Enduring Legacy in the Living World: The Journey of Master Ju Ming

 Odile Chen / Ravenel Quarterly No. 44 / 2023-09-13

In the year 2023, Taiwan lost two international art superstars: sculptor Ju Ming, who passed away at the age of 85, and painter Hsiao Chin, who completed his 88-year journey of life. Their artistic creations are celebrated globally and hold a place of distinction akin to national treasures. Amidst the poignancy of their absence, the exceptional and resplendent creative narratives they authored have bequeathed timeless masterpieces to mankind. Within the pages of this quarterly edition, the spotlight falls on Mr. Ju Ming, offering an introduction to this amiable yet ceaselessly transcendent maestro of art.

Farewell, Ju Ming! Rediscover, Ju Ming!

On the afternoon of April 23, 2023, a breaking news message arrived in the LINE collector group, conveying the unfortunate news of the passing of Taiwan's national treasure-level master, Mr. Ju Ming. He had unexpectedly passed away on the evening of the 22nd at the age of 85. A tidal wave of discussions surged within the artistic realm, leaving everyone spellbound. Just months ago, he graced Taipei with a solo exhibition, unveiling a collection of new creations that garnered accolades from collectors for his inexhaustible wellspring of creativity.

Yet concealed behind the veil of his vibrant artworks was a lesser- known narrative—a battle against illness, a life cloaked in seclusion, and a growing fatigue for the struggles of existence. The evening news cycle relentlessly echoed this heartrending announcement. Ju Ming's renown transcended borders, resonating far beyond Taiwan's shores. International media took up the mantle, sharing the news of his departure. Collectors and kindred spirits scattered across the globe, woven into various corners of the world, joined in unity to share their profound sympathy and extend heartfelt condolences.

Since my student days, I've been familiar with the name Ju Ming. In 1988, Ju Ming cast a large bronze sculpture that stood beside the lawn of the College of Liberal Arts at National Central University. Taiwan's society was undergoing the baptism of post-martial-law freedom, and students frequently utilized big-character posters and events to express their opinions. Students protested against the university's willingness to spend four or five million Taiwan dollars to acquire public art while not allocating a budget for curtains in the women's dormitories. This stirred up a wave of controversy on campus. Despite this history, the outdoor sculpture "Taichi" with its arch-shaped bronze gate, measuring a towering 392 centimeters and numbered 1/6, has over the years become one of the most significant landmarks at National Central University. The grand statue and its distinguished cost remain deeply imprinted in the minds of our generation of students.

In present-day Taiwan, familiarity with this international art master extends beyond the boundaries of the art sphere. The Juming Museum, situated in Jianshan District of New Taipei City, has consistently stood as a captivating draw for North Coast tourism. The museum grounds constructed by Ju Ming during his lifetime preserve his most important works. It also endeavors in promoting art education for children, advancing Taiwanese sculpture studies, and fostering the development of young sculptors. Following his passing, he received presidential commendation, and the Ministry of Culture included the Juming Museum as a member of the Ministry's "Taiwan Brand Team Plan" (eligible for government funding support), fulfilling the artist's wishes.

From Tradition to Innovation - Art as Practice

Born on the 7th day of the first lunar month in 1938, in the Ju family of Tongxiao Township, Miaoli County, Ju Chuantai—later known as Ju Ming—entered the world under the zodiac sign of the Ox as the 11th child. Growing up during the late period of the Japanese colonial era, amidst material scarcity and arduous living conditions, the slender and tenacious Ju Chuantai persevered through his hardships, grateful for the sacrifices his parents made to raise their children. Graduating from elementary school, he swiftly sought work to alleviate his mother's burdens and share in her labors. With the characteristics of an Ox, he exhibited diligence and unyielding determination.

At the age of 15, Ju Chuantai embarked on an apprenticeship under the tutelage of temple woodcarver Lee Chin-chuan (1912-1960), a virtuoso adept in both woodcarving and traditional painting. With unwavering dedication, Lee transferred his expertise, underscoring the harmony between sculpture and painting. This holistic approach laid a robust groundwork for Ju, not only instructing him in techniques but also kindling his passion for innovation. Lee's counsel extended to urging Ju to delve into the works of the late sculptor Huang Tu-shui, whose artistry he held in high esteem. Ju Chuantai came across the name of modern sculptor Yuyu Yang (1926-1997) in a magazine and silently saved the clipping, aspiring to follow in his footsteps. At the young age of 20, Ju Chuantai had already established his own workshop, crafting Buddha statues in the northern town of Jinshan. His exceptional craftsmanship earned him a prominent reputation.

In 1968, at the age of 30, Ju Chuantai, now a family man, remembered his past aspirations. He visited Yuyu Yang in Taipei, bearing two wooden carvings he had made for his mother and wife, seeking Yang's critique. After a morning of discussions, impressed by Ju Chuantai's sincerity and integrity, Yuyu Yang agreed to take him as a disciple. Thus, Yuyu Yang became Ju Chuantai's second mentor and the pivotal figure that guided him from being a craftsman to becoming an artist. Yang advised him to find his own path and cautioned him not to merely replicate Yang's style. He encouraged Ju to move away from intricate details, focusing on a more natural and straightforward approach that would elevate his work to a spiritual level. Yang also suggested Ju cast off his reputation in the world of craftsmanship and adopt the name "Ju Ming."

Yang, nurturing talents, tactfully recommended Ju Ming to take his place at the National Museum on short notice, under the pretense of being unprepared. Concerned that Ju Ming might not meet the qualifications, the museum sought the evaluation of a Japanese sculpting master. Impressed by Ju Ming's talents, the master endorsed the exhibition. In March 1976, the Ju Ming Wood Sculpture Exhibition was unveiled, receiving high praise. Newspapers ran features for days, and the exhibition period had to be extended due to the influx of visitors. Ju Ming's vibrant and vital wood sculptures dovetailed with the Nativist movement, coinciding with an amateur painter named Hung Tung (1920-1987), whose exhibition was hosted by the American News Agency across from the museum. This synergy transformed Ju Ming and Hung Tung into significant figures in the Nativist movement.

With his emerging presence, Ju Ming garnered acclaim within Taiwan's art scene, even being named one of the year's top ten outstanding young individuals. His early works featuring historical figures and water buffalo struck a chord with the public. Due to his naturally frail constitution, his mentor encouraged him to practice Taichi for physical strength. From this martial art, Ju Ming gleaned elements of strength and beauty, leading him to create his first series of Taichi sculptures, initially titled "Kung Fu." This marked the inception of a more profound and introspective phase in his carving artistry. Evolving from the "Nativist Series" to the "Taichi Series," his transition sparked criticism from those emphasizing native identity. Nonetheless, Ju Ming continued to innovate and refine the modernization of sculpture, driven by his spiritual contemplation, pursuing simplicity and spiritual elegance. The Taichi series undoubtedly marked the initiation of Ju Ming's distinctive style. He once said, "Foreigners like Taichi because it simplifies everything, to the point where it's irrelevant who the subject is. For example, when I exhibit abroad, nobody asks what Taichi is doing, not even a single person." The success of the Taichi series elevated him beyond being a traditional sculptor, propelling him to the ranks of a master in the Chinese sculpture arena.

Michael Sullivan, a professor of art history at the University of Oxford, lauded Ju Ming's achievements, stating, "The achievement of Ju Ming is not only about the magnificent power and beauty his works present. More importantly, he has found, in his own cultural heritage, a natural source for the creation of a formal language that is both contemporary and Chinese."

Boldly Venturing Beyond: Ju Ming's Path to the Global Stage Propelled by Strategic Partnerships

Following seven years of apprenticeship under Yuyu Yang, during which he embarked on journeys to Singapore and Japan, Ju Ming broadened his horizons, standing on the precipice of a more expansive future. After the resounding success of his inaugural exhibition at the National Museum of History, Ju Ming seized the opportunity to venture overseas, showcasing his talent in Tokyo. This caught the discerning eye of the Hakone Open-Air Museum in Japan, leading to the inclusion of his work "Single Whip" in their collection.

In 1979, Ju Ming's first foray into commercial spaces began at the Spring Gallery, a platform that had previously endorsed many emerging Taiwanese artists. Guided by the assistance of friends in the arts and culture circles, Shih Chi-ching and Hsu Po-yun, Ju Ming's path led him to exhibit at the Hong Kong Arts Centre, fostering close ties with Hong Kong's artistic community. In 1981, he took a bold step, journeying to the United States in search of opportunities. His exceptional talent caught the attention of Max Hutchinson, owner of the Max Hutchinson Gallery in New York, who extended an offer for an exhibition. Johnson Chang (born 1951), an art dealer in Hong Kong, recognized Ju Ming's prowess and would go on to become his long-time agent. Chang played a pivotal role in unlocking overseas markets for Ju Ming, facilitating multiple exhibitions in Hong Kong and the United Kingdom. Subsequently, Hervé Odermatt (born 1926), a prominent art dealer in France, also joined forces, representing Ju Ming's artistic endeavors in Europe and North America.

Chang, an influential figure in the art realm of Greater China, renowned as both an art critic and market influencer, possessed a keen knack for identifying potential artists. In addition to founding the Hanart TZ Gallery in 1983, which has shaped the careers of numerous artists, he also established a branch in Taipei from 1988 to 2000, and extended his reach to Singapore and mainland China. In his essay titled "Ju Ming and Modern Chinese Sculpture," Chang notes, "It could be seen that Ju Ming had given China's stagnant sculptural tradition a new lease of life."

Ju Ming's international solo exhibitions have been numerous, with the 1980s and 1990s marking particularly shining periods. Ju Ming regarded the 1997-1998 exhibition at Place Paris as the pinnacle of his career. His overseas exhibitions, particularly in Europe and America, were facilitated by Hervé Odermatt's extensive political and business connections, leading to several of Ju Ming's large sculptures finding permanent homes in international museums.

Reflecting on Ju Ming's past international solo exhibitions, some notable highlights include: Tokyo Central Museum of Art in 1977, Nara Prefecture Cultural Hall in 1978, Hong Kong Arts Centre in 1980, Max Hutchinson Gallery in New York in 1981 (also in 1983, 1985, and 1986), Hanart TZ Gallery in Hong Kong in 1981 (also in 1984, 1985, and 1988), Ayala Museum in Manila and Birashri Institute of Modern Art in Bangkok in 1984, Exchange Square in Hong Kong, National Museum of Singapore, and Hanart TZ Gallery in Singapore in 1986, Raffles City Atrium in Singapore and Phyllis Kind Gallery in New York, among others in 1989.

In the 1990s, Ju Ming's major international solo exhibitions included: Hong Kong Arts Centre and Hanart TZ Gallery in Hong Kong in 1991; South Bank Centre in London; Browns & Darby Gallery in London; Anglo-Hong Kong Trust; Yorkshire Sculpture Park in the UK; Musée d'Art Contemporain de Dunkerque in France; NICAF Yokohama '92 in Yokohama, Japan; La Galerie Bellefroid in Paris; Milton Keynes Sculpture Park in Buckinghamshire, UK; Hakone Open-Air Museum in Tokyo in 1995; Place Vendôme in Paris in 1997; Luxembourg and Brussels Roosevelt Avenue Exhibition in 1999.

Post-millennium solo exhibitions include: Ju Ming International Outdoor Sculpture Exhibition on Avenue Unter den and West of the Brandenburg Gate in Berlin, Germany in 2003; Singapore Museum of Fine Arts in 2004; Civic and Municipal Affairs Bureau in Macao and iPreciation in Singapore in 2005 (also in 2010, 2011, 2017-18, and 2022); National Art Museum of China in Beijing and Time Square in Hong Kong in 2006; Mount Royal Park, Square Victoria, and Old Port outdoor exhibitions in Montreal, Canada from 2006 to 2008; National Art Museum of China in Beijing, Exchange Square, and Landmark in Hong Kong in 2010; Parc de la Promenade Bellerive in Montreal in 2011; Hong Kong Museum of Art in 2014; touring exhibitions in Chengdu, Chongqing, Dalian, and Shanghai in China in 2015.

Decades of Turbulence in the Art Market

The collaboration between Johnson Chang of Hanart TZ Gallery and Ju Ming spanned thirty years and concluded in 2006. The French art dealer, Hervé Odermatt, being of advanced age, retired after organizing Ju's European exhibitions. He passed the baton to his son, François Odermatt, who facilitated two exhibitions in Montreal, Canada. In 1999, Singaporean art dealer Helina Chan founded the iPreciation. Following the gradual conclusion of the partnership between Hanart and Ju Ming, the iPreciation became Ju Ming's overseas agent. Collaborations during this period included exhibitions across Singapore, Hong Kong, and mainland China. However, due to health reasons, Helina Chan found herself unable to continue actively, leading to a near halt in Ju Ming's overseas retrospective exhibitions since 2015.

Ju Ming's artistic journey began as a 15-year-old sculpture apprentice and has stretched across seven decades. It commenced with his inaugural exhibition at the History Museum in 1976. Noteworthy moments in his career within domestic art museums involve solo exhibitions at the Taipei Fine Arts Museum in 1987 and 1992, the Taiwan Provincial Museum in 2006 (now known as the National Taiwan Museum of Fine Arts), the Taitung Art Museum in 2015, and the Pingtung Art Museum in 2016. While his solo exhibitions within domestic museums are relatively limited, Ju Ming holds international acclaim and is revered as a national treasure by the Taiwanese people.

Curiously, despite his renown, there has been no retrospective exhibition of his work within public museums in his own country—a situation that likely brings him some sense of disappointment. In 1978, a contentious event arose when the Taiwan Representative Office in Japan unilaterally sent his exhibited artwork "Taichi Series - Single Whip" to the Hakone Open-Air Museum, disregarding the artist's rights and the financial implications of international exhibitions. This incident is mentioned in Ju Ming's autobiography, where he candidly expresses his reluctance to engage with officialdom. This sentiment might have motivated him to consider the possibility of establishing an art museum exclusively dedicated to showcasing his creations.

In 1987, Ju Ming took a significant step by acquiring land in Jinshan, initiating a challenging 12-year endeavor to bring the Ju Ming Museum to life. The culmination of his efforts came in 1999 when the museum officially welcomed visitors, a testament to Ju Ming's resolute determination, bolstered by the backing of entrepreneurs. A significant milestone occurred in 2001 with the completion of the monumental bronze arch sculpture from the "Taichi Arch," signifying the conclusion of that series. Subsequently, he transitioned his artistic focus to the "Living World" series, which artfully embodies contemporary themes.

Aside from the previously mentioned Spring Gallery and Hanart Taipei, Ju Ming's commercial ventures in Taiwan are largely family-run, including Jun Youn Sculpture Gallery operated by his daughter-in-law (which closed in 2012 after her divorce), Kalos Gallery operated by his second daughter, and his youngest son's Lee Chi Creative. His artworks have enjoyed consistent support in the market for years, often seen in auctions within the greater Chinese community.

With Ju's growing international recognition and record-breaking sales, unfortunate incidents of unauthorized recasting of his sculptures by foundries and collector friends emerged, causing a decline in collectors' confidence. Around 2014, reports began surfacing in newspapers and magazines, revealing instances involving galleries, art dealers, entrepreneurs, a temple, and even a TV host participating in counterfeit sales or issuing fraudulent certificates. The total value of these counterfeit transactions reached millions. This climate prompted auction houses to require a certificate of authenticity, personally signed by Ju Ming, or authentication reports from the Juming Culture and Education Foundation for all consignors of his works.

Ju Ming's highest auction record stands with his bronze sculpture "Taichi Series - Single Whip," achieving NTD 82.24 million (USD 2,711,507) during Ravenel's Autumn Auction in 2010. However, the leading auction records are predominantly established by outcomes spanning more than a decade ago. This pattern suggests a shift in the art market's perception of his pieces during the past ten years. The rampant proliferation of counterfeits has profoundly affected the confidence of collectors.

In response to these challenges, the Juming Cultural and Educational Foundation has been meticulously monitoring auction houses in Hong Kong and Taiwan. They've instituted measures that necessitate the scrutiny of certificates or authentication reports for the lots on offer, aiming to alleviate concerns over counterfeit items. Consequently, auction houses have become exceptionally vigilant in handling Ju Ming's artworks, leading to a discernible reduction in the trading volume of his sculptures in recent years.

In October 2015, Sotheby's Hong Kong organized a special auction titled 'Embodying The Dao of Martial Arts – Important Sculptures by Ju Ming from the Collection of Johnson Chang Tsong-Zung.' This auction showcased 26 pieces of Ju Ming's sculptures, out of which 19 pieces found successful buyers, resulting in a total sales figure of HKD 55.24 million (approximately NTD 230 million or USD 7.13 million). The auction achieved an impressive sales rate of 73% by lot and an even more remarkable 98% by value. This event marked a significant phase in Ju Ming's journey within the art market.

According to data analysis from the global auction database Artprice, Ju Ming's highest annual auction turnover was in 2011, with transactions amounting to USD 19,766,204 (excluding buyer's premiums). However,

this figure drastically decreased to USD 3,422,375 in 2022, marking a drop of just under 20% and establishing a new low since 2006. In terms of geographical analysis of auction data from 2000 to 2023 (as of August 2023), Ju Ming's works appeared in and were sold across 553 lots in Taiwan and 244 in Hong Kong. Despite the larger volume of auctions in Taiwan, Hong Kong's transaction turnover is 1.5 times greater, likely due to a concentration of high-priced sculpture auctions in Hong Kong.

Seeking Renewed Glory Through Academic Engagement and Retrospectives

During Johnson Chang's special auction, his core collection predominantly featured Ju Ming's "Taichi Series," accompanied by the "Living World Series" and the "Nativist Series." It's evident that the "Taichi Series" continues to garner favor among international collectors, while the newer "Living World Series" is still awaiting broader recognition and development in the market. However, in 2022, his new ballet-themed solo exhibition at the Asia Art Center astounded collectors, affirming his enduring artistic prowess. The exhibition was even showcased at this year's Hong Kong Basel Art Fair.

Ju Ming once said, "My artistic journey is akin to the growth of a tree: the local culture is its roots, the 'Taichi Series' is its branches, and the 'Living World Series' is its blossoming fruit." These three series— Nativist, Taichi, and Living World—are intertwined over time, weaving together the tapestry of Ju Ming's lifelong artistic pursuit.

In the realm of Chinese sculpture art, Ju Ming's accomplishments remain unmatched to this day. Fueled by understanding and support, he received a constant stream of invitations to major international exhibitions, propelling his renown to its zenith. Among all Chinese origin sculptors, he boasts the highest international visibility and the richest experience in public collections. Beyond the comprehensive collection at the Juming Museum, numerous monumental public art pieces from the past four decades remain as treasures in various countries' collections. With Ju Ming's unexpected passing, the art world has renewed its attention to this master sculptor, expressing hopes for a revival of his market prominence and anticipating the emergence of large-scale international retrospectives in the future.

The Juming Culture and Education Foundation is dedicated to promoting work authentication with good intentions. However, the high cost and prolonged duration of the authentication process, coupled with the limited one-month annual submission window, the complex application procedures, and other reasons, leave collectors desiring for a more accessible option. Considering Ju Ming's prolific creative output, the demand for authentication is bound to be substantial. Unfortunately, the foundation's manpower may fall short, leaving collectors with limited options. The Juming Museum, operated in the form of a foundation by the family's efforts, could benefit from greater research investments by the government, academia, or the wider public. Initiatives such as compiling a comprehensive catalogue raisonné with expert preparation could potentially help combat the rampant proliferation of counterfeit items.

Though Ju Ming is physically distant, his legacy remains vivid in the annals of history. A master of international sculpture, he dedicated his life to creation. His memory lingers, etched into the fabric of time.