Ahmad Mohammadpour is considered to be one of the second-generation artists of the calligraphic painting movement. Mohammadpour was born in Babolsar. In 1971, he entered the Calligraphers Association and started learning calligraphy. He finished this course in 1986 and graduated from the association. In 2009, Mohammadpour received a first-class artistic badge from the Ministry of Culture and Islamic Guidance. Two years later, he obtained his teaching certificate from the Iranian calligraphers' association. This artist has worked as a lecturer at Lavizan University and Soureh University. He exhibited his works individually for the first time in 1991 at Seyhoun Gallery and continued collaborating with this gallery in his following two exhibitions. His first international appearance was in the "With my roots" group exhibition at Capital Art Gallery, London. He also created a joint work with Jong Won Kim, a Korean calligrapher, in the performance titled "Dialogue between East and West Calligraphy," held in Berlin with the theme of peace and global awakening, and held workshops for calligraphy training on the sidelines of this event.

The support of Mohammadpour's calligraphy and his educational background, the Association of Calligraphers, has caused the commitment to calligraphy in his calligraphic works to have a high weight. Although Mohammadpour moves calligraphy towards painting, he is more faithful to the principles and rules of calligraphy than to painting qualities. His mastery of Nastaliq calligraphy is the basis for creating his artworks. Repetition and multiplication of words and letters in large-sized panels to achieve a linguistic texture, and the visual rhythm and beat and, finally, the feeling that is born from it is the most distinctive aspect of these works. The painting's central part is often written with large fonts and forms the main base of the artwork's composition, and what is written with smaller fonts expands towards the sides like an echo of the original forms. Using achromatic colors, black and white, or limited chromatic options such as red, and creating a light effect with more soulful colors on the sides of the painting creates a cloud-like texture. In the final analysis, these paintings follow an ornate and decorative policy, like most calligraphic paintings.