From an early age, Ali Reza Karami either handles the reed pen and brush. If calligraphy is the aesthetics of Persian writing that draws from many centuries of literature and poetry, painting, calligraphy as such does not exist in Iran since the late 1950s, when creation of the movement "Saqqakhaneh" by Hossein Zenderoudi, who sought to create a bridge between tradition and modernity. The painters calligraphers of brave ideas posted by purists, whether traditional calligraphy masters, who see it as a distraction from its essence and destruction of values, or painters who consider calligraphy pure which can have its place among the works of contemporary art.

In Karami's view, calligraphy-painting convergence has always existed. In 1986, after the interior architecture studies, he began his apprenticeship with master calligraphers and Aref Abbas Nezamol'ulema and it gets the highest level of education of the Society of Calligraphy of Iran. 

Meanwhile, he continues to paint and these two disciplines give it any satisfaction. With calligraphy, the art of patience, in rhythm, the harmony of the geometric order and proportion; with the painting, it is in color, freedom of movement, work on the matter. Everything lies in the middle ground: to achieve the perfect balance between calligraphy and painting. In his large paintings in oil and acrylic, calligraphy in Nastaliq or Shekasteh Nastaliq, Karami seeks to create a momentum that would calligraphy on the surface, surface texture, to reach the general composition space and finally painting. Illustrations to poems of Hafez or Sepehri or sets of transformations on the letters, which subtly change in morphology change direction, Karami choose colors to reflect the moods related subjects.