PRINTThis sculpture is to be sold with a certificate of
authenticity issued by the nonprofit organization
Juming Culture and Education Foundation.
authenticity issued by the nonprofit organization
Juming Culture and Education Foundation.
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Taichi Series – Single Whip
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1975 Bronze, edition no. 1/16 57.3(L) x 28(W) x 34.7(H) cm Engraved on the back Ju Ming in Chinese, dated '75 and numbered 1/16 |
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Estimate
5,000,000 - 7,000,000 1,316,000 - 1,842,000 169,500 - 237,300
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Catalogue Note:
Taichi boxing examines the fusion of strength and tenderness, the balance of ying and yang, light and heavy at the same time, rush actions and slow responses, achieving harmony between movement and stillness. This fully manifests esthetics thought, bringing us a beautiful vision to enjoy. Moreover, this represents Ju Ming's concept toward esthetics. In all the works of “Taichi” series by Ju Ming, “Single Whip” is the most well-known form around the world.
Ju Ming’s “Single Whip” epitomizes the fascinating tension between inner tranquility and outward action characteristic of most Taichi moves. In this piece, Ju transcends the limitations of traditional sculpture, focusing not on the physical substance but its gentle motion, the aesthetic appeal that lies in the fluid lines and vigorous momentum of the low single whip move. In doing so, he gives us a hint of how Taichi allows the life force to circulate freely through the adept’s body, just as Taichi grandmaster Wang Zongyue put it, “The energy originates in the spine, and flows as the feet follow where the trunk leads. Contraction and relaxation are one, overlapping and merged in constant repetition, continually alternating as one advances and retreats.”
Taking a closer look at the low single whip movement one discovers that it begins with the feet, continues with the legs, is controlled by the waist and finds its final expression in the hands. The entire body is involved in the fluid motion. Vital energy, or chi, travels from the bottom to the top, from the feet through the legs to the waist, while the adept moves in accordance with the prescribed postures. While the look on the face is blank, the sculpture is yet brimming with expression, conveyed through the chi made visible in its lines and curves: the pieces of the Taichi series portray not only the adept’s movements and breathing, but reveal his very mind. Ju Ming does not bother-does not need to bother-with a detailed depiction of facial features, because his concern is the performer’s “inner expression”, the face of his soul as seen through the movements. “The chi should flow freely and the mind be calm.” nothing could describe the art of Ju Ming better than this old Taichi adage.
Ju Ming’s “Single Whip” epitomizes the fascinating tension between inner tranquility and outward action characteristic of most Taichi moves. In this piece, Ju transcends the limitations of traditional sculpture, focusing not on the physical substance but its gentle motion, the aesthetic appeal that lies in the fluid lines and vigorous momentum of the low single whip move. In doing so, he gives us a hint of how Taichi allows the life force to circulate freely through the adept’s body, just as Taichi grandmaster Wang Zongyue put it, “The energy originates in the spine, and flows as the feet follow where the trunk leads. Contraction and relaxation are one, overlapping and merged in constant repetition, continually alternating as one advances and retreats.”
Taking a closer look at the low single whip movement one discovers that it begins with the feet, continues with the legs, is controlled by the waist and finds its final expression in the hands. The entire body is involved in the fluid motion. Vital energy, or chi, travels from the bottom to the top, from the feet through the legs to the waist, while the adept moves in accordance with the prescribed postures. While the look on the face is blank, the sculpture is yet brimming with expression, conveyed through the chi made visible in its lines and curves: the pieces of the Taichi series portray not only the adept’s movements and breathing, but reveal his very mind. Ju Ming does not bother-does not need to bother-with a detailed depiction of facial features, because his concern is the performer’s “inner expression”, the face of his soul as seen through the movements. “The chi should flow freely and the mind be calm.” nothing could describe the art of Ju Ming better than this old Taichi adage.