The couple wanted the sculpture to be viewed widely by the public rather than restrict it to an exhibition for connoisseurs.
Yang discovered her bond with Guanyin and Buddhism in 1996 when she embarked on a journey along the ancient Silk Road. During her stay in Dunhuang, Yang was deeply touched by the murals-A Thousand Hands and A Thousand Eyes Bodhisattva (Guanyin)-in the Mogao Caves.
Marveling at the exquisite portrayal while regretting the peeling paint that blurred the image of Guanyin over time, Yang resolved to re-create the painting in a three-dimensional form.
She felt it would be a shame if the artistic legacy of predecessors was forgotten.