However, it was his experiences in Henan and Hebei that helped Liu build a distinctive language of sculpture. He often traveled through countrysides of the two provinces, spending time with people there, observing how they struggled for a living while remaining optimistic. He was also impressed by the rich heritage of folklore.

Elements from their day-to-day lives were incorporated into Liu's work, and his clear-cut, primitive style conveys the genuineness of those people and a deep attachment to his time with them, according to art critic Shao Dazhen.

Liu was transferred to Beijing in 1974. He worked at the reservation department of the National Museum of China for more than a decade. The job allowed him to carry out detailed examinations of various ancient Chinese sculptures that further nurtured his creative spirit.

"His work vividly presents the characters and lives of the people he met. He did not speak highly or ill of them. It seems that he was a quiet observer and calm story teller," Shao says. Shao says that, although Liu hid his true identity behind these figures, his sincerity will move those who contemplate his works.

Liu once said these "vigorous men and women" from rural Henan and Hebei etched deep impressions in his mind, and they were "the source of infinite inspiration" for him.

Fan Di'an, director of the Central Academy of Fine Arts, which operates the Liu Shiming Art Gallery and is organizing the exhibition tour, says Liu's concern for the working class and his studies of Chinese folk culture reflect a generation of homegrown sculptors, who endeavored to develop a noticeable "style of China" to convey a national spirit.