Nasser Ovissi, a multifaceted artist renowned for his contributions to the neo-traditionalist and Saqakhaneh movements in Iran, embarked on his artistic journey after earning a degree in political science from the University of Tehran in 1956. His quest for artistic mastery led him to Rome, where he delved into various disciplines including painting, pottery, goldsmithing, and lithography, ultimately receiving an art diploma.

Ovissi's talent was quickly recognized, earning him the esteemed Work View of Tehran Painters award in his debut exhibition in 1956. Over the years, he showcased his works in numerous solo and group exhibitions across Iran, earning accolades such as recognition at the third and fourth Tehran Biennials in 1962 and 1964. His tenure at the State Department and extensive stays in Rome and Madrid facilitated his engagement with global art communities, leading to exhibitions of his works in countries like Brazil, America, Italy, France, and Japan, alongside celebrated artists such as Picasso, Chagall, and Dolly. Notably, Ovissi received the High Prize at the International Art Exhibition of Monaco in 1974, solidifying his status as a luminary of modern Iranian art. His influence extended beyond borders, meriting inclusion in prestigious art references like the Thirteen-Volume French Encyclopedia of Art (Benzite) and "In Answer to Art," a seminal text in American art history education, which dedicates a page to Ovissi's engravings for Khayyam's poems.

In the early stages of his career, Ovissi gravitated towards Impressionism before embracing the indigenous aesthetic elements of Iranian art. By the early 1960s, he endeavored to meld these elements with Western painting techniques, aligning himself with the Saqakhaneh movement. His artistic vision drew inspiration from the rich tradition of Timurid and Seljuk tiles and pottery, as well as the opulent artistry of the Qajar period. Notably, Ovissi integrated the rhythmic grace of calligraphy into his modern paintings, forging a unique aesthetic synthesis. Esteemed art critic Julio Carlo Argan lauds Ovissi's works as straddling the realms of poetry and painting, with a style imbued with calligraphic rhythms.

Throughout his oeuvre, recurring motifs such as horses and women serve as vehicles for Ovissi's subjective and abstract exploration of Iranian painting traditions. In an interview with Javad Mojabi, he articulates his affinity for subjectivism and abstraction, challenging Western realist norms. Ovissi's artworks have garnered widespread acclaim within Iranian artistic and literary circles. Nader Naderpour lauds him as "the illustrator of adult dreams beyond our childhood stories," while Ehsan Yarshater hails him as "the true heir of beauty in the style of the golden age of Iranian art." Javad Mojabi celebrates Ovissi's ability to transcend temporal and spatial constraints, capturing the essence of Iranian humanistic romantic mysticism.