Hadi Roshan Zamir was born in Bojnord. Roshan Zamir is considered one of the second generation of calligraphic painters. He became interested in calligraphy in childhood and started learning this art at 13. He came to Tehran in 1991 and studied at the calligraphers' association with great teachers such as Ali Shirazi and Gholamhossein Amirkhani. Finally, he managed to get an honors degree in calligraphy from this center. In the early 2000s, Roshan Zamir became interested in calligraphic painting and started experimenting. This artist has had numerous individual and group exhibitions in the country and abroad. His works have been exhibited in Iranian galleries such as Sareban, Saad Abad, Shams, and Pardis Mellat. Also, his artworks were presented in the art centers of Qatar and Indonesia in 2006 and 2012.

This artist's paintings can be divided into two general groups. The first group is the so-called Asma al-Hosna. In this work, the composition is organized based on the arrangement of the components of God's names. These paintings are often created in large dimensions to convey the greatness of God to the reader. The second group of his works uses literature, especially classical poems. The poems of Hafez and Rumi are the source of most of these paintings. In both groups of works, due to Roshan Zamir's artistic excellence, the quality of calligraphy is superior to the quality of the painting. In a note on the occasion of this artist's exhibition at Sareban Gallery, Ardeshir Mirmangareh writes: "By reviewing the Hadi Roshan Zamir's works, we find out that he is a traditional calligrapher and a member of the calligraphers' association. The implementation of proportions, details, sensitivities of letters and words, and stretches and circles of Nastaliq show his good mastery of traditional calligraphy. His courage in presenting a collection of exhibition works without decorative and colorful stunts also shows his loyalty to the original form of calligraphy and is considered the privilege of his works. In fact, his works in this exhibition - and the previous exhibition - are a pile of letters and words that have become reminiscent of the Siyah Mashq." Roshanzamir has applied his calligraphic experiences in sculpture as well. For example, in a collection titled "Puzzle of Love," he makes a variety of small bronze volumes. The twists and turns of this word in spatial dimensions are not unlike his calligraphic paintings.