Faramarz Pilaram is an Iranian modernist artist and one of the founders of the Sagha Khaneh movement and is known for his calligraphic paintings. He graduated from conservatory of fine arts in 1961 and continued his education in the faculty of decorative arts in Tehran university. In 1968 he graduated with a master degree in interior design and decorative painting. 2 years later he moved to France to study lithography and printing. He co-founded the Iran Hall (Ghandriz Hall) with others and along with several other artists they started the Sagha Khaneh movement in 1962. In 1974, Pilaram, with the help of artists such as Morteza Momayez, Marco Gregorian, Gholam Hossein Naami and others founded "free group". During 4 years of being a member of this group heheld several exhibitions along Iranian painters in different cities of the world and introduced modern Iranian art. Pilaram's first appearance in auctions dates back to June 2006 at Christie's Auction House. 

Pilaram's name is bound with neotraditionalism art style in Iranian art, which means calligraphic painting, and the Sagha Khaneh movement. He was constantly seeking to take advantage of popular, national and religious symbols. In this regard, in the early period of his career, using the sealing technique, he applied religious motifs such as "Alam" and "panjeh" on the canvas. But in the continuation of the artistic path, he turned to calligraphic painting and devoted himself to this style. Pilaram was one of the first artists to examine the formal possibilities of traditional calligraphy and calligraphic painting and to incorporate calligraphy into his work with a painting viewpoint. The cohesive texture created by combining letters and words and mixing them with opposite colors is the most important feature of Pilaram’s calligraphic painting. Pakbaz writes about the second period of Pilaram's career: "he turned to calligraphy particularly to Nastaliq and Shekasteh. Using the traditional pattern called "Siyah Mashq" he gained various experiences.These experiments included a variety of geometric compositions with writing texture, calligraphic designs, colourful "Siyah Mashq" and rhythms of embossed and overlapping letters." 

Describing the place of the line in his works he writes: "I go so far beyond the line that the picture in my canvas is no longer calligraphy and the general attributes of the calligraphy vanish, but that does not mean that I have damaged the calligraphy. That means I have created another realm of calligraphy for myself."