Keykhosro Khoroush, an Iranian painter and calligrapher, was born in Tehran. Khoroush's literary family provided reasons for his interest in art. He completed his primary and secondary education in his hometown and studied painting by participating in the School of Fine Arts (Tehran University) entrance exam and obtaining the first rank. He spent his bachelor's degree in painting between 1961 and 1966 in this faculty and studied under the supervision of professors such as Mohammad Ali Heydarian. After finishing school and serving in the military, he went to England and France and devoted himself to studying art and painting schools in museums and treasures for months. He also participated freely in the classes of the Iran Calligraphers Association and learned the principles and rules of Nastaliq calligraphy from Hossein Mirkhani. In 1973, he received a master's degree from the Iran Calligraphers Association and joined the group of teachers of this association. In 1979, he was chosen as the senior professor of the Iranian calligraphers' association. He also has experience attending positions such as the Supreme Council of the Iranian Calligraphers Association, the Evaluation Council of the country's artists, and the Jury Council of the Islamic World Calligraphy Festival. Also, in 2005, he was introduced as the permanent face of Iranian art and culture in calligraphy.

He should be considered one of the greatest masters of contemporary Nastaliq. His years of effort and practice result in writing more than 35 volumes of literary and artistic masterpieces. As a painter, Khoroush continues the path of his teacher Mohammad Ali Heydarian and his favorite academicism, and he is incredibly talented in face painting. He has painted several masterful portraits of Ayatollah Khomeini. Among his calligraphy works, we can mention Rubaiyat of Omar Khayyam (1981), Masnavi Pir and Javan (1982), Khosrow and Shirin (1985), Chahar Maqalah of Samarqandi (1993) and the Divan of Hafez (2001). Aghdashlou says about this artist: "The description of his artistry, skill and executive power, his masterful understanding of color and composition, his deep knowledge of the spirit of the subject, and his fantastic sense of the essence and interior of realistic painting - without being a captive of pure reality - need a more detailed scope. But it is enough that I consider him the most important Iranian realist painter of this era, and I am happy and proud that I have been his companion at the College of Fine Arts of Tehran University for several years."