The Younger generation do not remember, We don’t forget. In middle of Iran- Iraq war, at a time of scarcities and hardship, in absence of image (except the bitter images of TV), with his photographs and books, Nasrollah Kasraian created a bond between his people and their own land, that four decades later is still an inseparable part of our visual recollections. For at least two generations, the love and agony of Iran is intertwined with his imagery. The Damvand of Kasraian that first appeared on cover of his book, Our Homeland Iran, is still the tallest Damvand. His beautiful Qashghai girl is still the most beautiful of girls, the woman from South holding a sickle is still the strangest image, the seasonal migration of tribes is still his domain. At a time when the presence of women was barely tolerated, his images of ladies from Kurdistan, Baluchestan, Gilan, Lorestan, Azerbajian, Turkmen, Bakhtiari, Shahsavan and Qasghai, carried the scent of grain fields of Fars, and whispers of forests of Zargros, Golestan and Azerbaijan, to the cities of Iran. From dawn of Persian civilization, this was the first time that actual images of a real Iran were displayed. One of the dominant traits in these images was the role of women and mothers, and the respect and civility of an artist who was witness to it and was able to show it to others. Images of continuous movement and constant struggles, the presence of matriarchs, the concept of home, which together were part of the rhythmic bit of life and a reaffirmation that we will carry on. Maybe it is not necessary to repeat, but let us remember, that in the darkest days of this land, it is the women who bring color to our lives, who fill the air with their scent, and with their ceremonial black and white clothing, guard our dignity. Nasrollah Kasraian has shown us our homeland, the face and the mannerism of our women, and therefore our continuity. Undeniably Iranian Social History is indebted to this artist. Nazila Noebashari