Alireza Astaneh is a contemporary Iranian calligrapher, painter, and sculptor. He is an experienced calligrapher, and based on this background, he has also had experience in painting. But the primary importance of Astaneh in the history of contemporary Iranian art is that it extends the achievements of calligraphy to the world of volumes and creates calligraphy-based sculptures. Aydin Aghdashloo has mentioned him as one of the most influential figures in contemporary Iranian calligraphy.

In 1997, Astaneh won the prestigious rank of the Iranian Calligraphers Association. In 2008, his artworks were exhibited in the group exhibition "The Great Masters of Nastaliq" at the Museum of Contemporary Art in Tehran. His first solo work was held in 2011 at Homa Gallery, and since then, he has continuously continued his cooperation with this gallery. His work has been exhibited at international exhibitions in cities such as Geneva, Paris, Dubai, and Vienna. Some of Astana's artworks are kept in the Lulu Al-Sabah collection and in the treasury of the Agricultural Bank.

He has played an influential role in reviving the nail line, which is one of the forgotten techniques of Iranian calligraphy. In this way, which dates back to the Safavid era, calligraphers use their fingernails directly instead of pens. By pressing the nail on the paper's surface, embossing is achieved, visible from specific sunlight angles, and has a beautiful and unique effect. Perhaps this outstanding quality of the nail line inspired him to bridge from flat calligraphy to the creation of space. He sorts the letters into three-dimensional space in the form of minimal volumes. The spheres and columns made by joining a motif of letters are among his most famous artworks. These metal spheres and columns are very similar to the calligraphic volumes that Mahmoud Zanderoudi, known as Zande, had started to make in 2012 using "Papier-mâché" in France.

"As a master calligrapher, he is one of the few in this group, and his attention to the nail line is not only due to his extraordinary skill and technical strength; at the same time, he is new and very different; in composition." Aydin Aghdashloo writes about Astaneh, "He also pays attention to the compositions of the broken Nastaliq, along with the lines and pieces of Nastaliq - and even more so - and creates examples of elaborate and very complex compositions. "Of this type, we can refer to the compositions taken from the black exercises, which, in their kind, especially in the broken Nastaliq scripts, are eloquent, strong, and delicate."