Nousratollah Moslemian can be considered a neo-traditionalist artist with tolerance. "He is considered one of the most prominent contemporary painters in terms of modernity in tradition, the richness of form and human and his artworks' social content."
He entered the Faculty of Fine Arts in 1971 and began studying painting. His first solo student exhibition was held at the same time as his graduation in 1977 in the faculty gallery. Ten years later, he exhibited his first artwork at Seyhoun Gallery. During his professional life, in addition to private exhibitions of paintings in his private home, he has had several shows in galleries such as Hoor, Mehr, Iranshahr, Mah Mehr, etc. In 2000, Moslemian won the award for the first biennial international painting of the Islamic world. Three years later, he won the title of Selected Artist at the Beijing International Biennale.
Moslemian has also been active in the Iranian art scene as a professor. After the revolution, he lectured at the University of Tehran and later became a member of the Faculty of Fine Arts, but was fired after the Cultural Revolution. Of course, in 1991, he returned to the university and continued to teach painting at the Islamic Azad University Faculty of Art and Architecture. In addition, Moslemian painting classes have been held regularly in the Mahe Mehr Gallery.
In the first period of his artworks, Moslemians had an expressionist approach, and until the 1980s, he similarly created paintings on the subject of war. But in the next period, referring to the Iranian visual tradition, he began his quest to take advantage of the possibilities available in the paintings. In this research, he, unlike most other neo-modernists who merely borrowed the superficial and typical elements of the artistic tradition, resorted to the fundamental mechanisms and logic that governed this pictorial world and formed his combined language accordingly. Ruyin Pakbaz writes about this: "His use of this tradition can be recognized in the way he visualizes faces and states, in the use of bright colors and curved lines, and in the negation of dimensions and scales; But his most important work in this field is to formulate a kind of "multidisciplinary" space similar to the ideal and imaginary space of Iranian painting. Areas (connected, disconnected, and overlapping sections) are visually distinct but conceptually related. "This method of creating space creates a spatial and temporal suspension in the Moslemian's imaginary world that invalidates any fixed and absolute interpretation of the embodied reality." Hamid Rahmati writes in this regard: "It is interesting that the basis for the dispersion of meaning in the structure of Moslemian's work is derived from his conversation with traditional painting and is even based on its demolition] ... We know that it merges and creates a separate field, the unity of which depends on interpretation and communication. "Moslemian bases his work on a dialogue between the past and the present. His work is like a crystal blending each perspective into a multiple, prismatic image."
 The new conceptualization of archetypes is another prominent feature of his work. The culmination of this trait can be found in his paintings based on the Woman model, "Mahroo" (which has its roots in Iranian paintings). Paintings indebted to Iranian painting regarding the abstract quality of lines are obligated to lyrical abstraction in the way they work with color material.
Nosratollah Moslemian's first appearance in the auctions dates back to October 1997 at the Tehran Auction House. By August 2021, his artworks had been auctioned 21 times at home and abroad. And 85% of his artworks had been sold at international auctions. His most expensive work until 2021 was hammered at the Tehran Auction House for $ 62,500 on November 30, 2008.