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Guide Research
Nativist Series Taichi Series Living World Series
TITLE Nativist Series In 1953, when Ju Ming was 15 years old, a famous wood craftsman Lee Chin-chuan was invited to go to Tunghsiao to restore the Matsu Temple there. Mr. Ju Lee-chi brought Ju Ming to be the apprentice of Mr. Lee. That was the starting point of Ju Ming's 50 years of involvement in the sculpture art.

Ju Ming's success in the National Museum of History Exhibition marked a major turning point in his life. His success brought the final realization of the restricting classification of "craftsman". He knew he wanted to become a real " creative artist" but that the development he sought could only be achieved if he reapprenticed himself. This was not a new realization for he had been saving enough money to support himself and his family for three years while waiting for such an opportunity. So he sold his shop and set out to find the only teacher he wanted: "Yuyu Yang". In this time of apprenticeship, Ju Ming had mastered all the sculpture technique and he was gradually transformed into a real artist from a skilled craftsman through the artistic concepts, inspiration, guidance and furtherance obtained from Mr. Yang. A few years after that, though his works were focused on the subjects and scenes of countryside and plain folks, we can see that those works were with a touch of contemporary sculpture concept.

In 1976, Yuyu Yang had an exhibition scheduled at the National Museum of History. To introduce Ju Ming's work, Mr. Yang asked the museum if Ju Ming's art could be exhibited instead of his own. It was through this exhibition that Ju Ming became recognized as a real artist in Taiwan.

As Chang Tsong-zung says" What first brought Ju Ming to the attention of Chinese connoisseurs were his sculptures of cultural heroes and Chinese country life, such as figures of Confucius, Kuan-yu, buffaloes with cowherds and farm animals. He wields the axe with the freedom of a brush painter and knows when to stop carving so that the axemarks become as equally expressive as the form." Chang Tsong-zung has referred to "a large (wooden) sculpture made in 1975 of an oxcart overladen with lumber struggling uphill which was heralded as a symbol of Chinese society". Others have said that it reminded them of people bending and sweating as they pulled boats with long ropes along the Jialing River in Sichuan, China. Ju Ming says that the sculpture was the recreation of an incident in his childhood when he had observed an overburdened ox struggling helpless up an incline while his master kept on whipping and whipping him to the point of collapse. In his expressive sculpture, Ju Ming tried to show that humans should help the ox, pushing with it rather than constantly whipping the animal; in this way, man and beast could truly work together.

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