Born in Tianjin in 1926, Liu Shiming is one of the first generation of Chinese sculpture artists. His family of intellectuals allowed him to receive the traditional education of Chinese literati. In 1946, he was admitted to the National Art School in Beiping. In 1951, he graduated from the postgraduate class of the Sculpture Department at the Central Academy of Fine Arts (CAFA). He was one of the first generation of sculptors with a postgraduate background trained by the People’s Republic of China. Aside from the guidance of renowned masters such as Wang Linyi, Hua Tianyou and Zeng Zhushao, he also studied western art from sculptors of the first generation in the Sculpture Department of CAFA who once studied in France. In 1950, his school project “Measuring the Land” became the first sculpture sent abroad to be included in an exhibition after the founding of the People’s Republic of China, and was collected by the National Museum of Czechoslovak (now the Czech National Museum).
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About Liu Shiming

Born in Tianjin in 1926, Liu Shiming is one of the first generation of Chinese sculpture artists. His family of intellectuals allowed him to receive the traditional education of Chinese literati. In 1946, he was admitted to the National Art School in Beiping. In 1951, he graduated from the postgraduate class of the Sculpture Department at the Central Academy of Fine Arts (CAFA). He was one of the first generation of sculptors with a postgraduate background trained by the People’s Republic of China. Aside from the guidance of renowned masters such as Wang Linyi, Hua Tianyou and Zeng Zhushao, he also studied western art from sculptors of the first generation in the Sculpture Department of CAFA who once studied in France. In 1950, his school project “Measuring the Land” became the first sculpture sent abroad to be included in an exhibition after the founding of the People’s Republic of China, and was collected by the National Museum of Czechoslovak (now the Czech National Museum). In 1953, he was selected to the relief team for the Monument to the People’s Heroes in Tian’anmen, serving as the assistant to Prof. Liu Kaiqu and Prof. Wang Bingzhao, and he also participated in the drafting for the relief “Jintian Uprising”. In 1955, he was transferred to the China Sculpture Factory (later changed to the Sculpture Art Institute of CAFA) and completed many sculpture tasks such as the square sculpture of the Military Museum of The Chinese People’s Revolution and the main sculpture of the Beijing Workers’ Stadium. In 1959, his work “Splitting the Mountains to Let the Water Flow” (also known as “Moving Mountains and Making Sea”) was displayed on behalf of China in the “Plastic Arts Exhibition by Socialist Countries” held in the Soviet Union.

Since 1961 when Liu left Beijing, he has worked and lived in many places including Henan and Hebei. He has successively worked in the Art Department of Henan Kaifeng Normal College (now the Art Department of Henan University) and the Hebei Baoding Mass Culture and Art Museum, and he was once seconded to Henan Museum. During his experience with underprivileged people in Chinese society, Liu fully sensed their optimism and sincerity, which enable him to he embrace the major turning point in his art. He started to go deeper into the spiritual world of the Chinese people, expressing his humanistic feelings as a Chinese sculptor. Exactly, what makes Liu’s works the most valuable is his life philosophy of peace and the warmth for humanity.

After 1974, he retired early and returned to Beijing. Later, he worked in the National Museum of Chinese History (now the National Museum of China) for more than ten years on the restoration of cultural relics, which provided him with direct access to a large number of original traditional Chinese sculptures. This job had a great influence on Liu’s style. In 1980, Liu returned to CAFA as a teaching staff member, which motivated him a lot and he therefore embraced a peak period of creation.

Affected by his job in the National Museum of Chinese History, Liu drew on ancient pottery techniques and reproduced the contemporary life. What he created includes the people and scenes that he had seen, experienced, and engraved in his mind, being totally unconstrained and emotion-driven. Liu hardly drew sketches before sculpting, let alone using photos. Instead, he would repeatedly recall the impressive images or scenes in his memory and quickly shape them out of clay, almost finished in one sitting. His technique remained simple yet lively as well as concise, attaching more significance to the liveliness and vibe. Therefore, most of his works are simple and plain but full of emotion and childishness.

As Prof. Shao Dazhen wrote, “He depicts boatmen, farmers, shepherds, old women, and children, vividly presenting their demeanor and character as well as scenes from their life, but without making a caricature of them or seeking novelty. It seems that he never praises or criticizes people and scenes, and he only narrates them in a peaceful and objective way. However, what he tells or presents has been selected and refined, but he quietly hides himself behind his work, while integrating himself into the sculptures full of the passion for life. He integrates his simple and sincere feelings into the images he creates and the tones of his clay sculptures. All his works are just like the best wine that has been stored in an underground cellar for many years, enough to capture some land in our hearts.”
 

● Liu Shiming Sculpture Museum


On June 28th, 2018, Liu Shiming Sculpture Museum was established at the Xiaoying Campus of the Central Academy of Fine Arts.
 

● Solo Exhibitions

1. In 1982, “The Calligraphy, Painting and Sculpture Exhibition by Qian Shaowu, Liu Xiaocen, Wang Peng, Liu Shiming” was held at CAFA.
2. In 1998, “Liu Shiming Exhibition” was held at the Corridor Gallery of CAFA.
3. In 2005, the “Indigenous Sculptures: Liu Shiming Solo Exhibition” was held at the Sculpture Art Institute of CAFA.
4. In 2006, “Liberal Wormwood—Liu Shiming’s Solo Exhibition of Sculptures” was held at the National Art Museum of China.
5. In 2008, “Dream Back Home: Liu Shiming’s Solo Exhibition of Sculptures” was held in Henan Art Museum.
6. In October 2019, “Departure and Return: Liu Shiming’s Sculpture” was held at the Asian Cultural Center (New York) in the United States.
7. In November 2019, “Kindness Expresses Truth and Love: Liu Shiming’s Sculpture” was held at the Asian Fusion Gallery (Washington) in the United States.
8. In December 2019, “Souls in the Clay: Liu Shiming’s Sculpture” was held at the Liu Shiming Sculpture Museum of CAFA.
9. In January 2020, “Liu Shiming: A Chinese Original” New Year Sculpture Exhibition was held at The Oculus, World Trade Center in New York, USA.
● Group Exhibitions

1. In 1950, “Measuring the Land” was exhibited in the “Prague: World Student Gathering Art Exhibition”.2. In 1951, the “Volunteers Capturing the Wounded US Soldier” was exhibited in the Xinhua Bookstore in Wangfujing, Beijing.
3. In 1959, the “Splitting the Mountains to Let the Water Flow” was exhibited in the “Plastic Arts Exhibition by Socialist Countries”.
4. In 1966, he created the “Jiao Yulu” statue for the “Jiao Yulu Exhibition” in Zhengzhou.
5. In 1984, the “Cormorants” was selected for the 6th National Exhibition of Fine Arts.
6. In 1984, the “Towards the Sun” was selected for the “National Sculpture Design Exhibition”.
7. In 1986, the “Under the Tree” was selected for the “July 1st Art Exhibition”.
8. In 1988, “The Soaring Yellow River” and “Silk Road: The Camel” were selected for the “Gansu Urban Sculpture Planning Exhibition”.
9. In 1989, the work “Ansai Waist Drummer” was selected for the 7th National Exhibition of Fine Arts.
10. In 1990, the “Practicing Child” was selected for the Asian Games Art Exhibition.
11. In 1992, the “Eternal Love: The Continuation of Life” was selected for the Art Exhibition for the 50thAnniversary of the “Speech at the Yan’an Forum of Literature and Art”.
12. In 1993, the “Boatmen on the Yellow River” was selected for the 8th National Exhibition of Fine Arts.
13. In 1997, the work “The Boat on Yellow River” was selected for the “National Ceramic Art Touring Exhibition” and “European Touring Exhibition”.
14. In 1999, the “Mother” was selected for the 9th National Exhibition of Fine Arts.
15. In 2000, his work was selected for the exhibition program at Tsinghua University, which included a series of large-scale painting and calligraphy activities celebrating the 90th anniversary of Tsinghua University.
16. In 2001, his work was selected for the “Contemporary Artists Exhibition” at the National Museum of Chinese History.
17. In 2001, his work was selected for “The Fifth National Sports Art Exhibition”.
18. In 2002, his work was selected for the “2002 China Beijing International Urban Sculpture Exhibition”
19. In 2009, the work “Man with Boat and Cormorants” was selected for the “Cornerstone: Developments in 60 Years” Exhibition of Oil Painting, Sculpture and Printmaking.
20. In 2014, the “Splitting the Mountains to Let the Water Flow” was exhibited in the “Painting the Chinese Dream: An Exhibition Celebrating the 65th Anniversary of the People’s Republic of China”.
21. In 2015, the works “Boatmen on the Yellow River” and “Mountain Ghost” were exhibited at the “Where to Go” Sculpture Exhibition by Shanghai Oil Painting and Sculpture Institute.
22. In 2020, the works “Boatmen on the Yellow River” and “Sheepskin Raft” were exhibited at the large-scale contemporary art exhibition “The Endless Life: The Narrative of the Yellow River”.
23. In 2021, the works “Splitting the Mountains to Let the Water Flow”, “Sheepskin Raft” and other works were exhibited at the “The Greatest Changes in the Past 100 Years”: The Sculpture Artworks Exhibition at the National Museum of China.
● Collections

1. In 1950, his graduation project “Measuring the Land” was collected by the National Museum of Czechoslovak (now the Czech National Museum).
2. In 1952, the small-size stone sculpture “Discharged from the Hospital” was collected by the National Art Museum of China.
3. In 1955, the works “Bust of Monk Yixing” and “Bust of Zu Chongzhi” were collected by the National Museum of Chinese History.
4. In 1959, the group sculpture “Shared Labor of Officers and Soldiers” and the statue “Henan Jiyuan Militia Crossing the River” were collected by the Military Museum of The Chinese People’s Revolution.
5. In 1959, the work “Splitting the Mountains to Let the Water Flow” was collected by Baoding Municipal Government.
6. In 1985, the stone sculpture “Archer” was collected by Beijing Shijingshan Sculpture Park.
7. In 1997, the work “Boatmen on the Yellow River” was collected by the Ministry of Culture.
8. In 1999, his works “Ansai Waist Drummer”, “Splitting the Mountains to Let the Water Flow” and “Thick-back Woman” were collected by the National Museum of Chinese History.
9. In 2008, his works “Boatmen on the Yellow River” and “Performer Backstage” were collected by Henan Art Museum.
10. In 2012, the work “Performer Backstage” was collected by the National Centre for the Performing Arts.
11. In 2014, the work “Splitting the Mountains to Let the Water Flow” was collected by the National Art Museum of China.
12. In 2021, “Splitting the Mountains to Let the Water Flow”, “Sheepskin Raft”, “Three Donkeys” and “Man with Boat and Cormorants” were collected by the National Museum of China.
● Awards


1. In 1950, the work “Measuring the Land” won the first prize of the “Red May Art Exhibition” of the Central Academy of Fine Arts.
2. 1986, International Art Competition: New York.
3. In 1995, he was awarded the qualification certificate of “National Urban Sculpture Design” and was granted the State Council Honorary Allowance for Special Contribution.
4. In 2000, he won the “Award for 50-Year Active Contribution in Literature and Art” issued by the Beijing Municipal Party Committee.
5. In 2002, he won the certificates of “China Beijing International Urban Sculpture Exhibition” and “Half-Century Beijing Sculpture Art Documentary Exhibition.”
6. In 2002, he was awarded the honorary certificate and medal of “Chinese Century Talents” by the Ministry of Culture.
7. In 2009, he was awarded the “Award for 60-Year Active Contribution in Literature and Art” by the China Federation of Literary and Art Circles.
 

● Works Collected in Major Catalogues


1. In 2000, his work “Cormorants on the Yellow River” was selected to be included in the book Chinese Art Today.
2. In 1999, his work was included in the art of 20th Century Chinese Urban Sculpture.
3. In 1999, his work was included in the Beijing Urban Sculptures over 50 Years.
4. In 2000, his work was included in the 21st Century Talent Pool.
5. In 2001, his work was included in the compilation of Chinese Contemporary Culture and Art Celebrities(Chinese Talent Pool: Literature and Art Volume).
6. In 2001, his work was included in the Chinese Contemporary Literary Artists.
7. In 2001, his work was included in the CD-ROM version of Catalogue of Contemporary Chinese Artists.
8. In 2002, his work was included in the Century Collector’s Edition of Experts of the People’s Republic of China.
9. In 2002, his work was included in the Art China: Chinese Art Documents Special.
10. In 2008, his work was included in the compilation of Memorabilia of Chinese Fine Arts.
11. In 2009, his work was included in the compilation of Pioneers of Seeking Truth: The Theory and Practice of the People’s Republic of China in the Sixty Years’ Development.
 

● Auction Records


Title: Ansai Waist Drummer
Final price: RMB89,600
Auction Company: Xiling Yinshe Auction Co., Ltd.
Date: 2008/06/30
Special Session: The First Contemporary Chinese Sculpture Session


Title: Man with Boat and Cormorants
Final price: RMB358,400
Auction Company: China Guardian
Date: 2010/11/23
Special Session: Chinese Sculpture Series: Sculptures from Beijing and Tianjin


Title: Splitting the Mountains to Let the Water Flow
Final price: RMB80,500
Auction Company: Beijing Hanhai
Date: 2013/12/07
Special Session: Happiness in Mind: The Collection of Illustrations, Posters and Manuscripts


Title: Splitting the Mountains to Let the Water Flow
Final price: RMB667,000
Auction Company: Beijing Council
Date: 2015/12/04
Special Session: Treading the Waves: Session of 20th Century Modern Art in China


Title: Fusion
Final price: RMB713,000
Auction Company: China Guardian
Date: 2016/05/14
Special Session: Twentieth Century and Contemporary Art


Title: Silk Road
Final price: RMB943,000
Auction Company: China Guardian
Date: 2016/05/14
Special Session: Twentieth Century and Contemporary Art


Title: Yellow River Ballad
Final price: RMB34,500
Auction Company: Beijing Hanhai
Date: 2016/06/04
Special Session: Happiness in Mind: The Collection of Illustrations, Posters and Manuscripts


Title: Guangling Melody
Final price: RMB1,380,000
Auction Company: Beijing Council
Date: 2016/12/06
Special Session: The Path of the Forerunner: Modern Art in the 20th Century

Artworks

Biographical Timeline

The Periods in Tianjin and Tangshan
In 1926   
He was born into a family of intellectuals in Tianjin, whose father was an excellent railway mechanical engineer. In 1927, hisfather went to the US to study in the Ford Motor Industrial School through a work-study program for three years and then majored in machinery at the University of Detroit Mercy. His mother graduated from a primary school and she was a kind-hearted woman and raised seven children (four boys, three girls) during her life.
In 1931  
Liu’s father returned to China and worked in the Tangshan Railway Machinery Repair Plant on the Beining Line of the state-owned railway. The family then moved with his father from Tianjin to Tangshan, Hebei Province and lived in the railway dormitory.
In 1932 
He studied at the “Fulun Primary School” Affiliated to Tangshan Railway.
In 1935
Due to his father’s job transfer to Tianjin Railway Bureau, the family moved back to Tianjin from Tangshan, so he transferred to the private “First Primary School” in Tianjin.
In 1937 
Japan instigated the “July 7 Incident”, and Tianjin was occupied. He was transferred to the private “Muzhai Primary School” in Tianjin to study.
In 1940 
He studied at the private “Bohai Middle School” in Tianjin. During this period, he learned Chinese seal carving from Mr. Wang Kuizhang, a famous seal master in Tianjin.
 
The Early Period in Beijing
In 1943
He graduated from the middle school. As the Japanese had taken over the Tianjin Railway Bureau, his father refused to work for them and left the Tianjin Railway Bureau and thus was transferred to the Kailuan Coal Mine in Tangshan to engage in mechanical and electrical repair. For the whole family's safety, his father moved the whole family out of Tianjin to Beiping(Beijing).
In 1944
He suspended his schooling for family reasons. Afterwards, he was introduced by friends to the “Xuelu Painting Society” co-founded by three famous masters Ji Guanzhi, Zhong Zhifu and Yan Shaoxiang, located in Wuwanghou Hutong, Xicheng District, Beijing. He then became a disciple of painter Ji Guanzhi to learn the “North-style” landscape painting.
In 1945
He became attached to music and was fond of collecting his favorite records from the stalls near Dongdan Archway in Beijing. There is a common feature in his choice of music and books, both related to Buddhism, such as “Dragon Playing in the Water”, etc., He was always excited every time he listened to it.
In 1946
He was admitted to the National Art School in Beiping (the predecessor of the Central Academy of Fine Arts), and became a member of the first group of sculpture students recruited by Prof. Xu Beihong. With guidance from three professors Li Zongjin, Wang Linyi and Hua Tianyou, he learned sketching, sculpture and pottery making. During his school life, he was also instructed by many famous art masters such as Li Keran, Wang Zhaowen, Ai Qing, Ye Qianyu, Jiang Zhaohe, Wang Bingzhao, Zeng Zhushao, Feng Fasi, Song Bo and so on.
In 1949
The National Art School in Beiping was renamed the Central Academy of Fine Arts in April. In the late autumn of that year, he joined the Beijing suburban land reform movement with all the teachers and students of CAFA, and went to join farmers in the countryside to study the land reform policy. In the later period of the land reform, he was touched by the enthusiasm of farmers and the scenes of measuring and distributing the land. After returning to school, he created the graduation project “Measuring the Land”.
In 1950
The work “Measuring the Land” won the first prize of the “Red May” Art Exhibition of CAFA. This work was later published inthe first Issue of first volume of The People’s Pictorial in 1950. Afterwards, it was recommended by President Xu Beihong and sent to Prague for the “Prague: World Student Gathering Art Exhibition”, and was collected by the National Museum of Czechoslovak (now the Czech National Museum). In July, he graduated from CAFA, and was recommended by Prof. Xu Beihong (the President of CAFA then) to stay in CAFA. During the same period, he created “A Korean Woman”, which was presented on the cover of the sixth issue of People's Art with the high recognition of President Xu Beihong.
In 1951
He was admitted to the postgraduate program of the Sculpture Department of the Central Academy of Fine Arts (CAFA) for a one year study course. In the same year, the work “Volunteers Capturing the Wounded US Soldier” was exhibited in Xinhua Bookstore in Wangfujing, Beijing; the later work "The Hero of Volunteer Army" was placed on the flower bed at the center of Wangfujing Crossroad in Beijing.
In 1952
He was transferred to the sculpture studio of the Monument to the People's Heroes, and engaged in the creation, research and exchange of the Monument to the People's Heroes. He also assisted Prof. Wang Bingzhao in the process of sculpting the “Taiping Heavenly Kingdom: Jintian Uprising”. In the same period, he also created a small-size stone sculpture “Discharged from the Hospital” that embodies the friendship between China and the Soviet Union, which was collected by the National Art Museum of China.
In 1954
He was transferred back to CAFA to work as an assistant to Prof. Zeng Zhushao, and then went to Jiangxi Jingdezhen Porcelain Factory for an internship.
In 1955
He was transferred to the Creation Group of China Sculpture Factory (later changed to the China Sculpture Factory ) affiliated to CAFA, and engaged in the first task thereof: to make two large relief sculptures for the Volunteer Army Martyrs Cemetery and a statue of a volunteer soldier. Later, he created the busts of Monk Yixing and mathematician Zu Chongzhi for the National Museum of Chinese History, which were displayed there.
In 1956
He went to Wuhan and worked with Prof. Wu Shiwei to create the group sculpture of "Working Underwater" in the Hanyang Bridgehead of Wuhan Yangtze River Bridge. After that, he led the task to create a large-scale relief sculpture about the Volunteer Army in the War to Resist US Aggression and Aid Korea in the China Sculpture Factory, and created the “Volunteer Solider Saving North Korean Children from Fire”. In the same year, he was introduced to the China Artists Association by the famous sculptor Mr. Fu Tianchou.
In 1958
When the Great Leap Forward began, he created the “Splitting the Mountains to Let the Water Flow”, which was set as a tribute to “July 1st” under the recommendation of Soviet sculpture expert Ni Krindukhov, and was placed in front of the Peace-Guarding Square at Zhongshan Park in Beijing. The work was later published in The People's Daily. Later, Ms. Helen Foster Snow, an American female writer, published a book about the Great Leap Forward in China at that time, and this sculpture was chosen for its cover illustration.
In 1959
Suggested by Prof. Hua Junwu, he re-created the “Splitting the Mountains to Let the Water Flow” (also known as “Moving Mountains and Making Seas”), and was sent to Moscow, the Soviet Union to “Plastic Arts Exhibition by Socialist Countries”. In the same year, he led the creation of the group statues of "Shared Labor of Officers and Soldiers" on the square of the Military Museum of The Chinese People’s Revolution, as well as the main statue of the Beijing Workers' Stadium.
The Periods in Henan and Hebei Provinces
In 1960
The municipal administration of Baoding, Hebei Province sent a representative to China Sculpture Factory to buy the white cement statue of “Splitting the Mountains to Let the Water Flow”. After the cement statue was transported to Baoding, it was first placed in the Baoding Railway Station Square, and then placed in Baoding Dongfeng Park. In the early summer of that year, he created the sculpture “Henan Jiyuan Militia Crossing the River” for the Military Museum of The Chinese People’s Revolution. In the same year, he was awarded the title of “Advanced Worker” by the Beijing authority of culture, education, sports and health, and won a Red Flag Medal as an Advanced Worker.
In 1961
He was transferred to Henan Zhengzhou Art Institute in July. In September, due to the dissolution of Henan Zhengzhou Art Institute, he was transferred to the Art Department of Kaifeng Normal College (formerly Henan University) as a lecturer.
In 1962
He was seconded to the Henan Museum to create the “Li Zicheng” statue.
In 1963
He returned to the Art Department of Kaifeng Normal College in Henan to teach sketching.
In 1964
He was seconded to the Henan Museum for the group sculpture project “Exhibition of Rural Four Clean-ups”.
In 1965
He continued to work in Henan Museum. In the same year, his mother died of an illness in Tianjin, and he was thrown into extreme depression. In the autumn, he visited the revolutionary base of cemeteries of Li Xiannian and Peng Xuefeng atZhugou, Shiguanshan, Henan.
In 1966
When the Cultural Revolution began, he was working with Mr. An Zhijin, a graduate of Hubei Institute of Fine Arts, to create a group statue of “Representatives of Workers, Farmers, Businessmen, Students, and Soldiers” for Zijinshan Park in Zhengzhou, and later created the “Jiao Yulu” statue for the Zhengzhou Jiao Yulu Exhibition.
In 1969
He returned to Kaifeng Normal College in Henan for intellectual re-education movement. In the early spring, he was sent to the Daizhailin branch of Juqi Forest Farm, Minquan County, Henan Province for ideological transformation. He lived with Ding Zhegui, Liang Bingqian, Ma Jiguang, Ye Tongxuan, Wang Bangyan, Ding Zhongyi, Liu Tiehua, Wang Rubo, Qiu Guangzheng, and Wang Wei in the same house day and night. This period of life left significant memories for them. Later, he used this experience of intellectual re-education as a theme in his works, such as “Tiehua Going to Make Noodles”, “Re-education”, etc., which all memorize that period of life.
In 1970
He returned home to Beijing in the spring to rest. Afterwards he was seconded to Lianhuachi Park, Baoding, Hebei Province to replicate the large-scale clay sculpture “Rent Collection Courtyard”.
In 1971
As the large-scale clay sculpture “Rent Collection Courtyard” was applauded by the Baoding Municipal Bureau of Culture and the local people, he was officially transferred to the Baoding Mass Culture and Art Museum, Hebei Province.
In 1972
When the National Museum of Chinese History needed to make settings for the Upper Cave Man, being recommended by Mr. Li Zhitan, an old alumnus, he was seconded to the National Museum of Chinese History to engage in this project. Later, he engaged in a project to create the large-scale relief “Slave Revolt” of the National Museum of Chinese History and the reproduction of Persian pottery statues, etc.
In 1974
He returned to Baoding Mass Culture and Art Museum. Due to his physical condition and inability to find a job that matched his major, he applied for early retirement in the winter.


The Period in the National Museum of Chinese History
In 1975   
He retired early and returned to Beijing to serve the reproduction and restoration of cultural relics in the National Museum of Chinese History. During this period, he learned a lot of techniques for the reproduction and restoration of pottery and bronze ware and gained a deeper understanding of traditional Chinese art, which had a huge impact on his artistic creations.

 
The Period in CAFA
In 1980
He returned to teach at the Sculpture Department of CAFA. Combining years of his life experience and a new understanding of traditional Chinese art, he focused on pottery sculptures during this period, thus embracing a peak period of creation.
In 1981
The hard-material studio and the electric pottery kiln studio of CAFA were established successively. During this period, in addition to teaching, he spent all his spare time creating in the studio. A lot of works that show the folk customs of Henan and Hebei and the memories of his urban life in Beijing were produced during this period, like “Farm House”, “Farm Cave”, “Ansai Waist Drummer”, “Man Playing Suona”, “A Ferry and Boatmen on the Yellow River”, “Henan Zhuizi Folk Drama”, “Shanxi Bangzi (Wooden Clapper Opera)” and so on.
In 1982
His work was presented at the "The Calligraphy, Painting and Sculpture Exhibition by Qian Shaowu, Liu Xiaocen, Wang Peng and Liu Shiming" held by CAFA.
In 1984
His work “Cormorants” was selected for the 6th National Exhibition of Fine Arts. The work “Towards the Sun” was selected for the “National Sculpture Design Exhibition” and won a medal issued by the National Urban Sculpture Office.
In 1985
He created the “Archer” stone carving sculpture for Beijing Shijingshan Sculpture Park.
In 1988
“The Soaring Yellow River” and “Silk Road: The Camel” were selected into the Gansu “Urban Sculpture Planning Exhibition”.
In 1989
The “Ansai Waist Drummer” was selected to the 7th National Exhibition of Fine Arts.
In 1992
In celebration the 50th anniversary of Chairman Mao’s “Speech at the Yan'an Forum on Literature and Art”, he created the work "Eternal Love: The Continuation of Life", which was exhibited at the National Art Museum of China.
In 1993
His work "Boatmen on the Yellow River" was selected for the 8th National Exhibition of Fine Arts.
In 1994
He became a member of the first group at the China Sculptor Institute.


The Period of Later Life
In 1995
He finished all his work at CAFA and focused on his own creation at home. In the same year, he was awarded the “National Urban Sculpture Design” qualification certificate and enjoyed the honorary allowance of the State Council for special contributions.
In 1997
His work “The Boat on Yellow River” was selected into the "National Ceramic Art Touring Exhibition" and "European Touring Exhibition", and was collected by the Ministry of Culture.
In 1998
“Liu Shiming Exhibition” was held at the Corridor Gallery of CAFA., and the Catalogue of Liu Shiming’s Works was published.
In 1999
The work “Mother” was selected to the 9th National Exhibition of Fine Arts. In the same year, his works “Ansai Waist Drummer”, “Splitting the Mountains to Let the Water Flow” and “Thick-back Woman” were collected by the National Museum of Chinese History.
He accepted an exclusive interview with CCTV-1 “Son of the East” programme.
In 2000
He was awarded the medal of "50-year Active Contribution to Literature and Art" by the Beijing Municipal Party Committee.
The work “Cormorants on the Yellow River” was collected in the book Chinese Art Today.
In 2001
His work was included in the book Contemporary Chinese Talents: Culture and Art published by the Writers Publishing House (Chinese Talent Pool: Literature and Art).
In 2002
His work was included in the Century Collection Edition of Experts of the People’s Republic of China jointly published by People's Pictorial and China Pictorial, and the book Art China: Chinese Art Documents Special published by the Culture and Art Talent Center of the Ministry of Culture.
He won the certificates of "China Beijing International Urban Sculpture Exhibition" and “Half-Century Beijing Sculpture Art Documentary Exhibition”, and “Chinese Century Talents” honorary certificate and medal issued by the Ministry of Culture.
In 2005
The “Indigenous Sculptures: Liu Shiming Solo Exhibition” and seminar were held at the Sculpture Art Institute of CAFA.
He accepted an exclusive interview with CCTV-10 “People” programme.
In 2006
The “Liberal Wormwood—Liu Shiming’s Solo Exhibition of Sculptures” was held at the National Art Museum of China".
The CCTV "People" programme broadcast an exclusive interview “Sculptor Liu Shiming”, and he accepted the second interview with CCTV “Son of the East” programme.
In November, CCTV "Oriental Horizon" broadcast a special programme “Liu Shiming: Nostalgia”.
In 2007
He created the “Seated Woman Holding an Apple”, “Buddha/Going Together Down the Mountain”, etc.
In 2008
“Dream Back Home: Liu Shiming’s Solo Exhibition of Sculptures” was held in Henan Art Museum in October.
The Henan Art Museum collected his works "Boatmen on the Yellow River" and “Performer Backstage”.
It was included in Memorabilia of Chinese Fine Arts.
In 2009
He was awarded the “60-Year Active Contribution in Literature and Art” by the China Federation of Literary and Art Circles.
The work "Man with Boat and Cormorants" was selected for the “Cornerstone: Developments in 60 Years” Exhibition of Oil Painting, Sculpture and Printmaking.



On May 24th, 2010, he passed away at the age of 84
In 2012
His works “Splitting the Mountains to Let the Water Flow”, “Man with Boat and Cormorants”, “Ansai Waist Drummer” and “Silk Road” were selected for the “Sculpture China: CAFA Sculpture Retrospective Exhibition”.
Two of his works including “Performer Backstage” were collected by the National Centre for the Performing Arts.
In 2014
The work “Splitting the Mountains to Let the Water Flow” was selected for the “Painting the Chinese Dream: An Exhibition Celebrating the 65th Anniversary of the People’s Republic of China”, and was collected by the National Art Museum of China.
In 2015
Over 10 works including "Boatmen on the Yellow River" and “Mountain Ghost” were exhibited at the "Where to Go" Sculpture Exhibition by Shanghai Oil Painting & Sculpture Institute.
In 2018
Upon the 100thanniversary of the founding of CAFA, the “Liu Shiming Sculpture Museum” was established at CAFA. The museum is the first and only sculpture museum in China named after the artist.
In 2019
The press conference of “Liu Shiming Sculpture Museum at CAFA” was held in the multi-functional conference room of CAFA Art Museum.
In October, “A Chinese Original: Liu Shiming's Sculpture Art 2019-2020 Global Tour” kicked off. The first exhibition was held in Manhattan, New York, USA, and “Departure and Return: Liu Shiming’s Sculpture” was held at the Asian Cultural Center (New York) in the United States.
In November, “An Art Forum on Liu Shiming’s Sculpture” was held at Columbia University in the United States. In the same month, “Kindness Expresses Truth and Love: Liu Shiming’s Sculpture” was held at the Asian Fusion Gallery(Washington) in the United States.
In December, the Liu Shiming Sculpture Museum of CAFA welcomed its first exhibition "Souls in the Clay: Liu Shiming’s Sculpture”.
In 2020
“Liu Shiming: A Chinese Original” New Year Sculpture Exhibition was held in January at The Oculus, the landmark building of the World Trade Center Plaza in New York, USA. This is the first time that modern and contemporary Chinese sculpture works were displayed in the most eye-catching public space in the United States.
In December, more than 30 works of Mr. Liu including “Boatmen on the Yellow River” and “Sheepskin Raft” were selected for the large-scale contemporary art exhibition “The Endless Life: The Narrative of the Yellow River”.
In 2021
The works “Splitting the Mountains to Let the Water Flow”, "Sheepskin Raft", "Three Donkeys", and “Man with Boat and Cormorants” were selected into “The Greatest Changes in the Past 100 Years” The Sculpture Artworks Exhibition held by National Museum of China in April.
In the same year, his works “Splitting the Mountains to Let the Water Flow”, "Sheepskin Raft", "Three Donkeys", and “Man with Boat and Cormorants” were permanently collected by the National Museum of China.
In July, the documentary "Sculpting as Himself: Liu Shiming and His Sculptures" was broadcast on the channel of “Journey of Discovery” produced by the Central Studio of News Reels Production.



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