AH and belongs to Behzad’s old age, over 70 years old. This article, employing a descriptive-analytical method, aims to identify the hidden visual and content layers in Behzad’s painting “The Battle of the Camels” and seeks to answer the question: How has Behzad represented the noble verse inscribed in the inscription of “The Battle of the Camels”? The study sample was consciously selected, and the data collection method was library-based. The findings, based on documentary studies, show that all the visual elements in this painting, with a unique composition, are directly related to the concept in the inscription. The text is taken from verse 17 of Surah Al-Ghashiyah, which recommends contemplating the creation of the camel. The camel is a remarkable creation of God, whose power and endurance among other animals are genuinely remarkable. In Islamic culture, it is a symbol of beauty, hard work, humility, repentance, and self-respect. Behzad depicts the camels in the center as the leading actors of the composition, and this visual representation is deeply related to Behzad’s intellectual and Sufi transformations in the last years of his life.