For Ju Ming, "art is a form of religious practice". It is the decades of his artistic exper ience. Having just completed primary school, he finds reading very time-consuming. Yet this does not affect his aspiration and interest in learning. He has not only cultivated the habit of regarding the sky, earth and nature as his teacher, but also learned to think. He once said, "I have the habit of thinking. I always think about a topic in relation to nature before going to sleep because you've seen a lot outside which are all thoughts of other people. The most important thing is what you do. However, you can't do without learning. Those who don't learn have no thought or concept. If I didn'tlearn, I'd be like a naive artist who only told stories but didn't have his own language and didn't know art, not to mention how an artist should live. I'm very diligent, working with art everyday in just the way a monk practices his religion." In this respect, he is greatly influenced by his teacher Yuyu Yang. Though Yang did not formally attend art class, he provided guidance in the practice of art with no reservation and understands the strong and weak points of this student very well. For Yang, the essence of art lies in the heart and not in the hand, and splendid craft is not the primary motive force that brings out the artistic values. He also discovered that Ju Ming has a rich and big "heart". For this reason, Yang was always searching for opportunities for Ju Ming to display his talent. He enlightened Ju Ming on the notion of uniting human with nature, praising the simple and free aesthetic concept and simplifying the method of sculpting. He used suitable material to present a specific subject matter and turned the characteristic texture of the material into the foundation for the language of sculpture. Working with Yang from 1968 to 1976, the maturity of Ju Ming's work significantly increased and he was transformed from a craftsman into an internationally renowned master sculptor.

Al l of his works , from the early sculptures using Taiwan folk life as material to the Taichi series which has attracted international attention, are the reproduction of life. Perhaps the ingenuity of Taichi series is that it is also the fruit of his teacher Yang's incidental suggestion that he practices Taichi to keep fit. As Ju Ming becomes fascinated with the profundity of Taichi, his train of thought is flooded with the various moves of the practice, which are spontaneously reproduced in his sculpture. For him, the hand movement is similar to that in carving, and there i s no need t o specifically create a design beforehand. Preparation for all his works cannot be made in advance. Everything is entirely dependent on the present moment in life, as prior arrangement or designing is not the usual practice of Ju Ming.

In 1978, Ju Ming went to Japan for exhibition twice. That was the first time his "Taichi Series" attracted attention, among which, "Single Whip" series have, since then, found its foothold in Japanese 'Chokoku no mori'. "Taichi Series" opened another foreground of his creation also. Actually, before then, in the exhibition of 1976 by which he was famed, Ju Ming had exhibited a woodcarving with topic of Kongfu, which could be considered as the origin of "Taichi Series". But, in the view of Ju Ming, it is "Taichi Series" that are the starting point of his own style. He expresses the vital force from inside to outside rather than from outside to inside.

In the sculptures of "Taichi Series", the relation between the geometric abstraction and active posture of the figures, as well as the contrast between the dynamic and static , the rough and tersein tridimensionality form a rich rhythmic change in the works. The sculpture presents a very colorful effect of change between shine and shadow. In "Single Whip", relying on his own experience and judgment, Ju Ming made artistic treatment of the familiar Taichi culture and relevant boxing skills, having broken away from previous and relevant imago frame, giving out a kind of vitality and irresistible power.

Ju Ming's creation of "Taichi Series" has made mutual reference and integration of the sculp ture on shel fand the environmental sculpture and introduced new concept of modern sculpture, enduing modern public space with a wider visual creation and humanistic prospect. With its unique visual symbol and sculptural graphic arts, Taichi Series have become complementat ion of urban l i fe and extension of natural creation. The works have shaped a visual effect of conquering the dynamic by s tat ic and exci t ing touch sense, being provided with a specific impelling force of the age and teemed with endless imagination and edification of contemporary aesthetic spirit.