In 1974, in commemoration of the 10th anniversary of the founding of Tibetan Autonomous Region, the Tibetan Revolution Exhibition Hall invited more than 10 teachers from the sculpture department of the Central Academy of Fine Arts and Luxun Academy of Fine Arts to create a group of sculptures with the motif of serfs¡¯ life under serfdom and their resistance.

Around 40 teachers devoted themselves heart and soul to the large group of clay sculptures (consisting of over 100 full-length figures) named ¡°Serfs¡¯ Wrath¡±.

As the author held a post with the operations department of the Tibetan Exhibition Hall between 1975 and 1980, he was somewhat involved in the creation of the sculpture and can still recall some interesting episodes.

In the early spring of 1976, correspondents from the Tibet Branch of Xinhua News Agency organized more than 10 people who had suffered bitterly and nursed deep hatred for the old regime in Tibet to participate in a discussion after visiting the exhibition of ¡°Serfs¡¯ Wrath¡±. Differing only in the length of their talk and the pitch of their tone, almost all the attendees spoke with streaming tears. A few old women could hardly recount their stories for crying, which deeply moved the author.

One day in the winter of 1976 or the spring of 1977, I was informed by a call from the Publicity Ministry to be prepared for the imminent visit of the author, Han Suyin, born and raised in China but now a British citizen. The woman in the cream-colored windbreaker was tall, and could speak good mandarin.

In front of the preface board, Ms. Han seriously made notes on the proportional population of the three local seigniors and serfs, corresponding numbers of their properties, and the relationship between productivity and the relationships of production. After a fairly careful visit of the ¡°Serfs¡¯ Wrath¡±, she said ¡°This is an excellent exhibition teeming with artistry. It should be introduced to more people and let them know what the old Tibet was like.¡± I wrote to the sculptors in Beijing about Ms. Han¡¯s comment.

September 10, 1975 was the 10th anniversary of the founding of the Tibetan Autonomous Region. Hua Guofeng, Vice Premier of the State Council at the time, led the central government delegation to the Tibetan Exhibition Hall for the ribbon-cutting ceremony of the exhibitions of Tibetan achievements and ¡°Serfs¡¯ Wrath¡±.

In the closing years of the 20th century, for the sake of celebrating a significant ceremony and conforming to Lhasa¡¯s overall plan of extending the plaza of the Potala Palace, Tibetan Exhibition Hall, which was located outside the southeastern wall of the palace, was moved. As a result, exhibits that no longer conveyed a sense of modern times, including the sculptures of ¡°Serfs¡¯ Wrath¡±, were ruined or discarded.

Before the lunar new year of the Water Monkey according to Tibetan calendar, when the author met the Tibetan sculptors Ali and Lin Xin, the topic naturally turned to the ¡°Serfs¡¯ Wrath¡±.