Liu Shiming once mentioned that he was particularly impressed by traditional Chinese art and its expressive techniques. They have indeed profoundly influenced Liu’s art creation.

In the 1970s, Liu spent a few years successively restoring pottery ware and figurines in the Henan Museum and the National Museum of Chinese History. Those pottery figurines and animals as well as other unearthed cultural relics from Qin and Han dynasties led him to a realm that was both intimate and unfamiliar. Over those years, he gained a deep understanding of the language of traditional Chinese sculpture. For instance, the Qin figurines stressed naturalistic realism as they delineated every detail. The ones from Han Dynasty focused on the spirit, which was a development in the language of traditional Chinese pottery sculpture. It went beyond the general requirements for form and considerably simplified the shape. Meanwhile, key features of the subjects were highlighted and exaggerated to give off a spiritual and energetic charm. Although aesthetic taste varies across time, it is fair to say that the unity of form and spirit constitutes the essence of traditional Chinese art. Liu’s Eastern Han Storyteller (Replica) is a typical example of such essence. With the exaggerated character shape and rich expression, the figurine is vivid. The style attaches great importance to the relationship between form and spirit. It strives to kindle the imagination of the viewers by capturing the most intrinsic and expressive impact in the momentarily static image as the sculptures come alive. 

Liu has an in-depth understanding of the evolution of traditional sculpture. The language of traditional Chinese sculpture has nourished Liu's art and enabled the birth of his own artistic language which ultimately helped him accomplish his art that unifies form and spirit.

Drawing on the techniques which went for the essence beyond form as exemplified in the Han figurines and pottery architecture, Liu’s Farmhouse series manifests a sense of fun and humour with the miniature courtyards which could be placed in the palm of the hand for admiration. However, rather than merely addressing the form, Liu carefully illustrated details in these pieces that measure only a few centimetres, including the adobe walls rising high and low, the shabby little archway, the simple stove, the foraging chicks in the courtyard, the pigeons resting on the roof, and so on. Speaking about reality in a traditional language, Liu creates a series of authentic and credible images that epitomise the era.

In traditional art, the integration of energy, charm, vividness and liveliness (qi yun sheng dong) is considered the highest standard and the ultimate pursuit. Liu’s rapid sculpting that aims to accomplish every piece at one go also aims at the said integration, which in turn manifests itself in his unique understanding and interpretation of the form and spirit. Two sculptures created in 1986, Ansai Waist Drummer and Guangling Melody, are the best examples. The former focuses on the expression of a heroic voice and the imposing manner. Upon artistic exaggeration and refinement, the character conveys the pride of farmers in northern Shaanxi to the utmost point. Liu is bold in capturing the key features of the object and dropping the rest. There are sharp strokes and also prudent details. The eclectic works of Liu often bears a resemblance to the freehand brushwork in traditional Chinese painting, which give viewers an incisive aesthetic pleasure.

In the 1980s, although Liu left the museum, traditional culture had taken root in his heart. He proactively studied the traditions, and at the same time, constantly explored the contemporary language of sculpture to express the joys and sorrows that he witnessed in life. He remained sceptical over the so-called “national” creations. He had his own thoughts on what tradition was and how traditional culture should be carried forward. He said, “It seems to me that they are an assembly of the parts in ancient cultural relics, like fitting ancient patterns onto garments. They magnify the parts and call that the innovation of national culture. But they lack the sense of Chinese people. They seem a new type of formalism that features national symbols!” Liu believes that excessive formalism and symbolism are a kind of pseudo-tradition. To truly carry on the tradition, artists must base themselves on reality, starting from the reality that they are familiar with, and honestly reproduce the people and things that have moved them.

Liu’s honesty and sincerity are in line with the essence of traditional Chinese culture. He draws inspiration from the reality in China and expresses the simple emotions of the Chinese people. Therefore, we say that Liu’s works are truly Chinese. He carries on the tradition while focusing on reality. Upon the profound comprehension of national culture, he composes an epic of contemporary society.